Research Article
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Intertextual questions analysis in composer’s creative activity, sound symbols in contemporary musical thinking

Year 2023, Volume: 11 Issue: 2, 309 - 325, 30.06.2023
https://doi.org/10.12975/rastmd.20231128

Abstract

The represented research - “İntertextual questions analysis in composer’s creative activity, sound symbols in contemporary musical thinking” - is devoted one of the leading and original peculiarities contemporary music first summarized research. The research gives author’s style systematic observing offering, its universal phenomenas, language conformities and composer’s technique principals. Composers musical creations represented in contemporary music culture wide context for the first time are examined in composer’s thinking leading categories aspect in the article. On represented theme study, big attention is allocated to musical analysis new methods and also new theory study, directed towards composer’s creations artistic content and mode contemporary comprehension, intertextual questions analysis in composer’s creative activity, sound symbols in contemporary musical thinking. Examples of multi-layered “open texts” in the Azerbaijani musical experience have been in focus in the works of Azerbaijani composers Uzeyir Hajibeyli and Khayyam Mirzazadeh. These examples are interesting in terms of intertextual principles and various experiments that lead to different compositional structures. In the article, cryptogram problems created on behalf of composers such as J. S Bach, Robert Schumann, Dmitriy Shostakovich, Alban Berg, Edison Denisov, Khayyam Mirzazadeh were examined. Quotations, anagrams, paraphrases used in composers’ music has been investigated. This article was devoted to the sound (audio) symbol in modern musical thinking. Conception of code, widely used in semiotics, in linguistics, culturology, genetics, mathematics haven’t found yet its place in terminological system of science of music. The author of the article reveals individual musical conceptions on the base of interesting samples, directing attention to different experiments, which opens way to the intertext concepts.

Supporting Institution

Bakü Müzik Akademisi

Project Number

96636159

Thanks

Teşekkür ederiz.

References

  • Abezgauz, I. (1967). The Formation of the Artist / Soviet music, 1967, No 3,10.
  • Amrahova, A. (2004). Cognitive aspects of contemporary music interpretation: in Azerbaijani composer creative activity examples. Baku: Elm, 2004, 33.
  • Asafyev, B. (1981). About 20th century music. M: Music.
  • Bahtin, M. K. (1979). Humaneterian sciencies methodology\Word’s creative activity esthetics. Moscow. An Art, 367.
  • Belimov, C., & Rayskin, I. (2001). We are united by sound. Musical academy, No 3,.3
  • Cenova, V. (2000). Numeral’s secrets in Sofia Gubaydulina Music: monograph research, Moscow: Moscow State Conservatoire named after P.I. Chaykovskiy,165.
  • Gurary, S. (2008). Chrarmed pilgrim. the dialogue with Rodion Shedrin. Musical academy. No 3, 36.
  • Dammann, R. (1967). Der music begriff im deutschen Barock. Köln,14.
  • Denisov, E. (1997). The real music is always spiritual. Musical academy, No2, 40.
  • Nagibin, Y. (1987). Dialogue - Meeting with the Composer Edison Denisov / Soviet music, No4,13.
  • Gabay, Y. (1986). Monologue is Continued . Soviet Music, 1986, No 10, 29.
  • Grigoryeva, G. (2010). King Fredric the II Theme and its Interpretation Stylistic Variants Bach-Webern – Gubaydulina- Denisov// Musical Academy, No 2,113.
  • Gritsanov, A. (2001). Postmodern. Encyclopedia. Moscow: Interservice “Book House”, 86.
  • Gubaydulina S. (1988). And this is happiness. Soviet music, No 6,22.
  • Holopov, Y. (2000). Changed and constant in the evolution of the music in the evolution of the musical thought. the problems of traditions and innovations in contemporary music. Moscow.
  • Holopov, Y., & Cenova, V. (1993). Edison Denisov. Moscow: Composer,154.
  • Katz, B. (1995). About Brahms Last Symphony Theme Intertexuality. the Choice and the Combination. An Opened Form: The Collection of Articles Dedicated to 75 th yearsofYG.Kon.Petrozavodsk;SP-/Saint –Petersburg/,105.
  • Kristeva, Y., & Bahtin, M. (2000). The Word, Dialogues and the Roman / French Semiotics: from Structuralism to Post structuralism. Moscow, 429.
  • Losev, A. (1990). Counting, Figures Logic Theory. Music as the Subject of Logics. / Losev A. From Early Creations. Moscow: newspaper “Pravda”.
  • Losev, A. (1990). Philosophy of the Name. Moscow: Moscow University Publishers, 77.
  • Lobanova, M. (1985). Schutz Motet Creativity and Some Ideas of German Musical Baroque / Henrich Schutz: The Collection of Articles: collection editor T. Dubravskaya. Moscow; Music, 52.
  • Nazaykinskiy, Y. (2015). The Poetry of Musical miniature / The Science out of the Borders: the collection of articles dedicated to the 15th anniversary of “Musical World”. Moscow: Composer, 42.
  • Petruseva, N. (2002). Pierre Boulez. Musical Composition Esthetics and Technics. The Research. Moscow; Perm: Real,75.
  • Smirnov, D. (1990). Geometry of Sound Crystals / Soviet music, No 4, 88.
  • Smirnov, D. (2001). Postludiya dedicated to Alfred Schnittke’s Commemoration // Musical Academy, No 2, 21.
  • Valkova, V. (1999). On the Earth, in the Sky Heaven and in the Hell. Musical Wandering in the “Pictures from Exhibition”/ Musical Academy. No2,142.
  • Visotskaya, M., & Grigoryeva, G. (2011). Music of the 20th century: from Avant-garde to Postmodern. Moscow: S.R.C. “Moscow Conservatoire”, 9.
  • Visotskaya, M. (2012). Between Logics and Paradox: the composer Faradj Karayev. Moscow, 36.
  • Volnyanskiy, K. (2011). The Sound – is Complicated Phenomena / Musical Academy, No 3, 66.
  • Web Sites web 1. https:// www.karayev.net/t_lecti- on_instrumtheater_r. html

