Please use this identifier to cite or link to this item: http://dspace.hnpu.edu.ua/handle/123456789/4228
Title: Поняття «ансамблеве письмо»: до проблеми дефініці
Other Titles: Понятие «ансамблевое письмо»: к проблеме дефиниции.
Concept of ensemble composing: on the Issue of definition
Authors: Смірнова, І. В.
Смирнова, И. В.
Smirnova, I. V.
Keywords: ансамблеве письмо
фактура
партія
функціональна взаємодія
тембр
ансамблевое письмо
фактура
партия
функциональное взаимодействие
тембр
ensemble composing
texture
line
functional interaction
timbre
Issue Date: 2020
Publisher: Харківська державна академія дизайну і мистецтв
Citation: Смірнова І. В. Поняття «ансамблеве письмо»: до проблеми дефініці / І. В. Смірнова // Традиції та новації у вищій архітектурно-художній освіті : зб. наук. пр. / Харків. держ. акад. дизайну і мистецтв ; [редкол.: В. Я. Даниленко (голов. ред.) та ін.]. – Харків : ХДАДМ, 2020. – Вип. 1. – С. 63–69.
Abstract: У статті здійснюється спроба окреслення смислового поля і формулювання чіткої дефініції поняття «ансамблеве письмо». Висвітлюються різноманітні аспекти трактування поняття «письмо» в науковій літературі у сферах хорової та оркестрової музики, на рівні композиторського мислення та музичних складів. Виявляється, що в різних аспектах дослідження під письмом розуміють стійкий комплекс/систему технологічних прийомів, принципів, націлених на створення єдності та цілісності. Поняття «ансамблеве письмо» досліджується на основі єдності двох складових (ансамбль та письмо). Пропонується наукова дефініція поняття «ансамблеве письмо». Узагальнюються стійкі ознаки, що відмежовують ансамблеве письмо від оркестрового. Поняття «ансамблеве письмо» досліджується у складному синхронно-асинхронному взаємозв’язку з категорією фактури. Виявляються компоненти ансамблевого письма. В статье осуществляется попытка определения смыслового поля и формулировки чёткой дефиниции понятия «ансамблевое письмо». Освещаются разнообразные аспекты трактовки понятия «письмо» в научной литературе в сферах хоровой и оркестровой музыки, на уровне композиторского мышления и музыкальных складов. Выявляется, что в разных аспектах исследования под письмом понимают устойчивый комплекс/систему технологических приёмов, принципов, нацеленных на создание единства и целостности. Понятие «ансамблевое письмо» исследуется на основе единства двух составляющих (ансамбль и письмо). Предлагается научная дефиниция понятия «ансамблевое письмо». Обобщаются устойчивые признаки, которые отграничивают ансамблевое письмо от оркестрового. Понятие «ансамблевое письмо» исследуется в сложной синхронно-асинхронной взаимосвязи с категорией фактуры. Выявляются компоненты ансамблевого письма.. In contemporary musicological discourse, the concept of ensemble composing belongs to the common, but not clearly defi ned. The concept of orchestra composing has a similar fate in the instrumental fi eld. Despite the lack of a clear defi nition, it often appears as a core scientifi c concept around which research thought is developed A draft version of the defi nition of orchestra composing is contained in the article by G. Savchenko. The objective of the article is to outline the semantic space and suggest the defi nition of the concept of ensemble composing. Review of recent studies and publications. In many scholarly sources on chamber instrumental genres, the authors use the concept of ensemble composing without giving it a clear defi nition. For example, in the study by A. Boyaryntseva, a generalized characteristic of chamber style is given, and one of them is detailed composing. E. Kupriyanenko, without aiming to formulate the concept defi nition, raises the question of the features of ensemble composing intimbre-inhomogeneous ensembles with viola. The concept of instrumental composing is used in the study by I. Bialy, who draws attention to certain techniques of ensemble composing in the context of study of the piano trio history. Some good observations regarding the difference between the ensemble and the orchestra in terms of the difference in the technique of composing are found in A. Gotlib’s work [3]. The concept of composing is explored not only in the fi eld of instrumentalism. Indicative of this is the study by S. Naumovich, in which the author investigates “the compositional patterns of Monteverdi’s opera ensembles in connection with their dramaticrole...” In musicology, the concept of composing is often associated with the composition of texture: polyphonic composing, homophonic harmonic composing. In this case, by composing we mean the type and nature of functional relationships vertically and horizontally between the voices of polyphony, which corresponds to the interpretation of the category of texture. M. Skrebkova-Filatova notes that in the functional approach, when the functional relations of elements in the system are taken as the basis, a synonymous conceptual series is built up in the scientifi c literature: composition (or simply polyphony and homophony as types of composition), presentation, contexture, composing, structure It is in a complex system of interrelated concepts (texture, musical contexture, composition) that music composing is considered in the study on contemporary music. The concept of composing is also used in relation to the individual composer style (manner) or the era style. In this sense, the concept of composing appears in the study by D. Maly in the defi nition of “the author composing technique”, which is briefl y defi ned as “a set of techniques and methods of working with musical material” and investigated in connection with the phenomenon of composer thinking.Discussion. The concept of ensemble composing has two constituent elements – ensemble and composing. The concept of ensemble, being interdisciplinary, has been suffi ciently developed in the scientifi c literature of music. “The basic meaning of the concept of ensemble is the property of compatibility, coherence, harmony of the whole and the partial”. At the present stage, in our opinion, the concept of composing in music can be interpreted in a broad and narrow sense. In the fi rst, it synthesizes various components: both the process of composing text (musical), and the system of signs for transmission of speech (musical), and the visual features of text. In a narrower sense, composing is related to the technological aspects of musical text, with a set of specifi c techniques and principles aimed at embodying an artistic concept. We suggest this defi nition of the concept of ensemble composing, which correlates with a narrow, special-technological aspect of its understanding. Ensemble composing is a set of composer-technological techniques and principles of ensemble interaction aimed at establishing a certain type of functional relationships between the lines in order to create a coordinated, harmonious integrity in accordance with the individual artistic idea embodied in the work within the instrumental chamber-ensemble type of statement. Since we cannot consider the technological aspect of the composition in isolation from an individual-artistic concept, we interpret the ensemble composing as the only possible algorithm for the interaction of the lines, chosen by the composer, in order to reveal the artistic concept. There are some fundamental differences between ensemble and orchestra composing. The ensemble composing is characterized by: 1) detailing and fl exibility at different levels of the artistic whole; avoidance of “a major stroke” in the material presentation; 2) application of the dialogical principle as the main way of developing musical contexture; 3) such composing of lines (all or not all, depending on the confi guration of their relations) that allows to reveal both solo-virtuoso and collective-ensemble potencies of instruments. The concept of composing is closely related to the complex category of texture. The synchronous-asynchronous relations are established between the texture and the ensemble composing. The components of ensemble composing are timbre, register; duplication, “intertwining of instrumental voices with one another”, “use of various techniques of transmission from some instruments to other” [9]. It is also the dynamics, the strokes, the articulation, which are considered performance aids. Conclusions. The study of chamber instrumental music should be based on a well-developed terminological apparatus. The scientifi c novelty of the article is to delineate the semantic fi eld and to give the concept of ensemble composing a clear defi nition. The formulated defi nition can be tested on different analytical material in different historical and stylistic contexts, which is a research perspective.
URI: http://dspace.hnpu.edu.ua/handle/123456789/4228
ISSN: 2413-1520 (Online)
2409-2347 (Print)
Appears in Collections:Кафедра музично-інструментальної підготовки вчителя

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