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Individual harmonic design of a musical oeuvre

Zakharov Yurii

Doctor of Art History

Professor, the department of History and Theory of Music, Victor Popov Academy of Choral Art

125565, Russia, g. Moscow, ul. Festival'naya, 2

n-station@rambler.ru
Другие публикации этого автора
 

 

DOI:

10.7256/2453-613X.2015.2.16969

Review date:

12-11-2015


Publish date:

1-6-2015


Abstract.

In this article, based on the analysis of musical oeuvre, the author attempts to determine the concept of its harmonic structure and formulate the leading idea that gave rise to this concept. The first part is dedicated to the elucidation of the phenomenological status of the notion “composer’s design”. Referring to the philosophical works of Aleksei Losev, the author defines the correlation between the notions “idea”, “eidos”, “realistic-material image of the final product”, and compares this triad with the correlation of initial idea (in composer’s mind), concept, and finished oeuvre. The object of research in the second part of the article is the Mozart’s chorus “Abendruhe”, Schumann’s chorus “Gute Nacht”, and piano play of Nikolai Myaskovsky from the cycle “Yellowed Pages” (Op. 31, No. 1). Having built the models of harmonic structures, the author formulates the leading ideas behind them, after which he makes the conclusions on the level of adequacy of the acquired formulations with the harmonic design. The novelty of this research consists in the elucidation of the content of the notion “composer’s design”, in comparison of the design with the analytical model, and in substantiation of the possibility of transition from the structure of the work towards the idea within it.

Keywords: composer plan, idea and eidos, A.F. Losev, G. Schenker, linearity, harmonic analysis, reduction method, model, structure and meaning, functional theory, quint index
This article written in Russian. You can find full text of article in Russian here .

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