Gottfried Gasanov’s First Piano Concerto and Issues of the National Compositional Style
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Abstract
The article is devoted to one particular composition by Gottfried Gasanov with which the birth of the school of professional music composition in Dagestan is connected. The First Piano Concerto is examined as a musical laboratory that reflects the laws of the process of integrating local-ethnical and universal-European traits in the formation of a national school of composition. The phenomenon of bilinguism, emerging on the basis of dialogue between two cultures, is researched from the perspective of the theory of intertextuality founded by Mikhail Aranovsky.
The special type of dialogic relationship of the kindred and the alien lying at the basis of the Concerto is interpreted from the positions of domination of precepts of the European logocentrism, which is manifested in the derivation (or transformation) of structural models of the folk musical material. The composer’s adherence to the axiomatics of standard musical forms, as well as the syntactic norms of European culture, is reflected in the replication of that type of musical discourse which corresponds to the highest achievement of European instrumentalism – namely, symphonic dramaturgy. Its logic is founded in the article by means of the categorical triad of Universal-Individual-Particular, which discloses the profound structure of the composition’s inner plot. It specifies the process of individuation (according to Carl Jung) of the composer within a special model of ethnic self-identification: the achievement of the synthesis of the Universal and the Individual at the stage of the Particular, realized through the rootedness of the Singular in the Universal, reflects a certain grand purpose of any national style of musical composition.
Keywords: Gottfried Gasanov, musical culture of Dagestan, piano music, ethnocentrism, intertextuality, bilinguism
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