INSTRUMENTAL MUSIC FROM THE TURN OF THE XXTH – XXIST CENTURY IN A DIALOGUE WITH THE PAST

UDC 785
DOI: 10.36871/hon.202403041

Authors

Irina V. Alekseeva,
Ufa State Institute of Arts named after Zagir Ismagilov, Ufa, Republic of Bashkortostan, 450008, Russian Federation

Abstract

The spiritual experience of the past plays a huge role in a person’s life and creativity. It is understood through the prism of the present, forming a dichotomy of memory and oblivion. The article examines the instrumental opuses of composers of the late XXth – early XXIst centuries, whose main theme is the desire to embody the artist’s unique ability to preserve a concept by borrowing “someone else’s word”. The original approaches of the composers are largely determined by the aesthetics of post- and metamodernism, which proclaim the rapid appropriation and mixing in one composition of traditions and styles, intra- and extramusical components, such as music, word and painting in a single composition. Postmodern authors are attracted by the ability to cross the border between the present and the past in memory, to unite the real and the sacred worlds, to collide the secular and the spiritual, the high and the low. The article attempts to systematise composers’ works with borrowings from the near and distant past through the theory of musical text developed by Russian musicologists. In this sense, unique examples of instrumental music of secular and spiritual content with and without quotations from our compatriots and contemporaries are considered. Particular attention is paid to understanding the reasons for composers’ appeal to the artefacts of the past, as well as to updating the principles and forms of intertextual interaction on the way to creating an original artistic world of the composition. The author raises questions aimed at studying the problem of dialogue between modern works and the past. The article is addressed to professional musicians, postgraduate students and specialists in the field of musicology.

Keywords

past, memory, post- and metamodernism, intertext, borrowings, methods of working with “someone else’s word”