Intertextual questions analysis in composer’s creative activity, sound symbols in contemporary musical thinking

Year 2023, Volume: 11 Issue: 2, 309 - 325, 30.06.2023
https://doi.org/10.12975/rastmd.20231128

Abstract

The represented research - “İntertextual questions analysis in composer’s creative activity, sound symbols in contemporary musical thinking” - is devoted one of the leading and original peculiarities contemporary music first summarized research. The research gives author’s style systematic observing offering, its universal phenomenas, language conformities and composer’s technique principals. Composers musical creations represented in contemporary music culture wide context for the first time are examined in composer’s thinking leading categories aspect in the article. On represented theme study, big attention is allocated to musical analysis new methods and also new theory study, directed towards composer’s creations artistic content and mode contemporary comprehension, intertextual questions analysis in composer’s creative activity, sound symbols in contemporary musical thinking. Examples of multi-layered “open texts” in the Azerbaijani musical experience have been in focus in the works of Azerbaijani composers Uzeyir Hajibeyli and Khayyam Mirzazadeh. These examples are interesting in terms of intertextual principles and various experiments that lead to different compositional structures. In the article, cryptogram problems created on behalf of composers such as J. S Bach, Robert Schumann, Dmitriy Shostakovich, Alban Berg, Edison Denisov, Khayyam Mirzazadeh were examined. Quotations, anagrams, paraphrases used in composers’ music has been investigated. This article was devoted to the sound (audio) symbol in modern musical thinking. Conception of code, widely used in semiotics, in linguistics, culturology, genetics, mathematics haven’t found yet its place in terminological system of science of music. The author of the article reveals individual musical conceptions on the base of interesting samples, directing attention to different experiments, which opens way to the intertext concepts.

