About the Content-Based Structures and Performance Techniques in Contemporary Music (on the Example of Valeriy Skolbyolkin’s Compositions for Piano)
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Abstract
The article touches upon questions of the content and peculiarities of performance of a number of piano compositions
by contemporary Bashkir composer Valeriy Skobyolkin. On the example of the preludes from the piano cycles “The
Angelic World” and “24 Preludes,” as well as the compositions “Wonder beyond the Volga. Piece on a Russian Theme”
and the “Sonata in Old Style,” the characteristic manifestations of the composer’s style, graphics and technique of
the writing are analyzed. The composer’s comments dealing with the techniques of performance and the timbre
imitation conveying the acoustic image of sound, present various contrasting directives of playing, thereby setting
up the corresponding musical moods of the pieces. Along with this, the semantic components of the musical text,
its content-based structures bear expressive significance which is related to the idea and imagery of the music. The
directedness at a certain sound characteristic feature of the musical composition, and the presentation of the textural
graphics of the piece as poly-semantic (poly-timbral, poly-rhythmic and poly-intonational) score call for more precise
means of realization of performance. The rhythmic and intonational formulas of the musical text serve as semantic
reference points for discovering and realizing the stylistically consistent piano motions, focused in terms of their
imagery. Thereby, stemming from the composer’s musical text, its semantic, image-bearing, intonational, timbral,
textural and graphic characteristic features, as well as programmatic subtitles and commentaries, it is possible to
analyze the techniques and means of realization of performance.
Keywords: composers of Bashkortostan, Valeriy Skobyolkin, piano music, compositional technique, musical text,
content-based structures, piano performace.
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