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The newest music of our time going after to the most advanced vanguard achievements of art of XX century, is so new and unusual under the maintenance(contents), that its(her) studying demands today the reference(manipulation) to not less new and for the present to insufficiently developed areas of a musical science, requires active perfection of the research device of this science, and, in particular, such his(its) major components, as analytical and conceptual spheres.
Relative singularity of a subject of the given scientific research is connected to his(its) orientation on studying of many aspects of the material and constructive maintenance(contents), and also the nature of interaction of those composite structures which in modern musicology have received definition various componental, and actively function as in parallel with traditional thematic constructions of a composition, and outside of them. Such position, naturally, assumes development and the offer of corresponding methods of revealing and research of these structures that makes an essential and rather new problem(task) for theoretical musicology.
On a genre the given book – the monographic research devoted structural to the maintenance(contents) of music of Victor Ekimovsky – one of very bright modern composers.
The basic theme of research – innovative and the general(common) means and the laws of a modern musical composition found the reflection in compositions of Victor Ekimovsky 70 – 90th years, including, in constructions of a composition, such components of a musical fabric developing at a level as the rhythm, dynamics(changes), harmony, sound density, the shaped, band and tempo decision, " vector linear movement ", musical - scenic action of executors - instrumentalists and, especially, the invoice(texture) where an ingenuity, imagination of the composer sometimes simply amaze and are always represented original and extremely productive in the art attitude(relation).
These composite methods Ekimovsky are very symptomatic and, in a broad sense, see as new sensation of process formations {Educations} of the form in modern musical art. Thus from the broad audience of problems of the modern composite organization in the given work are selected, first of all, connected with those components of a musical fabric which at absence of the thematic factor or significant easing of his form-building role, act on the foreground of composite process.
The first part of the book – « Modern features of a composition of Victor Ekimovsky » contains a number(line) of chapters(heads) in which the major traditional and rather new constructive phenomena observed in compositions of Ekimovsky are investigated and generalized, since him " Compositions 1 " (1969) and finishing(stopping) " the Composition 81 " (1999). The composite laws connected to such specific thematic structures here concern to number of these phenomena, first of all, as impressive, rhythmic, dynamic, and also the composite laws arising at a level "high-altitude", tempo, various density and some other componental systems.
In this part the estimation of various componental composite processes as concerning independent intonational (= subintonational) components of the general(common) is offered also. In this connection such theoretical categories as intonational process timbres (= timbrelad), intonational process rhythms, dynamics(Changes) and invoices(Textures), in particular, are considered(examined).
Here the problem of subthematic and own thematic value of the invoice(texture), a rhythm, dynamics(changes), shaped and of some other means of a musical fabric in a modern composition and their maintenance(contents) in Victor Ekimovsky''s compositions is investigated. Thus, it is supposed, that each of such thematically significant componental "layers" of a musical fabric can be estimated in different compositions and as rather independent intonational the phenomenon possessing certain intonational individuality and as the phenomenon being simultaneously integral component, a lot of componental of intonational process, or, in other words, that each of such "layers" is capable to rivet on itself the maximal attention and the composer, both the executor, and the student, promoting thus to the estimation as a conducting(leading) and brightest component of the general(common) intonational world of the composition, and, at the same time, all the same to remain only one of constructive units of this world.
In the first part of the book it is submitted a little concerning new classifications, including, concerning to a primary material of a modern musical fabric, some aspects technics(Technical equipment) the letters, connected with this material, to various types, kinds and subspecies of componental forms one-material and a lot of material, the one-scheduled and multiplane, unequivocal and multiple-valued nature, and also to the invoice(texture).
In work are considered(examined) and are terminologically allocated in quality concerning the new composite phenomena a number(line) of componental forms at a level scantily studied or at all not investigated material, including, in sphere various processes of density of a musical fabric, band, impressive and dynamic, and also process which is determined here as " scenic action " and it is connected with certain(determined) actor''s, including, tragicomic and it is frank mimic, "gymnastic" and other game of musicians on a stage or in a hall during execution(performance) of some compositions of V.Ekimovsky. All of them have received here special names and are classified alongside with other more traditional componental forms.
The special attention is given in the chapter(head) devoted to componental composite structures, so-called, geometrical musical forms which nature now more and more draws attention of musicologists, including: strictly geometrical and freely geometrical, to their maintenance(contents) and classification, and also interaction characteristic for these forms of composite principles with principles traditional constructions of a composition.
Alongside with composite and impressive classifications in the first part of the book are offered as well rather new "system" and material gradation the basic letters of our time, with accent(stress) on those their variants which are represented as the most typical for musical letter Ekimovsky.
The big place in the first and second parts of work is borrowed(occupied) with the theoretical and analytical materials connected with " an impressive layer " in compositions Ekimovsky as here imagination of the composer, its non-standard constructivism result in especially non-standard and interesting art results. Many from found by him(it) changes traditional kinds of musical warehouses of a statement and original own impressive finds allow the composer to create in each new composition always surprisingly bright on the processing ("manufacture") a musical fabric. All this became the basis for creation concerning new variants of classification of the modern invoice(texture) to its(her) various attributes.
In both parts of work, but basically in the second – " Analytical sketches ", a number(line) of rather new or updated techniques of research componental composite processes is characterized and shown.
In the second part of the book – « Analytical sketches » – are submitted 37 analytical sketches in which 37 compositions (five sketches about Compositions 14 are investigated, 42, 59, 66 and 81 are written Ò.V. Shevchenko). Here various variants componental compositions are considered(examined), including: monocomponental and polycomponental, one-scheduled and multiplane, unequivocal and multiple-valued, synchronous and asynchronous, constant and variable ( modulating), connected to development of those means of a musical fabric which play a conducting(leading) or accompanying role in modern composite processes and possess, in analyzed compositions, specificity which testifies, on the one hand, to originality of composite thinking of Victor Ekimovsky, and with another, reflects in itself the general(common) tendencies of a modern musical composition. Here separate material components of a modern musical fabric in aspect of their individual application in compositions Ekimovsky and typicalness for all modern music are characterized also.
The special attention in the second part is given to those compositions in which alongside with traditional execution(performance) it is supposed as well unusual enough and various actor''s game of instrumentalists on a stage – " to music of gestures, movements ", " mimic music " – to the phenomenon for the present to the extremely insufficiently studied, that is why causing special musicological interest.
The overwhelming majority of the analytical constructions submitted in this part, conclusions and assumptions, and including, directed on an establishment of the general(common) and private(individual) in various composite - componental processes same or different compositions Ekimovsky, is illustrated with numerous musical examples, schedules and circuits.
In " Analytical sketches " rather new techniques of research of various componental composite processes, in particular, a design procedure and the graphic analysis process of sound density, interval density, voice density, discord intensity, the rhythmic formular letter and composite process at a level of pauses, a technique of construction of two-dimensional schedules - diagrams are applied different, both well-known, and, etc.
The present work is offered as the first monographic and in the theoretical attitude(relation) concerning new research the general(common) laws modern musical composite processes, showing at a level different and, including, earlier not investigated componental layers of a musical fabric connected to creativity of one the brightest, original and talented domestic composers. Its maintenance(contents) is made in the majority only with the original analytical materials which are not having published analogues.
The text of the book « Modern features of a composition of Victor Ekimovsky », ideas and the materials put in his(its) basis, were formed during the period with 1983 for 1995. Its(her) final variant is written in 2000.
D.I.Shulgin
Moscow, June, 2000.
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