Project Number

96636159

References

  • Abezgauz, I. (1967). The Formation of the Artist / Soviet music, 1967, No 3,10.
  • Amrahova, A. (2004). Cognitive aspects of contemporary music interpretation: in Azerbaijani composer creative activity examples. Baku: Elm, 2004, 33.
  • Asafyev, B. (1981). About 20th century music. M: Music.
  • Bahtin, M. K. (1979). Humaneterian sciencies methodology\Word’s creative activity esthetics. Moscow. An Art, 367.
  • Belimov, C., & Rayskin, I. (2001). We are united by sound. Musical academy, No 3,.3
  • Cenova, V. (2000). Numeral’s secrets in Sofia Gubaydulina Music: monograph research, Moscow: Moscow State Conservatoire named after P.I. Chaykovskiy,165.
  • Gurary, S. (2008). Chrarmed pilgrim. the dialogue with Rodion Shedrin. Musical academy. No 3, 36.
  • Dammann, R. (1967). Der music begriff im deutschen Barock. Köln,14.
  • Denisov, E. (1997). The real music is always spiritual. Musical academy, No2, 40.
  • Nagibin, Y. (1987). Dialogue - Meeting with the Composer Edison Denisov / Soviet music, No4,13.
  • Gabay, Y. (1986). Monologue is Continued . Soviet Music, 1986, No 10, 29.
  • Grigoryeva, G. (2010). King Fredric the II Theme and its Interpretation Stylistic Variants Bach-Webern – Gubaydulina- Denisov// Musical Academy, No 2,113.
  • Gritsanov, A. (2001). Postmodern. Encyclopedia. Moscow: Interservice “Book House”, 86.
  • Gubaydulina S. (1988). And this is happiness. Soviet music, No 6,22.
  • Holopov, Y. (2000). Changed and constant in the evolution of the music in the evolution of the musical thought. the problems of traditions and innovations in contemporary music. Moscow.
  • Holopov, Y., & Cenova, V. (1993). Edison Denisov. Moscow: Composer,154.
  • Katz, B. (1995). About Brahms Last Symphony Theme Intertexuality. the Choice and the Combination. An Opened Form: The Collection of Articles Dedicated to 75 th yearsofYG.Kon.Petrozavodsk;SP-/Saint –Petersburg/,105.
  • Kristeva, Y., & Bahtin, M. (2000). The Word, Dialogues and the Roman / French Semiotics: from Structuralism to Post structuralism. Moscow, 429.
  • Losev, A. (1990). Counting, Figures Logic Theory. Music as the Subject of Logics. / Losev A. From Early Creations. Moscow: newspaper “Pravda”.
  • Losev, A. (1990). Philosophy of the Name. Moscow: Moscow University Publishers, 77.
  • Lobanova, M. (1985). Schutz Motet Creativity and Some Ideas of German Musical Baroque / Henrich Schutz: The Collection of Articles: collection editor T. Dubravskaya. Moscow; Music, 52.
  • Nazaykinskiy, Y. (2015). The Poetry of Musical miniature / The Science out of the Borders: the collection of articles dedicated to the 15th anniversary of “Musical World”. Moscow: Composer, 42.
  • Petruseva, N. (2002). Pierre Boulez. Musical Composition Esthetics and Technics. The Research. Moscow; Perm: Real,75.
  • Smirnov, D. (1990). Geometry of Sound Crystals / Soviet music, No 4, 88.
  • Smirnov, D. (2001). Postludiya dedicated to Alfred Schnittke’s Commemoration // Musical Academy, No 2, 21.
  • Valkova, V. (1999). On the Earth, in the Sky Heaven and in the Hell. Musical Wandering in the “Pictures from Exhibition”/ Musical Academy. No2,142.
  • Visotskaya, M., & Grigoryeva, G. (2011). Music of the 20th century: from Avant-garde to Postmodern. Moscow: S.R.C. “Moscow Conservatoire”, 9.
  • Visotskaya, M. (2012). Between Logics and Paradox: the composer Faradj Karayev. Moscow, 36.
  • Volnyanskiy, K. (2011). The Sound – is Complicated Phenomena / Musical Academy, No 3, 66.
  • Web Sites web 1. https:// www.karayev.net/t_lecti- on_instrumtheater_r. html
There are 30 citations in total.

Details

Primary Language English
Subjects Music, Theories of Music, Musicology and Ethnomusicology
Journal Section Original research
Authors

Kemale Aleskerli 0000-0001-8154-1340

Project Number 96636159
Early Pub Date June 27, 2023
Publication Date June 30, 2023
Published in Issue Year 2023 Volume: 11 Issue: 2

Cite

APA Aleskerli, K. (2023). Intertextual questions analysis in composer’s creative activity, sound symbols in contemporary musical thinking. Rast Musicology Journal, 11(2), 309-325. https://doi.org/10.12975/rastmd.20231128

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