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Section 2. Musical arts ■ European Journal of Arts 3 (2021) - ISSN 2310-5666 -
UDC781.2:781.22 DOI: 10.29013/EJA-21-3-57-63
R. G. KASHYRTSEV, 1
1 Kharkiv I. P. Kotlyarevsky National University of Arts, Kharkiv, Ukraine
TIMBRALLY-TEXTURAL FUNCTIONALITY AS FACTOR OF THE "DEPTH" OF MUSICAL TEXTURE
Abstract
Objective: to define a term of "depth" of texture with necessary regard to the leading role of timbre in creation of this textural dimension.
Methods: there are complex of fundamental, general scientific and special musicological methods used: observation, modelling, structural analysis and synthesis, generalization.
Results: Review of theoretical positions related to issues of timbre and texture is performed, including theoretical base from the sphere of musical acoustics. It is revealed, that timbre is a psychoacoustical phenomenon appears as a result of perceptive processes of spectrum of a musical sound; at the same time, the texture understood as a "structure" of music. For to comprehend this musical element the generalized three-dimensional "model" of musical texture was proposed by musicologists, in which "vertical" coordinate represents pitch and "horizontal" is related to time. The parameter of textural "depth" in this theory is interpreted as a phonic result of a pitch coordinate unfolding in time, which has artistic effect and induces appearance of associations. This approach (with all of its advantages) does not consider the participation of the timbre in the textural "depth" creation. But, the musical texture and the timbre are interacting tightly, which is represented with such a term as "timbrally-textural functionality". Thus, on the base of information retrieved from sources and analytical outlines done the new definition of textural "depth" is provided, in which the role of timbre is regarded.
Scientific novelty: in this article for the first time the timbre considered as style forming factor of the textural "depth"; also, for the first time proposed definition of the "depth" of texture, which regards the role of the timbre for this textural dimension; thus, the theory and the methodology of studying the timbre and the texture in music gained a further development.
Practical significance: the research conducted expands the conceptual apparatus of musicology due to introduction of the timbral component in the definition of textural "depth", which until now concerned only phonic and artistically-associative features of "vertical" and "horizontal" coordinates of the texture. Received results are useful for comprehension of musical-expressive potential of the timbre and texture in their complex action.
Keywords: musical texture, timbre, timbrally-textural functionality, texture depth in music, musicology, music acoustics.
For citation : R. G. Kashyrtsev. Timbrally-textural functionality as factor of the "Depth" of musical texture // European Journal of Arts, 2021, №3. - P. 57-63. DOI: https://doi.org/10.29013/EJA-21-3-57-63
Introduction. The studies of such problems as meaning in art, as well as significance and usage of texture and timbre in music keep their relevance, as those means contain great expressive potential, which can be seen both in their separate action and in the final artistic result. Thus, the problematic circle of these phenomena consists of these two aspects.
Primarily, timbre is regarded by numerous scholars as a subjective sensation generated by physical factors, being included into the sphere ofacoustics (I. Aldoshina and R. Pritts [1]; "Music Acoustics", ed. by N. Garbuzov [2]; Ya. Vahitov [3]). On the other hand, it is studied from the standpoint ofits artistically-aesthetical possibilities, sound image etc. (H. Kosenko [4]; R. Terteryan [5]; O. Zharkov
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[6]). Similarly, in the modern musicology texture is regarded at least in two aspects, them being functional and phonic ones, which can be seen from numerous research (V. Holopova [7]; E. Nazaykinskiy [8]; M. Skrebkova-Filatova [9]; S. Shyp [10]). Thus, regarding the definitions of these phenomena, typical and singular forms of their existence in music, a tendency shared by most scholars can be traced that is to distinguish them, while dialectic of interaction between those two crucial for content and form factors remains out of the field of systematic research. This explains the relevancy of given article, aimed at reveal of the ways in which timbre and texture interact, of their relations with another means of musical expression, of their influence on artistic result, form as process and form as structure etc. These dialectic relations are defined by the scholars as "timbrally-textural functionality" (V. Tsukker-man [11]) or "timbrally-textural structure of the work" (H. Savchenko [12]). As a perspective direction of the research of united action of timbre and texture we can define the timbral component as one of the factors creating "depth" of texture in its three-dimensional space.
