[RUS][ENG]

Series 15

ARTS.

Issue 1, 2014

CONTENTS

Section MUSIC SCHOLARSHIP
Codes UDC 78.03 Page 30-54
Title TOWARDS A “NEW UNITY”: INTERTEXTUALITY — POST-AVANT-GARDE — POST-MODERNISM IN MUSIC IN THE SECOND HALF OF THE 20 CENTURY AND THE BEGINNING OF THE 21 CENTURY
Author 1 Tchinaev Vladimir P. Moscow Tchaikovsky Conservatory,
Moscow, 125009, Russian Federation
Doctor of Arts, Professor
e-mail: tchinaev@mail.ru
Summary This article aims at analyzing the stylistic aspects of postmodernism in music. Sharing features with post-avant-garde (the rejection of strictly structured composition techniques, a shift towards popular culture, the author’s “anonymity”), the new aesthetic of music is based on intertextuality. Postmodern compositions are defined by their poetics of stylistic variety, freely assimilating historical styles and playing with various genres and discourses. We will try to bring out the ways in which intertextuality is used by diverse composers, and will present the huge variety of compositional means and forms it takes on in individual creations — from direct quotes and collages (“Sinfonia” by L. Berio, “Hymnen” by K. Stockhausen), sophisticated systems of allusions and reminiscences (A. Schnittke’s Third Symphony), minimalistic periphrases and the provocative context of “well-known” music (A. Rabinovitch, A. Knaifel) to the paradoxical interpretation of “foreign” material as though it were the author’s one (Silvestrov). The idea of seeking for and establishing a “new unity” (Silvestrov) opens onto potential perspectives for the development of musical creation.
Keywords post-avant-garde in music, postmodernism in music, intertextuality in music, Silvestrov, Knaifel, Stockhausen.