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SONORICA IN THE WORKS OF RUSTAM Lutfullayeva Sh.I.
Lutfullaeva Shokhistakhon Ilyasovna - Senior Lecturer, DEPARTMENT OF MUSIC THEORY, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: this article provides information about properties sonorics in the work of the composer Rustam Abdullayev, shows the coloristic prinsiples of specific methods of voice leading. It is also mentioned how some aspects of sonorics are reflected in his work. Alteration of sounds and their transformation into polyfunktionality are shown to influense the ratio of consonance and dissonanse.
Keywords: sonorics, harmony, polyharmony, bifunctionality, coloristics, vertical, polyfunctionality, alteration, cluster.
СОНОРИКА В ТВОРЧЕСТВЕ РУСТАМА АБДУЛЛАЕВА Лутфуллаева Ш.И.
Лутфуллаева Шохистахон Ильясовна - старший преподаватель, кафедра теории музыки, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: в статье приведены сведения о свойствах сонорики в произведениях Рустама Абдуллаева. Так же упоминается, каким образом некоторые аспекты сонорики нашли свое отражение в его произведениях. Раскрыто влияние альтерации звуков и их преобразование в полифункциональность, на соотношение консонанса и диссонанса.
Ключевые слова: сонорика, гармония, полигармония, бифункциональность, колористика, вертикаль, полифункциональность, альтерация, кластер.
UDK 7.78
As early as the first stages of the formation of the National School of composition of Uzbekistan, the most complex task was set for its creative figures as looking for harmonic means that "are monodic (one-voice) in their structure, maximally corresponding to the lad and song nature of Uzbek folk music." [1].
The general path of Uzbek composers can be described as the enrichment and improvement of harmonic methods in the expression of active creative research, deepening, the basis of the melody inextricably linked with the lad-tone bases of the specific Uzbek Monody.
An attempt to create a harmonium derived from the horizontal led to some general methods in vertical structure, sound direction methods, tracking matching chord sequences.
The principle of fading the tertiary structure of chords is widely used in the composition of melodies. It manifests itself in different ways - in the abundance of quarta-quintal complexes, when using harmonies without a third tone, when using some important techniques. Notorious harmonies are not unusual 20th century innovations. Such harmonies were found in classical music as well, but only with a delayed sound, i.e., a tonal harmonies without chords. And in modern music, they show independent derivatives.
Basing many themes on the invariable repetition of one or another harmonic complex, R.Abdullaev extinguishes its tertiary structure in several ways. One of them is due to the large number of alterations, the additional number of seconds within the vertical leads to sonorics. If one second occurs in the rotation of diatonic seventh chords within the vertical, then their number may increase in altered seventh chords [2].
The composer pays particular attention to chord placement and rotation. As a result, many harmonies, which are tertiary in origin, undergo significant changes and acquire a new sonorous color.
Among the various methods capable of updating the vertical structure of the chord, R.Abdullaev, like other composers of Uzbekistan, uses such things as the hanging of individual steps, the proportion of altered and natural tones, the integration of seconds and quarters into the harmony of the tertiary structure. All this gives them a specific sonorous sharp color, or, on the contrary, soft beauty based on the general expressive section.
One of the composer's favorite techniques is the tussling of the tersional tone on different function chords. Genetically, this method is associated with the early stages of the formation of national singing harmony in Uzbekistan. Quoting the ancient Uzbek tone, the composers noticed that for its lad basis, the freestanding toning of the skin is characteristic. Accordingly, they tried to mask Tersia even in harmonic proportions. Although later both the base tersion began to use quoting tone melodies and creating author's thematic, but fading the tersion structure of the tonic melody in different ways began to be widely used, and then it strengthened sonorics as a coloristic tool, inextricably linked with a certain melodic lad.
R.For Abdullaev's themes, various structures of Tonic chords are characteristic, including:
1. Tonic treble, sextacord with impregnated sextacord (whole tonic). This is found in the harmonic juxtaposition of the Zulfian monologue in the prologue of the Opera "devotion" (in the deviation to mi-bemol minor it appears in this tonal cycle), as well as in the FA-diez Aeolian Lade in the first appearance of the opera, at the beginning of the choir. The appearance of the sextale tonic in the opening section, in the harmonic juxtaposition of the Ghafur Ghulam Aria in the IV curtain of the same opera, and after the "empty" tonic quintet, repeated many times, draws attention.
2. Tanika septakkord with impregnated Sexta. It is usually arranged in such a way that it has small second tones on its inner vertical.
3. In place of the suspended terrace and Quinta, the quarter tonika septakkordi.
We give an example from the Central number of the series " cry of Hirosima:
fi I. r- * —---
;_: » - L 11 i
R.A certain group of tonalities in Abdullaev's works form different bifunctional proportions. The frequent use of a tonic organ point in each new tonal circuit causes the attitude of its multifunctional method with harmonic voices to remain lawful. For example, in the 10th beat of the piano concerto main theme, quoted in the first section, a raised septimal dominanta nonaccord occurs that overlaps the tonic organ point. Nevertheless, the presence of an organ point does not mean that zinhor creates conditions for the emergence in the developing sections of musical themes and forms of multifunctional complexes. They are formed at sufficient freedom.
Independent bifunctional proportions occur regularly. They are built both on the basis of the vertical overlap of the diatonic tonalities of various functions, and on the basis of the interplay of major-minor tonalities with a diatonic basis.
Sometimes, in the unity of methods of harmonic and melodic figurations, polygarmonias occur. For example, "dance of the guys" is given in a fast, temperamental, beautiful orchestral invoice (the fourth number of the oratorio-Ballet performs the function of two figurative layers of the invoice of an expressive, bright melody, Goh merges into a single harmonic integrity, goh forms elements of polygarmony):
The emphasis on the serjilo, coloristic side of harmony is often observed in the mutual free proportionality of Monody and chord structures. This or that theme begins with a one-voice appearance, and when the musical phrase is completed, a cadential tone is repeated in the coda, which in many cases also leads to beautiful proportions (for example, a sextali D9 with an additional introduction in the preface to the "Spring" Series).
Thus, R.For the creative work of Abdullaev, the growing role of the basis of serzhilo is characteristic. The reason is that the same harmonic means that the author attracted in his works are mainly of a background character. The intensification of Phonism, which is considered a facet of sonorics, leads to the fact that the structure of the chords changes and more attention is paid to the category of non-denominational tonalities, unusual chord sequences, as
well as proportions. Organ points, as well as the elongated ostinato being itself, are important in the formation of sonoric coloritic slang.
References / Список литературы
1. Zakrzhevskaya S.A. Ladotonal plans of simple forms (based on the analysis of the works of composers of Uzbekistan) // Theoretical problems of Uzbek music. T.: 1968.
2. Karklinsh L.A. Myaskovsky's harmony. M.: 1971.
3. Zakrzhevskaya S.A. Some features of harmony in the works of young composers of Uzbekistan // Uzbek music at the present stage. T.: 1979.
4. Лутфуллаева Ш.И. Некоторые вопросы фонизма в гармонии композиторов Узбекистана // Журнал Проблемы современной науки и образования. 2021. № 11 (168). С. 116-119.
5. Lutfullayeva Sh.I. Some aspects of the harmonic vertical in the works of composer Ikrom Akbarov // Журнал Проблемы современной науки и образования. 2022. № 3 (172). С. 106-112.
