Timbral Experiments by Igor Pinkhasov and His Electronic Music Текст научной статьи по специальности «Искусствоведение»

UDC 789.983

DOI 10.59850/SARYN.1.12.2024.72

Shoyista Sh. Ganikhanova

Doctor of Sciences in Study of Art (DSc), Professor, Music History and Critics Department,

State Conservatory of Uzbekistan, Deputy Editor-in-Chief of Musiqa Scientific

and Methodological Journal (Tashkent, Uzbekistan)

Email: shganikh@gmail.com

ORCID ID: 0000-0003-3197-0774

Cite: Ganikhanova, Shoyista. "Timbral Experiments by Igor Pinkhasov and His Electronic Music." Saryn, vol. 12, no. 1, 2024, pp. 17-30. DOI: 10.59850/SARYN.1.12.2024.72. (In English)

The author's final version of the manuscript has no conflict of interests.

Received: 20.12.2023 Revised: 15.02.2024 Accepted: 29.02.2024

Article

Timbral Experiments by Igor Pinkhasov and His Electronic Music

© 2024 The Author(s). Published by Kurmangazy Kazakh National Conservatory. This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives License (http://creativecommons.org/licenses/by-nc-nd/4-0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way.

Keywords: electroacoustic music, Igor Pinkhasov, electronic music, sound space, chronometric chart, timbre, timbres multifunctionality, intra-musical content, timbre analysis, compositional principles in music.

Abstract. Electroacoustic music has emerged as a significant realm of exploration for contemporary composers. Among them is the renowned Uzbekistani composer Igor Pinkhasov, who delves into this field alongside academic composition and film soundtracks. This article presents a study of the specific nuances of Pinkhasov's compositional approach, focusing on his album Time Helix, released in 2015 under the Emu Bands label.

The methodology for analyzing electroacoustic music varies depending on the composer's chosen sound material. Generally, such analysis is conducted by ear and often involves the creation of a chronometric chart. Given our particular interest in timbral aspects, timbres were of primary consideration in our analysis. Diverse compositions from Pinkhasov's album, including Light of Sirius, The Power of Machines, Echoes of Samarkand, and Memories, were analyzed. In each piece, timbre emerges as a crucial factor in shaping the musical narrative.

Pinkhasov's timbral dramaturgy draws upon multiple elements, including narrative, multiculturalism, spatiality, and structure. This underscores the multifunctionality of both acoustic and electronic timbres within his compositional framework. Timbral elements not only imbue Pinkhasov's music with specificity and depth but also evoke genre associations, such as jazz, traditional Uzbek music, and a broader Eastern aesthetic. Similar to orchestral instrumentation, timbres in Pinkhasov's electronic compositions establish virtual sonic spaces and define the structural and dramatic contours of his works.

Throughout our study, we experimented with a method for analyzing the timbre of electronic music, tailored to Pinkhasov's compositions. Moving forward, we aim to refine this method, particularly in compiling chronometric tables, to facilitate its broader application in analyzing similar electroacoustic works.

UDC 789.983

DOI 10.59850/SARYN.1.12.2024.72

Шойиста Шарафутдиновна Ганиханова

бнертану докторы, бзбекстан мемлекеттк консерваториясыныц музыка жэне сын кафедрасыныц профессоры, "Musiqa" Fылыми-эдiстeмeлiк журналы бас редакторыныц орынбасары (Ташкент, бзбекстан) Email: shganikh@gmail.com ORCID ID: 0000-0003-3197-0774

Макала

Дэйексвз yw'ih: Ганиханова, Шойиста. «Игорь Пинхасовтыц тембральды эксперименттер| мен электронды музыкасы». Saryn, т. 12, № 1, 2024, 17-30 б. DOI: 10.59850/SARYN.1.12.2024.72. ^ылшынша)

Автор колжазбаныц соцгы нускасын окып куптады жэне мудделер кактыгысыныц жок екенд^ш мэлiмдейдi.