Discussion. Usually, sound pitch and rhythm get much more attention from the scholars, as these parameters can be unequivocally fixated through notation. But all the material created by the composer has to be reproduced in a certain sonority, thus - in a certain timbre. Importance of timbre for music material can hardly be overvalued, although this phenomenon seems to be studied not as thoroughly.
The sphere of musical acoustics over the years accumulated quite large research basis for various problems of sound's nature and its perception. Standard ANSI / ASA (American National Standards Institute /Acoustical Society of America) defines timbre as "multidimensional attribute of auditory sensation which enables a listener to judge that two non-identical sounds, similarly presented and having the same loudness, pitch, spatial location and duration, are dissimilar. Timbre is related to sound quality, often specified by qualitative adjectives (e.g. bright or dull)"1. Certain works and their definitions contain indications that timbre is a product of subjective perception: "subjective, qualitative characteristic of the sound" [3, P. 163]; "Timbre or hue of the sound is a composition of the sound, reflected in our minds" [2, P. 16].
The sound spectrum and its temporal characteristics (its changeability or contrary, stability) play significant role
in shaping of timbral feeling in the mind and its identification after "acquaintance" with it. There is certain "unified" perception of timbre, caused by psycho-physiological features of the individuals possessing auditory analysers. By the same token, timbre might evoke different artistic impressions and different emotional responses due to wide variety offactors, from peculiarities of cultural field to psychophysiological state of a human in given period of life.
Due to these conditions, "personalization" of music instruments happens as each of them has certain characteristics and is capable of bearing genre, stylistic, thus programme and content significance. This leads to appearance of timbre semantics, which depends on contextual usage of timbre of a certain musical instrument. Consideration of timbre particularities of the chosen instrument (as it is in the case of research conducted by H. Kosenko [4]) is one of possible approaches to comprehend this phenomenon. On the other hand, timbre semantics could be successfully studied in the aspect of composer's style, as it is in the work by J. Grybynenko dedicated to G. Ustvolskaya's art [13].
Thus, it is obvious that musicological discourse needs to consider expressive possibilities of timbre for music, because "quality ofsound" directly influences qualities ofmel-ody, harmony and other elements of musical texture. This problem is also pointed out by O. Zharkov, who suggested his own definition of timbre, correlating to the sphere of musical acoustics and to the tasks of musicology at the same time. According to O. Zharkov, timbre is an "objective sonic spectrum, functioning as an element of musical language, aimed at instrumental (vocal) incarnation of the sound in musical language as well as at integrating phonic, colour, textural, thematic, compositional and content components into their artistically-acoustic unity" [6, P. 98].
Mention of the musical language calls for consideration of the primal element of content in music - the intonation. Music, being an "intonational art", in words by B. Asafev, comes "through perception of logically organized sound, through perception of their pitches" [14, P. 195]. The statement made by V. Medushevskiy expands complex meaning of intonation for music as it is regarded as "inseparable unity of all the facets of sound, founded on intonationally-linguistical, kinetically-plastique experience and its basis, experience of spiritual life" [15, P. 33].
At a first sight, relation between intonation and timbre might be seen in a following way: intonational
1 Timbre, ANSI / ASA. Retrieved in May, 04, 2021. URL: https://asastandards.org/Terms/timbre/ (in English).
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imagery "information" is given in a certain timbre, which constitutes main function of the latter. But in reality, it is only a partial reflexion of the situation. Interconnections between timbre and intonation can be found on a profound level, as timbre is created as a result of perception of certain sum of intonations (overtones and harmonics in sonic spectrum), thus it has intonational nature. On the other hand,perception of pitch of the sounds produced by musical instruments is also connected to their sonic spectrum, and therefore, to timbre. Incidentally, questions of factors of pitch still remain an object of discussion in the sphere of musical acoustics, currently supposing "spacetime theory of pitch perception", according to which auditory system distinguishes periods between impulses in the sound and analyses sonic spectrum [1]. Timbre quality as a musical category is dependant (to some extent) from accuracy of intonation and micro-chromatic gradations, which are unavoidable in performance on the instruments without precisely fixed pitches (such as strings and wind). For instance, intonationally flat sounds compared to other participants of an ensemble are usually perceived as "bad" and create an impression of unpleasant timbre. The opposite is also correct, perfect in pitch but poor in timbre sound or inadequate to musical context would be heard as inexpressive and it would not be able to convey intonational content to the listener (especially in solo episodes).
