CC BY
10
RTICLE
No. 1. 2023
UDC 78.01
Violetta Yunussova1
1 Tchaikovsky Moscow State Conservatory (Moscow, Russia)
Contemporary Composer
and the World Music: Interaction Issues
Abstract
Author has read and approved the final version of the manuscript and declare that there is no conflict of interests.
The article discusses the interaction problem of the modern composer with the world's musical cultures, including its specifics in the East and West. The similarities and differences in the creative synthesis of elements from different cultures served as an impetus for comprehending the attitude of composers to "not their" material, whether it be a quotation, an electronic processing of an ethnographic record, or an artistic embodiment of philosophical ideas. The works of Olivier Messiaen, Karlheinz Stockhausen, John Cage, Tan Dun, Bakir Bayakhunov, and Halim El-Dabh are given as examples. From the perspective of musical culturology and musical oriental studies, the creative concepts of works that include one or another form of rethinking the borrowed material are analyzed. The typology of this phenomenon in Asian countries is given, and two types of interaction are defined: with cultures of the region, close by tradition, and with the cultures of the world, far from the initial. In Asian music, East-East and East-World interaction vectors are distinguished, which complement the existing East-West vector and determine the modern situation originality. In the process of the emergence and formation of these vectors, factors such as the development of communication means and sound recording technologies, as well as the tendency of Asian music to enter the world's cultural space and the composer's need for wider communication, were noted.
Keywords: modern music of Asia, East-East, East-World, modern trends, interaction of cultures, music of the world.
Cite: Yunussova, V. Contemporary Composer and the World Music: Interaction Issues // Saryn. - 2023. - Vol. 11. - No. 1. - PP. 52-59. DOI: 10.59850/SARYN.1.11.2023.10.
Received: 20.12.2022
Revised: 16.01.2023
Accepted: 23.01.2023
The creative work of a modern composer takes place in the environment and interaction with many cultures of the world; the music of different eras and peoples inevitably enters their arsenal in a passive or active form. The East-West vector exhausts no longer the composer's interaction with other cultures. It is multi-vectored and often aimed at entering the context of world musical culture. The latter is relevant for the music of Asian and African countries, the composer schools of which formed at the end of the 19th century. To date, significant experience has been accumulated in the interaction of composers with the musical cultures of the world, both in the West and in the East.
In my opinion, the transition from Orientalism to World Music in Western music occurs in the works of Olivier Messiaen: the timbre originality of the Indonesian gamelan, the rhythms and interpretation of the time in the "Sangita Ratnakara" Indian treatise (SangTta ratnakara, 13th century) by Sharngadeva, the tart flavour of Japanese poetry, and the gagaku orchestra ("Seven Haikai", 1962) are not only "a manifestation of extra-European influences in the composer's work" [Melik-Pashaeva, p. 15], they were all rethought and (along with many other components) organically entered his musical language, largely defining its originality.
Without setting ourselves the task of studying the historical line of transition from Orientalism to World Music, we nevertheless note the composers of the second and third waves of the European avant-garde, and above all, Karlheinz Stockhausen. In his Telemusic (1966), as Konstantin Zenkin noted, "traditional music of all continents is used as a material for electronic processing" [Zenkin, p. 262]. In his "World Music" (1978) article, the composer emphasizes the need for "general human susceptibility to music - more than ever" [Zenkin, p. 263]. Svetlana Savenko notes that in this work, Stockhausen "tried to write not 'his own' music but 'the music of the whole earth, all countries and races." [Savenko, p. 20].
John Cage also made a significant contribution to the development in this direction. Marina Pereverzeva offers a certain hierarchy of his artistic principles, highlighting three levels: the lower religious and philosophical level is Zen Buddhism; the middle one is "the aesthetic principles of the art of the East"; and the top one is represented by ideas of "American-European avant-garde" [Pereverzeva, p. 6]. And here, as in the case of Messiaen, to designate the East-West pair in his work would be a significant simplification of his communication with World Music.
The examples given are not accidental, because, for Asian composers of the last 60 years, these names serve as guidelines, both in terms of specific composition techniques and in terms of interaction with world musical culture. Debuts of Korean and Japanese composers in Darmstadt in the 1960s, the festivals of contemporary music in Japan in the 1970s and 1980s, where the most significant representatives of the avantgarde gathered, lectures by leading Western composers at Chinese conservatories, training of composers from Asian countries in Europe and the USA, their familiarization with electronic music - all these factors contributed to the change in the style-based orientation of Asian music towards modern trends and tools. At the same time, a new interest in their heritage, archaic layers of culture, philosophical and religious concepts,
and the renewal of national music with a symbiosis of the latest techniques and archaic traditions is noticeable.
