UDC 78
DOI: 10.36871/hon.202301046
Authors
Irina V. Alekseeva,
Ufa State Institute of Arts named after Zagir Ismagilov, 450007, Republic of Bashkortostan, Ufa
Abstract
The article raises questions about the methodology of studying the phenomenon and concept of the sound standard of instrumental music. An attempt is made to determine the role of acoustic and psychological factors in its evolution. The desire to substantiate and clarify the ideas formed in musicology about the a priori properties of instrumental sound caused the author to turn to significant and promising ideas of scientists, which have not yet developed into a theory. The sound value orientations of the musicians of the second half of the XXth — early XXIst centuries in working with the sound matter are defined. The analysis of cardinal turns in attitude to sound at the turn of the epochs leads to the involvement of similar processes of Baroque culture in the scientific field. The vector of the development of auditory perception is marked by the conditionality of the music-making practice. In this regard, the author analyzes the main observations, statements and generalizations in some of the most significant recent studies aimed at exploring new concepts of instrumental sound, timbre in close connection with modern writing techniques. Selected manuals on instrumentation and orchestration are used to determine the criteria for the ideal sound quality of the instruments. The prospects for further scientific research of the unique properties of instrumental sound as a special kind of latent energy, containing rich resources for conveying the essential content of the nonobjective in music, are outlined.
Keywords
musical instrument, acoustics, sound, auditory perception, evolution