РeдакцияFа тусп: 20.12.2023 Макулданды: 15.02.2024 Кабылданды: 29.02.2024

Игорь Пинхасовтьщ тембральды эксперименттер^ мен электронды музыкасы

TipeK свздер: электроакустикалык, музыка, Игорь Пинхасов, электронды музыка, дыбыс ке^стИ, хронометриялык сызба, тембр, тембрлердщ кеп функционалдыFы, интрамузыкалык баFдарламалау, тембрлiк талдау, музыкадаFы композициялык принциптер.

Дцдатпа. Электроакустикалык музыка кептеген заманауи композиторлар Yinrn тэжiрибенщ непзп салаларыныц бiрiне айналды. бзбекстанныц атакты композиторы Игорь Пинхасов осы жанрларда да, академиялык музыка жанрларында да жумыс iстейдi, сонымен катар фильмдерге саундтрек жазады. Макалада 2015 жылы Emu Bands лейблыныц астында шыккан Time Helix альбомы мысалында оныц композициялык ойлауыныц ерекшелiктерiн зерттеу усыны^ан.

Электроакустикалык музыканы талдау эдiстемесi композитордыц накты дыбыстык материалына байланысты. Бiрак жалпы алFанда, мундай талдау есту кабтет аркылы жузеге асырылады жэне хронометриялык сызбаны куруды камтиды. Макала авторын эсiресе тембрлiк аспектi кызыкты^андыктан, сызбаларда ец алдымен тембрлер ескертдК Зерттеу барысында альбомдаFы эртYрлi композициялар талданды: Light of Sirius, The Power of Machines, Echoes of Samarkand жэне Memories. Осы композициялардыц барлы^ында тембр непзп формалау факторларыныц бiрi болып табылады.

И. Пинхасовтыц шыFармаларындаFы тембрлiк драматургия бiрнеше факторларFа негiзделген: сюжеттiк, кепмэдениеттiлiк, ке^слючк жэне курылым. Бул оныц композициялык ойлау принциптершщ бiрi ретiнде акустикалык жэне электронды тембрлердщ кеп функционалдыFын ашады. Тембр куралдарымен мазмунныц ерекшелiгiне, интрамузыкалык баFдарламалауFа, сондай-ак осымен байланысты жанрлык ассоциацияларFа (джаз, дэстYрлi езбек музыкасы жэне т. б.) кол жетюзтедК Оркестрлiк аспаптау сиякты композитордыц электронды музыкасындаFы тембрлер виртуалды ке^слкл курайды, шы^армалардыц формасы мен iшкi драматургиясын аныктайды.

Зерттеу барысында электронды музыканыц тембрлiк талдау эдiсi апробациядан еттК Оныц колданылуы зерттелетiн материалFа бе^мделген (И. Пинхасовтыц музыкасы). Болашакта хронометриялык кестелердi курастыру технологиясын жетiлдiруге болады, бул эдiстi уксас сипаттаFы электроакустикалык музыканы талдауда колдануFа MYмкiндiк бередК

UDC 789.983

DOI 10.59850/SARYN.1.12.2024.72

Шойиста Шарафутдиновна Ганиханова

Доктор искусствоведения (DSc), профессор кафедры истории музыки и критики Государственной консерватории Узбекистана, заместитель главного редактора научно-методического журнала "Musiqa" (Ташкент, Узбекистан) Email: shganikh@gmail.com ORCID ID: 0000-0003-3197-0774

Для цитирования: Ганиханова, Шойиста. «Тембральные эксперименты композитора Игоря Пинхасова и его электронная музыка». Saryn, т. 12, № 1, 2024, с. 17-30. DOI: 10.59850/SARYN.1.12.2024.72. (На английском)

Автор прочитал и одобрил окончательный вариант рукописи и заявляет об отсутствии конфликта интересов.

Статья

Поступила: 20.12.2023 Одобрена: 15.02.2024 Принята: 29.02.2024

Тембральные эксперименты композитора Игоря Пинхасова и его электронная музыка

Ключевые слова: электроакустическая музыка, Игорь Пинхасов, электронная

музыка, звуковое пространство, хронометрическая схема, тембр, полифункциональность тембров, интрамузыкальная программность, тембровый анализ, композиционные принципы в музыке.

