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Music and Time Annotation << Back
The Timbre as a Parameter
of Ethnoart Expressive
Orchestral Music
of Ossetian Composers.
On the Example
of Compositions
of the 1920s–1980s Years |
T.E. Batagova
The article is devoted to the problem of forming a national characteristic style in the orchestral music of Ossetian composers.
The author studies the formation and evolution of tonal thinking of Ossetian authors by analysis of national musical pieces created
in between 1920–1980. An aspects of the interaction of the principles of orchestral writing with the traditions of instrumental
and choral music are comprehended. The author studies the impact of ethnic sound ideal to the nature of the themes, textures,
instrumentation orchestral genre art pieces 1920–1930-ies composers V. Dolidze, A. Polyanichenko. Analyzes the characteristics
atherectomy timbre-texture solutions in the suites and software sketches 1940-1950-ies Composers N. Karnickaya, A. Kokoiti, L.
Kuliyev, T. Kokoiti, faithful to the principles of romantic orchestration, interpreted the woodwind timbres from a new position closer
to the sound of Ossetian folk wind instruments «uadynz» and «udavdz». A new stage in the development of orchestral thinking
was conquered by the composers in 1960–1980-ies. Based on the principles of musical dramaturgy, program plans composers F.
Alborov, I. Gabaraev, L. Kanukova, ZH. Plieva, Z. Khabalova, D. Khachanov in scores of large orchestral works and software suites,
symphonies, concerts – introduced ethnically colored instruments (shares, diplipito, Ossetian harmonica, mastectomie vocals) and
sound that simulates the game on the Ossetian folk instruments and traditional style of choral singing.
Keywords: Ossetian music, timbre, orchestra, Ossetian composers, ethno-art expressiveness.
Contacts: E-mail: batagon@mail.ru
Pp. 08-17. |
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