The transition to the East-East and East-World vectors in the music of Asia occurred later since it followed Western music assimilation and the creation of national composer schools. The search for new national music is associated with the deviation from the Classicist-Romanticist tradition, which became the basis for the formation of composer schools at the first stage of their development and is characteristic of almost all Asian cultures. This process takes place within the framework of globalization and the world trend of formation of "new creative thinking of composers of the 20th century... a significant expansion of the acoustic and spatial music boundaries through technology and creativity synthesis" [Kuzub, p. 3].
New methods of the composer's work with the national heritage are emerging, including video quoting of a pre-recorded performance of traditional musicians; introducing not only academic singers but also artists of the national musical drama into the performing staff; joint performances of a symphony orchestra and an ethnographic ensemble; the introduction to the symphony orchestra of not only national musical instruments (more often modified) but also sound instruments and the so-called organic instruments (water, stone, ceramics, paper); a combination of acoustic instruments with electronic and computer music means, etc.
In many cases a composer tries to recreate the national sound ideal (Fritz von Bose), which was largely changed under the conditions of the classical-romantic style. Sometimes this ideal implies its specific kind in a certain era, but more often it implies a certain general sound standard formed in certain regional and geographical conditions under the influence of the natural environment and such factors as the material for musical instruments, the way of life, the linguistic environment, and others. Scholars have written about this more than once; let's refer, for example, to the works of Jivani Mikhaylov [Mikhaylov, p. 3-20] and Saule Utegaliyeva [Utegaliyeva].
However, Asian composers have not only turned to their culture and its sound ideals but also interacted with other traditions along the East-East and East-World lines by attracting to phenomena far from their culture and not characteristic of its sound ideals. We can conditionally divide such interactions into two types: appealing to cultures that are culturally, traditionally, and regionally close, and appealing to distant cultures not connected with the local tradition.
More often composers turn to traditionally close regional cultures. An example may be found in the works of the world-famous Chinese composer Tan Dun (b. in 1957), who in his works combines the traditions of Chinese, Japanese, and Korean cultures and refers to singing of Tibetan monks, playing Tibetan singing bowls and Mongolian throat singing (Orchestral Theater IV "The Gates" (1999), the World Symphony to the Millennium (1999), "Water Passion after St. Matthew" (2000), the opera "Tea: a Mirror of Soul" (2002), etc.). At the same time, the composer is focused on the global cultural space; in particular, the texts of almost all of his operas and many chamber works are written in English.
Examples of appealing to traditions that are not related to regional culture are given by the works of the Kazakh composer Bakir Bayakhunov (Third Symphony, 1989), where the traditions of the Kazakh kui and Indian raga are combined [Nedlina, p. 51], his Fifth Symphony "Aura of the East," 2002, and his poem for violin solo, "Xi Xinghai's Violin," 2005, 2013. At the same time, the composer referred to other cultures of the region ("Dungan Sketches," 1981; "Echoes of Mukam," Sonata for string quartet, 2017). Back in Soviet times, the only student of Alfred Schnittke, the Turkmen composer Rejep Allayarov (1936-2018), told me in a personal conversation about the search for a synthesis with Indian classical music - ragsangit.
For this kind of interaction along the East-East line, the researcher Valeriya Nedlina uses the term offered by composer Bakir Bayakhunov, "intra-oriental synthesis," linking it with the development of dialogic concepts in the work of Kazakh composers, their attention to the classical traditions of the East and at the same time to national culture and to the West [Nedlina, p. 7; 49]. This just confirms the multi-vector nature of the development of modern composers' creativity in Asian countries.
There is a special situation with composers from Asia and North Africa whose creative paths flowed in the United States and European countries. They also have these types of interactions, and often both types are present. So, the American-Egyptian composer Halim El-Dab (1921-2017), who often referred to the cultures of Africa, led an active ethnomusicological activity. He also studied African musical traditions in the diasporas of Latin America, Canada, and others, which was reflected in his music ("Stelae of Axum," 2005, which reflects the traditions of Ethiopian music; "Symphony for 1000 Drums," 2006, synthesizing not only Egyptian-African traditions but also instruments from different peoples of the world). In many compositions, he also used the ancient rituals of Egypt and other Arab countries: "The Expression of Zaar", 1944, is the first-ever work in the field of electronic music, created on the Cairo radio and based on the ancient Egyptian ritual [Yunusova, p. 211-216]; the "Leiyla and the Poet" electronic opera, 1959; "Shurrr-Rah" piano concerto, 2000; and many others.