Аннотация. Электроакустическая музыка стала одним из главных полей экспериментов для многих современных композиторов. Известный композитор Узбекистана Игорь Пинхасов работает как в этом жанре, так и в жанрах академической музыки, а также пишет саундтреки к фильмам. В статье представлено исследование специфики его композиционного мышления на примере альбома Time Helix, вышедшего в 2015 году под лейблом Emu Bands.

Методология анализа электроакустической музыки зависит от конкретного звукового материала, используемого композитором. Но в целом такой анализ выполняется на слух и включает создание хронометрической схемы. Поскольку автора статьи особенно интересовал тембровый аспект, в схемах учитывались в первую очередь именно тембры. В ходе исследования проанализированы разноплановые композиции из альбома: Light of Sirius, The Power of Machines, Echoes of Samarkand и Memories. Во всех этих композициях тембр выступает одним из главных факторов формообразования.

Тембровая драматургия в сочинениях И. Пинхасова базируется на нескольких факторах: сюжетности, поликультурности, пространственности и структуре. Отсюда проявляется полифункциональность акустических и электронных тембров как один из принципов его композиционного мышления. Тембровыми средствами достигается конкретность содержания, интрамузыкальная программность, а также связанные с нею жанровые ассоциации (джаз, традиционная узбекская музыка и др.). Подобно оркестровым инструментовкам, тембры в электронной музыке композитора формируют виртуальное пространство, определяют форму композиций и их внутреннюю драматургию.

В ходе исследования апробирован метод тембрового анализа электронной музыки. Его применение адаптировано к исследуемому материалу (музыке И. Пинхасова). В дальнейшем технология составления хронометрических таблиц может быть доработана, что обеспечит возможность использования метода в анализе электроакустической музыки аналогичного плана.

Igor Pinkhasov (b. 1959) is an original composer whose works amalgamate audacious compositional concepts with multicultural allusions. His oeuvre encompasses classical genres such as symphonies, sonatas, and cantatas, alongside experimental compositions that transcend genre boundaries (see Fig. 1). The genre designations of his works, as articulated by the composer himself, are indicative: Symphony-dastan (1984), Poem-meditation for Cello and Piano (1985), and Dramatica, or Music for an Unmade Movie for two violins, viola, cello, and piano (2019).

Pinkhasov's stylistic palette encompasses not only Western academicism but also pop, jazz, and rock. A significant influence on Igor Pinkhasov's style is traditional music, particularly Turkmen and Uzbek. With a keen understanding of the foundational principles of these musical traditions, the composer creatively intertwines temporal and pitch structures from various ethnic genres with contemporary compositional techniques. Among the areas of Pinkhasov's experimentation lies electroacoustic or, in other words, electronic music.

The realm of electronic music production has become familiar terrain for many composers, reshaping various aspects of compositional thinking through digitalization. This article focuses on Igor Pinkhasov's electroacoustic music as a manifestation of the creative endeavors of an Uzbek composer. The study delves into its compositional principles, which uniquely reflect tendencies towards metahistoricism and metaculturalism, encapsulating the cultural method of creativity1.

The electronic music album Igor Pinkhas: Time Helix, released in 2015 by Emu Bands, showcases compositions spanning electronic music, art rock, progressive rock, and world music styles. Notably, the album's uniqueness lies in its fusion of live timbres from traditional Uzbek instruments with electronic elements. For Pinkhasov, artistic expression intertwines intimately with timbre. In electronic compositions, timbre serves as a primary means of musical expressiveness, offering vast avenues for creative exploration, including spectral composition, thematic development, attack, decay, etc. Timbre also assumes thematic and structural roles within musical dramaturgy. For Pinkhasov with his expertise in classical orchestration, acquired during his studies at the Moscow Conservatory under Professor N. P. Rakov, shaping the form and narrative arc of his compositions is connected with system-forming qualities of timbre.

