CONCEPT “MUSIC” IN A EARLY A. KARAMANOV’S COMPOSITION (“MUSIC № 2” FOR PIANO)

Abstract

The purpose of work. The article is devoted to the study of stylistic laws in the work of A. Karamanov 1960s. The modernist period is based on an original compositional technique, in which elements of a musical language of traditional origin are synthesized with non-serial dodecaphony and techniques of second and rhythmic modifications. The methodology of the work is based on the provisions of the system analysis in the study of language means and the principle of historicity in assessing the evolution of the composer’s stylistics. The scientific novelty consists in analyzing a work that has not yet found its illumination in literature, but is a significant artistic phenomenon in domestic music. It is emphasized that the name of a musical work forms a final chain of meanings, each link of which serves as a guide and organizes the artistic space. The direction of composer technique, which must be followed to find the clue to the phenomenon of Karamanov avant-garde, is investigated. Conclusions. In one of the most significant works of Karamanov of the early period, despite the uniqueness of the language and conceptual system applied by the author,saved all properties of the European opus – structuredness and, as a result, completeness, exhaustion of form, the scale of the plan, the sharp drama in the creation of such an ambiguous and incomprehensible concept as music. The name “Music” suggests the author’s will, aimed at emphasizing the “rejection” of the idea of the work from the accepted semantic coordinate system. “Music” is located outside the genre, style, purpose, method of presentation, model of listening perception, etc. But unlike the traditions of attracting intricate names-concepts of avant-garde composers, Karamanov leaves the name associated with the essential nature of the art of composing sounds.