Thus, we can note similar multi-vector trends in the development of modern music in the West and East. They arise in context of development of transport, communication technologies, and sound recording. A certain role is played by the orientation of the younger academic traditions of Asian countries towards entering the global cultural space as well as the composer's increased need for cultural communication with different regions of the world. The declared tendencies are manifested quite clearly and require further special analysis.
References
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Zenkin, K. V. Karlheinz Stockhausen [orig. Russian: Karlheinz Stockhausen] // The History of Foreign Music. 20th Century. / ed. Nataliya Alexandrovna Gavrilova. - Moscow: Muzyka, 2005. - PP. 253-277.
Savenko, S. Karlheinz Stockhausen [Karlheinz Stockhausen] // Otkrytyj tekst : Open-textnn.ru - 19.11.2019. [Electronic resource] URL: https://opentextnn.ru/music/per-sonalii/shtokhauzen-k/s-savenko-karlhajnc-shtokhauzen-67-14-kb/?ysclid = letpx-8s14g352798232 [access date: 14.07.2023].
Pereverzeva, M. V. John Cage: zhizn, tvorchestvo, estetika [orig. Russian: John Cage: Life, Work, Aestetics] : abstract. diss. ... PhD / Marina Viktorovna Pereverzeva. - Moscow, 2005. - 24 p.
Kuzub, T. I. Muzykalnaya kultura XX veka kak fenomen epohi globalizatsi [orig. Russian: 20th-Century Music Culture as a Phenomenon of Globalization] : abstract. diss. . PhD / Tatyana Ivanovna Kuzub. - Ekaterinburg, 2010. - 25 p.
Mikhaylov, J. K. K probleme muzykalnoy-kulturnoy traditsii [orig. Russian: To the Problem of the Music-Cultural Tradition] // Musical Traditions of African Countries : collection of scientific papers / editor T. E. Cytovich. - Moscow: Tchaikovsky Moscow State Conservatory, 1986. - PP. 3-20.
Utegaliyeva, S. I. Zvukovoy mir muzyki tyurkskikh narodov: teoriya, istoriya, praktika (na materiale instrumentalnykh traditsiy Tsentralnoy Azii) [orig. Russian: Sound World of Turkic Peoples: Theory, History, Practice (on Materials of Instrumental Traditions of Central Asia). - Moscow: Compositor, 2013. - 525 p.
Nedlina, V. E. Puti razvitiya muzykalnoy kultury Kazakhstana na rubezhe 20-21go vekov [orig. Russian: The Ways of Development of the Kazakhstan's Music Culture at the Turn of 20th-21st Centuries] : diss. ... PhD / Valeriya Efimovna Nedlina. - Moscow: Tchaikovsky Moscow State Conservatory, 2017. - 344 p.
Yunussova, V. N. Vostochnyye pionery elektronnoy [orig. Russian: The Eastern Pioneers of the Electronic Music] // Traditions and Perspectives of the Art as the Phenomenon of Culture : Proceedings of International Scientific Conference of Maimonides Academy of Alexey Kosygin State University (Technologies. Design. Art.) / editor Yankelika Sushko-va-Irina. - Moscow: Maimonides State Classical Academy, 2018. - PP. 211-216.
Виолетта Юнусова
П. И. Чайковский атындагы Мэскеу мемлекеттк консерваториясы (Мэскеу, Ресей)
Заманауи композитор жэне элем музыкасы: езара эрекеттесу мэселелерi
Дцдатпа
Автор колжазбанын coHFbi нускасын окып куптады жэне мудделер
кактыысынын жок екендтн мэллмдейдг
Макалада заманауи композитордыц элемдеп музыкалык мэдениеттер1мен, оныц ¡шлнде, ШыFыс пен Батыс^ы ерекшелктершщ езара эрекеттесу мэселес карастырылады. Эр турл1 мэдениет элементтершщ шь^армашылык, синтезшдеп уксастыктар мен айырмашылыктар, мейл1 ол этнографиялык жазбаны электронды ендеу немесе философиялык идеялардыц керкемдк кершю жэне дэйексез болсын, композиторлардыц «бетен» материалFа карым-катынасын тусшуге серпш бердК Мысал ретшде Оливье Мессианныц, Карлхейнц Стокгаузеннщ, Джон Кейдждщ, Тан Дунныц, Бакир Баяхуновтыц, Халим Эль-Дабтыц жазбалары келлрыген. Музыкалык мэдениеттану жэне музыкалык шы^ыстану турFысынан алынFан материалды кайта карастырудыц кандай да б!р турш камтитын туындылардыц шыFармашылык тужырымдамалары талданады. Бул кубылыстыц типологиясы Азия елдершде бертген, сондай-ак езара эрекеттесудщ ею тур1 аныкталFан: аймактык мэдениеттщ бастапкыда алыс болFанымен, дэстур жэне элем мэдениеттер1 бойынша жакындыFы. Азия музыкасында калыптаскан ШыFыс-Батыс векторын толыктыратын жэне заманауи жаFдайдыц езшдк ерекшелИн аныктайтын ШыFыс-ШыFыс жэне ШыFыс - элем эрекеттесу векторлары ерекшеленедК Осы векторлардыц пайда болуы мен калыптасу удер1сшде келк куралдарын дамыту, байланысты, дыбысты беютудщ техникалык куралдарын, сондай-ак Азия музыкасыныц элемдк мэдени кец1спкке ену урд1а жэне композитордыц кец1рек карым-катынас кажеттЫп сиякты факторлардыц рел1 атап елледК
TipeK свздер: Азияныц заманауи музыкасы, ШыFыс-ШыFыс, ШыFыс-элем, заманауи урд1с, мэдениеттердщ езара эрекеттесу^ элем музыкасы.