Eduard Artemyev, one of the pioneers in this creative domain within the Eurasian sphere, emphasized the paramount importance of timbre in music production on his lectures at the Tchaikovsky Moscow State Conservatory. "From the vast sea of sounds, acoustic music chooses only those that are transmitted by everyday instruments (violin,

flute, trumpet, etc.), but there are huge

1 The definition first appeared in connecti layers of sounds that academic music

on with the work of v. Tarnopo^ky [Tseno^], cannot use due to the fact that there are

but is applicable to the work of many modern

composers. no instruments for them." (Artemyev).

Figure 1. Igor Pinkhasov. Photo from I. Pinkhasov's personal archive.

Researchers in the field of electronic music agree that the creation of new sounds is the fundamental criterion that determines its idea (Fatyanova 107). Similarly, T. V. Komarova underscores the significance of creating new sounds and structures in academic electronic music, echoing the pioneering spirit epitomized by composers like Edgard Varese, who once defined the new music as "the search and creation of new sounds and sound structures that have no analogues in traditional acoustic instruments and nature" (9).

The influence of orchestral thinking on composition technique in electronic music of Igor Pinkhasov is noteworthy. Orchestrating demands both talent and practice, skills that Pinkhasov adeptly applies in his compositions, elevating them to realms of genre significance. Studies on the correlation between melodic and timbral perception among composers further illuminate Pinkhasov's adept utilization of timbre as a means of self-expression across both acoustic and electronic domains. Researchers have studied the phenomenon of the connection between melodic and timbre perception of composers (McAdams, "Perception and Cognition of Musical Timbre"). Pinkhasov admits, that learning N. A. Rimsky-Korsakov's orchestrations led to an understanding of the "fairy tale" content in his music: he speaks to his listener through timbre. Orchestral works of A. N. Scriabin provide insights into his innovative approach to space and timbre manipulation, underscoring the profound connection between timbre and the auditory perception of musical space. Modern science confirms the direct connection of timbre with the real sound space of music and with the auditory sensations of its virtual space (Tikhomirova).

The methodological approach to electroacoustic music analysis remains as a subject to ongoing debate (Bossis 101). This study primarily focuses on the timbral-temporal organization of compositions, presenting analytical tables that offer insights into timbral dramaturgy and its role in composition.

The Time Helix album comprises eleven compositions, unified not only by thematic and dramaturgical coherence but also by a distinct national flavor evident in the choice of timbres. The instrumental palette includes acoustic timbres such as tanbur, oud, and guitar, combined with samples of darbuka, jambeya, doira, and nay.

Thematically, the compositions can be categorized into two groups:

• those evoking nature, human-technological interactions, and existential themes (Time Helix, Light of Sirius, Theremin Vox, The Power of Machines), and

• those exploring cultural heritage and human existence (Asian Megapolis, Ghostly Trance, Echoes of Samarkand, Memories, Autumn Wanderer, Life Island).

Analysis of compositions from the Time Helix album underscores the centrality of timbre, which continues to be the primary formative element. The interplay between live oud and vocoder with a chant on "ah-ah" and its alternation with sampled sounds of a violin, creates contrasts akin to traditional sonata forms. Adept use of the pentatonic scale by Pinkhasov in Asian Megapolis imparts an oriental flavor, enriching the musical narrative. Furthermore, the vibrancy of his compositions owes much to his manipulation of timbral nuances, a technique reminiscent of Edgard Varese's notion of "sound simulacra" (Fatyanova 161-170).

Additionally, the character of movement conveyed through the alternation of timbres over time plays a leading role in the development of the musical ideas in compositions. As Asafiyev aptly stated, "Music is the art of intoned meaning" (344). Pinkhasov captured this movement and imbues it with meaning, endowing the semantic layer with temporality, as evidenced in Table 1 of the composition Light of Sirius.

