Natural Music of Ivan G. Sokolov: Sonata for Cello and Piano
The article is devoted to the study and understanding of a set of ideas typical for works of Ivan G. Sokolov (1960) at the turn of the centuries. After an experimental conceptual period in the late 1980s and mid- 1990s – the composer tends to natural music, as he calls it. The study of the Sonata for Cello and Piano (2002) shows his natural music based on the traditions, as it can be noticed in melodic curves and movements order (Ⅰ-Ⅳ), appealing to the familiar styles of previous days. The selected musical elements represent a set of topoi, which are common for musical art of the 19th and the first half of the 20th centuries. The basis of such composition can be seen in the scientific attitude, which means the research the movement of thoughts (Sokolov) of other composers, particularly, of Shostakovich, Prokofiev, Rachmaninoff. As a result, the simplicity of musical language presents a consequence of naturalness, which is understood as something habitual and recognizable. The dialogue with beloved precursors (Boris Pasternak) moves the composers individuality to the periphery, where appears in the simultaneous existence of intertextual layers, classical forms, minimalistic interpretation of time and space, weakened energetic intensity. The conceptual element moves to another level within the bound of natural power of musicmaking (Sokolov).
musical art of the late 20th-early 21st centuries Ivan Sokolov simplicity natural music conceptuality polystylistics intertextuality dialogue authors individuality
Natalia Ruchkina
Department of Music Theory The State Institute of Arts Studies Moscow,Russia
国际会议
厦门
英文
430-434
2016-12-02（万方平台首次上网日期，不代表论文的发表时间）