Дэйексвз ym'ih: Юнусова, В. Н. Заманауи композитор жэне элем музыкасы: езара эрекеттесу мэселелер1 // Saryn. - 2023. - Т. 11. - № 1. - 52-59 б. DOI: 10.59850/SARYN.1.11.2023.10.
Макала редакцияFа тусп: 20.12.2022
Рецензиядан кейш макулдан^ан: 16.01.2023
ЖариялауFа
кабылданды: 23.01.2023
Виолетта Юнусовa
Московская государственная консерватория имени П. И. Чайковского (Москва, Россия)
Современный композитор и музыка мира: вопросы взаимодействия
Аннотация
Автор прочитал и одобрил окончательный вариант рукописи и заявляет об отсутствии конфликта интересов.
В статье рассматривается проблема взаимодействия современного композитора с музыкальными культурами мира, в том числе её специфика на Востоке и Западе. Сходства и различия в творческом синтезе элементов разных культур послужили импульсом к осмыслению отношения композиторов к «чужому» материалу, будь то цитата, электронная обработка этнографической записи или художественное воплощение философских идей. В качестве примеров приведены сочинения Оливье Мессиана, Карлхайнца Штокхаузена, Джона Кейджа, Тань Дуня, Бакира Баяхунова, Халима Эль-Даба. С точки зрения музыкальной культурологии и музыкального востоковедения проанализированы творческие концепции произведений, включающих ту или иную форму переосмысления заимствованного материала. Даётся типология этого явления в странах Азии, определены два типа взаимодействия: с культурами региона, как близкими по традиции, и с культурами мира, далёкими от исходной. В музыке Азии выделяются векторы взаимодействия Восток - Восток и Восток - мир, которые дополняют сложившийся вектор Восток - Запад и определяют своеобразие современной ситуации. В процессе возникновения и становления данных векторов отмечена роль таких факторов, как развитие средств транспорта, связи, технических средств фиксации звука, а также тенденция вхождения музыки Азии в мировое культурное пространство и потребность композитора в более широком общении.
Ключевые слова: современная музыка Азии, Восток - Восток, Восток - мир, современные тенденции, взаимодействие культур, музыка мира.
Для цитирования: Юнусова, В. Н. Современный композитор и музыка мира: вопросы взаимодействия // Saryn. - 2023. - Т. 11. - № 1. - С. 52-59. -DOI: 10.59850/SARYN.1.11.2023.10.
Статья поступила в редакцию: 20.12.2022
Одобрена после рецензирования: 16.01.2023
Принята
к публикации: 23.01.2023
Автор Виолетта Николаевна Юнусова -туралы енертану докторы, П. И. Чайковский aTb^afbi Мэскеу мэлiмет: мемлекеттк консерваториясыньщ шетелдк музыка тарихы кафедрасыныц профессоры (Мэскеу, Ресей) ORCID ID: 0000-0001-5526-6867 email: violetta_yunusov@mail.ru
Сведения об Виолетта Николаевна Юнусова -
авторе: доктор искусствоведения, профессор кафедры истории зарубежной музыки Московской государственной консерватории имени П. И. Чайковского (Москва, Россия) ORCID ID: 0000-0001-5526-6867 email: violetta_yunusov@mail.ru
Author's bio:
Violetta N. Yunussova -
Doctor of Sciences in Study of Art, Professor, Foreign Music
History Department, Tchaikovsky Moscow State Conservatory
(Moscow, Russia)
ORCID ID: 0000-0001-5526-6867
email: violetta_yunusov@mail.ru