Table 1. Scheme of the form and timbre dramaturgy of Light of Sirius (oud part performed by Toir Askar)

violin sample violin sample violin violin sample sample

pad pad pad pad

vocoder (chant "au") vocoder (chant "au") vocoder (chant "au") beat vocoder (chant "au") beat

beat beat

shaker shaker

nay sample nay sample nay sample

doira sample doira sample

beats

fluctuating sound

beat intro breakdown build-up drop middle break second drop outro beat

0.00 1.25 2.13 2.28 2.28 2.28 3.14 3.29 3.44 4.16

Eduard Artemyev identifies three sources of electronic music. He refers to the work of Claude Debussy, who, by expanding space, prompted contemplation on "what will happen next behind this" (Artemyev). In one of our previous studies, we proposed a table detailing the cinematic timbral techniques employed by French impressionist composers, linked with both real and virtual spatial properties of music (Ganikhanova 192). They utilized timbre:

• to create coloristic effects, emphasizing musical colors over form;

• to convey types of movement (mechanical, biological, physiological, etc.);

• to establish a momentary contrast, achieved through contrapuntal layering and the use of "parallel editing" (Eisenstein 316);

• to evoke a sense of stasis and contemplation through repetitions of stable structures (melodic, harmonic, rhythmic), close-ups (simultaneous sound of several instruments or tutti) (Ganikhanova 190);

• to simulate visual effects like gleams, flashes, and illumination; in such instances, the intensity of sound is inversely proportional to density, with tonal and harmonic "flares" accentuated by deliberate organization of acoustic.

The Power of Machines is constructed upon the alternation of two tonally similar themes performed on the guitar, where rhythm delineates the figurative and emotional landscape of the composition. Here, the expressive, recurring two main themes become stable structures, imbuing the sound with weightiness. Contrapuntal layering of the shaker and Pad on the guitar timbre dilutes the dense sonic texture, culminating in an expansion of the acoustic space. The structural diagram of the piece is presented in Table 2.

Table 2. The Power of Machines: diagram of form and timbre dramaturgy (guitar part performed by Socrates Migdalis)

pad (mix of Guitar A and B themes)

guitar theme A

guitar theme B

until the final part, 2 themes alternate between each other, reaching a climax by the interval 3.30-3.48

free improvisation

shaker

surrounding Sound

bass

intro 0.00

breakdown 1.50

drop 3.15

second drop 3.38

outro 4.40

Working with space in the creative endeavors of 20th-century composers gives rise to the concept of a textured background. "The textured background orients us to some background, to some distance; we subconsciously construct this distance. Solo instruments and the background delineate the boundaries of this space; there is a transition from instrument to instrument, its distribution in space" (Artemyev). As an example, he cites the third part "Night" from "Scythian Suite" by Sergei Prokofiev and analyzes compositions by the Neo-Viennese, particularly the first and third pieces from op. 7 "4 Pieces for Violin and Piano" by Anton Webern. "In the first piece, the space is described in fragmentary phrases, where the piano covers a very large range and creates a sort of rhythmic space, and the violin stands within it" (Artemyev). Igor Pinkhasov employs a similar technique in the composition Echoes of Samarkand, as reflected in Table 3.

In the table, it is evident that through the sonic space created by the timbres of the tanbur and vocoder, we are immersed in the archaic atmosphere of the ancient city. The meditativeness of the unfolding melodic material is sustained by the nay part, which is abruptly interrupted by the rock sound of the guitars. These micro-level constructions of the composition form the virtual space of sounds. Such a psychoacoustic phenomenon aligns well with the words of Eduard Artemyev: "We see time and from it we build space subconsciously - this is discrete music <...>. By such means, an illusory new space is created. It doesn't exist, of course, but it is built illusorily" (Lectures). Repetitions of stable structures are separated by pauses; the space conveyed through "hearing" pauses expands the temporal boundaries both in breadth and height, elevating

us into the realm of imaginary figurative content. Thus, the composer skillfully resolves the issue of the virtual space of electronic music, as indicated by Eduard Artemyev (Fatyanova 99-103).

