The Acoustic Model of Sound as a Phenomenon of Symphonic Thinking (on the Example of the Seventh Symphony of Avet Terterian)
Article Sidebar
Main Article Content
Abstract
The functions of timbre in a sonoristic composition present an interesting phenomenon of symphonic thinking. The
music of symphonic composers from the former Soviet Union of the last third of the 20th century, particularly, Avet
Terterian, is distinguished for its artistic and philosophical-aesthetical interpretation of the “image of the sound of the
Universe.” For the sake of analyzing the sonoristic fabric of the music the author of the article applies the method
of description of the acoustical model. The phenomenon of transformation of acoustic information is revealed in the
musical language on several levels: the objective acoustical parameters and the psychoacoustic aspect; the emotionalmental
levels (comprised of associations, sound symbols and archetypes); timbre as an “image of sound,” reflecting
the artist’s picture of the world. A systemic approach to analysis of acoustic information of the musical text makes it
possible to perceive the phonic connections of the timbral and textural elements of different hierarchical levels. As
a result the characteristic features of Terterian’s musical language – the isomorphic unity of different-scale elements
and the resultant thematicism based on timbre and texture – are revealed. The form-generating functions of timbre in
Terterian’s symphonies are demonstrated both as an object and as a process.
The author emphasizes that the foundation of Terterian’s musical language is based on the cognitive precepts of
archaic strata of an oral musical tradition, in which the function of music is inseparably connected with the spiritual
practice of religious contemplation.
Keywords: Avet Terterian, symphonic genre, timbre, acoustic model, orchestral timbre texture, sonoristics, the
sonar signs of culture.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Kolganova O. V. Fenomen sveta v sonoristike (na materiale tvorchestva kompozitorov Tsentral'no- Vostochnoy Evropy 1960–1980 gg.): avtoref. dis. …kand. iskusstvovedeniya [The Phenomenon of Light in Sonoristics (Based on the Materials of the Music by Composers from Central Eastern Europe from the 1960s to the 1980s): Thesis of Dissertation for the Degree of Candidate of Arts]. St. Petersburg, 2012. 25 p.
3. Matsievsky I. V. Kontonatsiya i formoobrazovanie (v muzyke evropeyskoy i vneevropeyskoy, traditsionnoy i sovremennoy) [Contonation and Form Generation (in European and non-European Traditional and Contemporary Music)]. Matsievsky I. V. V prostranstve muzyki. T. 1 [In the Space of Music. Volume 1]. St. Petersburg, 2011, pp. 3–33.
4. Nazaykinsky E. V. Zvukovoy mir muzyki [The Sound World of Music]. Moscow: Muzyka, 1988. 254 p.
5. Orlov G. A. Drevo muzyki [The Tree of Music]. Second Edition, Revised. St. Petersburg: Kompozitor–St. Petersburg, 2005. 440 p.
6. Ross Ya. Yu. Blagozvuchie: ob'ektivnye predposylki konsonantnosti v muzyke [Euphony: Objective Prerequisites of Consonance in Music]. St. Petersburg: St. Petersburg European University Press, 2006. 128 p.
7. Terteryan R. A. Besedy s Avetom Terteryanom [Conversations with Avet Terterian]. Ekaterinburg; Moscow: Kabinetny uchyony, 2014. 184 p.
8. Tikhomirova A. B. Funktsii etnicheskogo tembra v simfoniyakh Aveta Terteryana [The Functions of Ethnic Timbre in the Symphonies of Avet Terterian]. Peterburg i natsionalnye muzyikalnye kultury: mat. mezhdunar. nauch. konf. [St. Petersburg and the National Musical Culture: Materials from the International Conference]. Russian Institute of Art History. St. Petersburg, 2010, pp. 67–71.
9. Tikhomirova A. B. Arkhetipy kultury v simfonicheskom tvorchestve Aveta Terteryana [The Archetypes of Culture in the Symphonic Works of Avet Terterian]. Aktualnye problemy kognitivnoy muzyikologii: tez. i mat. Mezhdunar. nauch.-teoretich. konf. [Relevant Issues of Cognitive Musicology: Abstracts and Materials of the International Music Theory Conference]. Russian Institute of Art History. St. Petersburg, 2012, pp. 17–19.
10. Yunusova V. N., Kharuto A. V. Traditsionnyy muzyikant v zerkale kompyuternogo analiza [The Traditional Musician in the Mirror Reflection of Computer Analysis]. Voprosy instrumentovedeniya: sb. st. i mat. Vos'mogo mezhdunar. instrumentovedcheskogo kongressa «Blagodatovskie chteniya» [Questions of Instrument Study: a Compilation of Articles and Materials of the Eighth International Congress “Blagodatov Readings”]. Issue 9. Editor and Compiler: O. V. Kolganova; Executive Editor: I. V. Matsievskiy. Russian Institute of Art History. St. Petersburg, 2014, pp. 267–275.
11. Meyer J. Acoustics and the Performance of Music. Translated from German by U. Hansen. Fifth Edition. Springer Science+Business Media, LLC, 2009. 438 p.
12. Avet Terteryan. Fil’m-portret: dokumental’nyy fil’m [Avet Terterian. Film-Portrait: Documentary]. Author and Director: S. Karsayev. Moscow: RTR, 1993. (Tishina # 9).