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PHILHARMONICA. International Music Journal
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On the “idiostyle” of Aleksey Larin in the mirror of tactics of choral composition (on the example of works of the 2000’s)

Sokolnikova Elena Yurevna

External doctorate student, the department of Musicology and Music Theory, Gnessin Russian Academy of Music

121069, Russia, Moscow, Povarskaya Street 30-36

sokoleu@yandex.ru

DOI:

10.7256/2453-613X.2015.4.17251

Review date:

10-12-2015


Publish date:

06-01-2016


Abstract.

This article explores the peculiarities of the musical language of a composer that distinguish the music of modern artists and stylistic differences of modern choral works from the works that preceded them. Examining the questions of musical composition, we go into more detail on the “plane of content” and “plane of expression”, discovering the specificity of implementation of musical-expressive means. At the center of the examined musical material are the choral oeuvres that are based on the material of Russian folk songs. At the same time, it is important to determine the individual stylistic traits of the works created for the original texts, from other choral works of the 2000’s. The “idiostyle” of Larin’s choral music manifests itself in the genre variety of folklore sources. In this article, the author attempts to classify the genres of the used songs by the initiation aspect, attributes of rustic or urban environment, ethno-musical orientation of the theme and musical solutions. The important role for the timbre and texture sides is manifested in both the constructive role of the methods of musical syntax (more precisely, allocation of the melody between choral voices), as well as the various means of multi-plane texture, revealed in layering.

Keywords: individual author's style, "Plan the content", "Expression of the plan", musical composition, genre, the source, folklore, texture, timbre, sonority
This article written in Russian. You can find full text of article in Russian here .

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