Table 3. The Echoes of Samarkand: scheme of form and timbre dramaturgy (guitar part performed by Socrates Migdalis)

pad pad

guitar guitar

nay sample nay sample nay sample

drum samples drum samples

shaker shaker

doira doira

vocoder (chanting "ah-ah") vocoder (chanting "ah-ah")

tanbur tanbur

bits

fluctuating sound cadence sound

i - »—* ---►

beat intro breakdown drop second drop outro beat

0.00 1.15 1.49 2.04 3.05 3.33 4.03

If in previous compositions, live timbres were combined with samples, then the ninth track of the album Memories serves as an example of working exclusively with synthetic sounds, through which "artificial space" is created. Edgard Varese was a pioneer to experiment with "artificial space" in his scores. However, while Varese attempts to influence the listener by increasing the level of reverberation (10), in Memories, voluminous sound arrays are created through sonorous layers.

We have previously published an analysis of this composition. During the analysis procedure, a part of the composition was excluded (see Table 4). The three-themed three-part composition with a dialogue between two themes in the outer parts and new material in the middle resembles the structure of a sonata allegro, although it is not fully one. The main theme is represented by the melody in the piano timbre, while the tanbur theme serves as the secondary one. The two themes here do not conflict but rather complement each other in terms of timbral relationship and dynamics, and the transformed main theme in the middle introduces the necessary contrast for dramaturgy.

Undoubtedly, electronic music introduces us to a composer with a new type of thinking, where the artist, by modeling his relationship with reality, creates a new world of sound images while preserving national identity. Priority is given to the management of acoustic space and its organization, where the created timbres depend on artistic tasks and the level of professional skill (see Fig. 2).

The timbral dramaturgy in compositions of Igor Pinkhasov is based on several factors: narrative, multiculturalism, spatiality, and structure. Hence arises the multifunctionality

Table 4. Analysis of the Memories: diagram of form and timbre dramaturgy

descending arpeggiato descending arpeggiato

transformed main theme transformed main theme

tanbur theme 2 tanbur theme 2 synthesized

pad pad pad

surround, flashing sounds surround, flashing sounds voluminous flashing sounds

imitation of nagora

bits

synthesizer main theme synthesizer main theme synthesizer main theme synthesizer main theme

0.00 1.35 1.58 2.20 3.06 3.29 3.43 4.18 4.40

of acoustic and electronic timbres as one of the principles of his compositional thinking. Through timbrai means, specificity of intra-musical content is achieved, as well as genre associations it provides (jazz, traditional Uzbek music, a generalized image of the East). Similar to orchestral instrumentation, timbres in his electronic music shape virtual space and determine the form of compositions and their internal dramaturgy.

Figure 2. Igor Pinkhasov at the piano. Photo from I. Pinkhasov's personal archive.

References

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Asafyev, Boris. Muzykalnaya forma kakprocess [Musical Form as a Process]. Leningrad, 1971. (In Russian)

Bossis, Bruno. "The Analysis of Electroacoustic Music: from Sources to Invariants." Organized Sound, vol. 11, no. 2, 2006, pp. 101-112. DOI: 10.1017/S135577180600135X.

Eisenstein, Sergei. Budushee zvukovoj filmy. - Zayavka. [The Future of Sound Film. - Application]. Izbrannye proizvedeniya v shesti tomah [Selected Works in Six volumes], vol. 2, Moscow, 1964. (In Russian)

Fatyanova, Elena. "Misteriya zvuka Eduarda Artemeva." ["Sound Mystery of Eduard Artemyev."] Muzykalnaya akademiya, no. 2 (770), 2020, pp. 99-103. DOI: 10.34690/69. (In Russian)

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Ganikhanova, Shoyista. "Kompozicionnye principy i kinematograficheskoe myshlenie Kloda Debyussi i Morisa Ravelya." ["Compositional Principles and Cinematic Thinking of Claude Debussy and Maurice Ravel."] Obshestvo i innovacii [Society and Innovation], vol. 1, no. 1/s, 2020, pp. 698-05. DOI: 10.47689/2181-1415-vol1-iss1/s-pp698-705. (In Russian)

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