THE PROBLEM OF ACOUSTIC EVENTS TYPOLOGY IN MODERN ELECTRONIC MUSIC (ON EXAMPLE OF O. NESTEROV’S “COLOURED FLUOGRAPHY”)

Abstract

Research objective. The aim of the work is to investigate the typology of acoustic events on the example of Olexandr Nestеrov’s composition “Coloured Fluography”, using the methods of spectral analysis. To achieve this goal, the following tasks are set – to analyze the concept of “acoustic event”, to identify different types of acoustic events in the given work and to outline their role in its dramaturgy. The methodology of the research is based on the computer spectral analysis of a composition. The results of the spectral analysis were subjected to system-analytical and comparative research methods. Scientific novelty. The article reveals the relationship between the terms “acoustic event” (G. Kohut) and “sound object” (P. Schaeffer) and for the first time explores the work of composer Olexandr Nesterov. Conclusions. The “sound object” concept introduced by P. Schaefer essentially coincides with the “acoustic event” concept proposed by G. Kohut. Considering an acoustic event (sound object) as a fundamental element of a musical texture allows preparing a detailed analysis of electronic music works as a set of acoustic events joined into a holistic system. The analysis of O. Nestеrov’s “Coloured Fluography” reveals three types of acoustic events – harmonic tones (predominant), imitations of percussion sounds (creating jazz genre-stylistic allusions) and concentrated high-frequency acoustic events with an unperceivable by human’s ear interval component. The nature of the interaction of these acoustic events allows studying the form of the work in general. It is a contrast-component form consisting of 8 parts with the features of a 4-part sonata-symphonic cycle form. However, the acoustic events typology in “Coloured Fluography” is somewhat different from the typology found by G. Kohut in “Pression” by H. Lachenman, and also differs from the previously discovered typology in “Motus” by A. Zagaykevich. Thus, we conclude that different musical works are characterized by different typologies of acoustic events, while the creation of a single, universal typology will require the further accumulation of analytical material.