DOI: 10.36871/hon.202201003
Authors
А. A. Trifonova
Russian State University named after A. N. Kosygin
(Technology. Design. Art)
State Classical Academy named after Maimonides, Moscow, Russian Federation
Abstract
The article is devoted to the artistic and technical aspects of tempo-rhythm in a chamber ensemble. The genre-forming feature of chamber music making is formulated as the equality of the partners' alternating tempo-rhythmic initiatives. The technology of synchronization of the ensemble playing is considered; its principle of relying on the pulsation changes instead of its stabilisation is highlighted; the myth of "uniformity" as the basis of synchronization is dispelled. The features of the tempo-rhythmic interaction of partners in the repertoire of different epochs and styles (Baroque, Classicism, Romanticism, Impressionism, XXth century) are analyzed. Each of the considered eras has formed its own type of tempo-rhythmic relations. The Baroque is characterized by a conflict of a uniform axial pulsation, which goes back to the dance step, and agogically detailed horizontal. Classicism is marked by a greater integration of a small pulse into a large one and, accordingly, by a greater uniformity, due to the dance and conductor-symphonic roots of the musical material. Romanticism is agogic freedom of the melody and the subordination of the accompaniment to it, conditioned by the principle of tempo rubato. Impressionism is typified by the tempo-rhythmic significance of coloristic "events" and, accordingly, the priority of the moment over the process, statics over development. Distinctive features of the XXth century chamber ensemble traditions include the focus on rethinking the Pre-Romantic tradition and going beyond the major-minor. The first factor actualizes the Baroque and Classicist pulse with the priority of uniformity, the second conflicts with this uniformity due to the tension of dissonant harmony.
Keywords
agogy, vertical, horizontal, conflict, pulsation, synchronization
