DOI: 10.36871/hon.202202007
Authors
V. A. Kudashova
Magnitogorsk State Conservatory (Academy) named after M. I. Glinka, Magnitogorsk, Russian Federation
Abstract
The expansion of the sound image of violin music in the second half of the XXth century is
largely due to the emergence of new compositional writing techniques. The spirit of experimentation,
the pathos of finding ways to embody original artistic ideas significantly influenced
the composers' attitude to the "sound" and image of the instrument. The authors adapt
the writing technique and the acoustic and expressive possibilities of the violin to the content
and concept of their compositions.
In sonoristic, minimalistic, aleatoric compositions, the creation of a new musical reality
encourages the authors to measure the boundaries of sound and penetrate into its internal
structure. It ceases to be only instructive material for composer and performer, acquiring an
autonomous semantic role. In this regard, the violin sound device is ideal for experiments in
the direction of expanding the timbre acoustic capabilities of the instrument. Traditional instrumental
techniques and performing means of expression are being adjusted. The searches
for the liberation of sound from the regulations of pitch, rhythm, form, and so on become
productive. Such an interpretation of the instrument subordinates the sound to the creator's
will, equalizing the rights of the composer and the performer. It opens up unlimited ways to
implement individual ideas, expanding the range of artistic possibilities of the sound image of
the violin in the works of Western and Russian composers of the second half of the XXth century.
This process has been little studied in modern musicology, so its present study acquires
a particular relevance and novelty.
Keywords
image of the instrument, semantics, writing technique, techniques, performing means of expression
