DOI: 10.7256/2453-613X.2017.1.24970

Abstract: In his article Denisov demonstrates that the fundamental feature of absurdity is the total desintegration of expected attitudes or relations. Absurdity causes inversion of cause-and-effect relationships and destroys the logical order of such relationships in the general meaning of the word. It also shifts the scale of relevance of events and what events should be expected. The idea to overcome inertion of perceiving such a text is brought to the extreme point, in a word, such a text is being created at the point of structural and semantic break-down as a result of noncoincidence of intra- and inter-text relations. Particular means of absurdity poetics in music can be classifed into three groups: means which actual application opposes to the function they are supposed to perform (for example, hypercollage, or virtual quotation); discordance between different components of the text structure through aleatory composition of the external form and choatic distruction of composition borders; and use of non-artistic material in an artistic context, or vice versa. In consluion, the author of the article analyzes the reasons that determine the role of the absurdity way of thinking in the culture of the last decades. 

DOI: 10.7256/2453-613X.2017.1.24977

Abstract: The article is devoted to the concept of phonorealism that became the basis for the composition style of an Austrian composer Peter Ablinger. The aim of the research is to define analogies in texnological techniques of the digital epoch. Photography and accoustic phonography, 3D modeling and pixelisation used by Ablinger, granular sythesis used by Xenakis - these are the creative techniques of modern technology that are involved in the author's comparative analysis. The author studies compositions of Ablinger that were created using the method of phonorealism, in particular, vocal series 'Voices and Piano', series of sound installations 'Quadraturen', as well as series 'The Book of Songs' and 'Instruments and Phonographs'. Series 'Weiss/Weisslich is taken as an example of Ablinger's special method of working with white noise. As a result of her research, Lavrova concludes that artistic methods are identical in music, literature and fine arts. All of them make us rethink over the reality and see it in a different light. Ablinger believed that music serves as an analyzer of reality and provokes fundamental changes in a recepient's perception based on a completely different relationship between noise and music sound. The article will be of interest to both professional musicians who want to get an insight into musical phenomena of the 20th century and non-specialist audience who are interested in modern music. 

DOI: 10.7256/2453-613X.2017.1.24972

Abstract: The article is devoted to one of the most interesting modern genres, instrumental composition with the word that is a type of instrumental theatre. This genre has never before been studied by music researchers, therefore the topic of the article is actual and has a scientific novelty. Based on Russian composers' music (S. Gubaydulina, V. Tarnopolsky, V. Martynov, and N. Korndorf), the author of the article analyses how the word (literary text) is included into the music score of a composition. The author also analyses particularities of the scenic realisation of opuses that combined music instrument playing and text reading. The author of the article uses the integral research approach to the genre that combines instrumental composition and words as a synthesis of music and word in general. The author defines the degree of interaction between literary text and music and offers his own classification of texts. He concludes that the genre of instrumental composition with the word will soon become of the main genres in music because it implies a clear declamation of a message or idea even through a purely instrumental opus. 

DOI: 10.7256/2453-613X.2017.1.24978

Abstract: One of the most popular method used in music of the second half of the 20th - beginning of the 21st centuries is the aleatory technique when music is composed by using random interaction. Form making is one of the main problems that arise when the aleatory technique is being used. Moving and uncertain, aleatory form required certain rigidity and determinancy at minor and major levels. In such compositions, form making function is performed through pitch or rhythmic organisation, dramaturgical patterns or other constructive forces or factors that influence the form and give it a single structure. Noteworthy that the aleatory composition technique is often combined with the principle of organising numbers that is widely used by many authors. Aleatory forms managed by organising numbers are typical for Cage, Stockhausen or Gubaydullina. These composers used all kinds of number sequences and groups that are viewed by the author of the present article. 

DOI: 10.7256/2453-613X.2017.1.24974

Abstract: The object of the present reserach is the genre of the round-the-clock song popular in the territory of Russian settlements of the Volga delta in the Astrakhan Region. In her research Ivanova anlayzes a particular content constant of such songs which is a household plot that was discovered in the greater part of songs recorded during the field research. The author pays special attention to the balance between text and music in traditional round-the-clock songs as an essential element of Russian action folklore. As a rule, household plots contain a story told through singing. It is a story about uneasy life of plain people or an individual. The research is based on songs recorded in the Kamyzyaksy and Limansky districts of the Astrakhan Region. The author of the article applies the integral approach to studying the round-the-clock song when it is being studied from different methodological bases. However, the main method used by the author in her research is the analysis of music-and-song content. The novelty and rationale of the research are caused by the fact that the author presents the field research material dencoded by the author of the article on her own and introduced by some folklore bands. Noteworthy that all songs studied by the author have the same typical round-the-clock genre features. The main features are refrain, circled solo tune, step movement during performance, and functional attribution of each song to a particular ritual, calendar or wedding rite.