Thus, content-creating attributes of timbre have important significance for music, which makes it possible to use the term "timbre dramaturgy". R. Terteryan regards this term as 1) "system of timbral development", 2) "subsystem of complex of all means of musical expression" and 3) "sub-system of musical dramaturgy" [5, P. 26]. P. Boulez unequivocally stressed significance of a timbre for art of composing music: "Timbre exists aesthetically when it is directly bound to the constitution ofthe musical object" [16, P. 211]. Sound, according to the composer, is not an "aesthetical phenomenon" in itself, because "aesthetical identity only appears if there is utilization, language and composition <...> in the same way, a spot of color is definable as being blue, or red; but it does not induce in us any sense of a pictorial world" [16, P. 211].
Interaction between different instruments or instrumental groups usually occurs on a certain basis. Aside from colour and expressive possibilities, form-creating potential of timbral structures is no less important. This means that certain functional connection might exist between timbres. In this process important role is played
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by such crucial aspect of music as texture, in which timbres can reveal their functional significance and find their "aesthetical identity".
Texture, according to L. Mazel, exists in the context of certain fragment of a form as "sum of the voices (and voice groups), regarded from such standpoints as their character, their interaction and their functions in a musical unity" [17, P. 131]. V. Holopova understands texture as "structure of musical "fabric", defined with attention to character and relations between the voices constituting it", "intonational "reservoir" of the music, bearer of thematic function, basis for form-creating while such expressively-constructive factors of the texture as harmony, polyphony exist only as its elements" [7, P. 4], S. Shyp -as "sonic fabric of musical languages, which comes from joining of melodical lines and sonorities" [10, P. 166], V. Medushevskiy calls the texture "intonationally organized "fabric" of music" [15, P. 105].
Since texture is a complex mean of expression, it is natural that musicologists try to provide more accurate definitions of texture's components and to define principles of their interaction. This called for a supposition to regard the texture in "three-dimensional space" [8, P. 73], in accordance with three parameters of texture: 1) pitch, register ("vertical"); 2) temporal ("horizontal"); 3) spatial ("depth"), or "spatial qualities of musical "fabric"" [7, P. 9]. E. Nazaykinskiy pays special attention to "depth", regarding it as incarnation of "musically-spatial components <...> which are related to sensory experience of auditory examination of physical space" [8, P. 127]. Also, the scholar stresses that "depth" of texture is connected to "impressions of real space <.> with musical recreation of spatial effects" [8, P. 127]. In other words, E. Nazaykinskiy means not the real application of acoustic tools, but artistic musical incarnation by the means of certain textural organization. This is equivalent to artificial "inner" space of music, perception of which evokes on the basis of associations and impressions.
But at the same time, functional and expressive role of timbre in texture needs to be clarified. The "depth", according to theoretical positions stated above, is understood as a "result" of unfolding ofpitch vertical in time, thus also creating spatial associations. This is described by term "pho-nism", introduced by Yu. Tyulin and defined as "specific musical hue as an expression ofpurely sonic sphere ofper-ception" [18, P. 23]. Understanding of this phenomenon naturally correlates to the concept of timbre as a colour, because "phonism" ofchords in harmony (and, respective-
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ly, of sonorities in texture), apparently, arises according to the same principle that creates perception of timbre - layering of different pitches in a sonority create certain sonic complex, bestowed with expressive qualities. Perception of timbre itself arises as a result of layering of overtones and harmonics in sonic spectrum, in similar manner; but timbral characteristic do not influence harmonic meaning of the chord, even though they can increase or decrease phonic effect of the sonority.
This means that the role of timbre in the texture (particularly, in formation of textural "depth") needs to be re-evaluated. Phonic attributes of texture, according to M. Skrebkova-Filatova, depend on the volume of the sound, which is also one of the most important factors for formation of "depth"; and texture has two facets, functional and phonic ones [9]; thus, phonism in the context of texture acquires not only colouristic, but also functional significance.
At the same time, in regards of notation system the role oftimbre is not as obvious. Notation, even some of its computer variants (the article does not regard waveform diagram), allows the composer to define pitch and its temporal unfolding rather accurately, but timbral means are presented only partially. Simultaneously, the composer has a possibility to reflect at least two facets of timbral component: 1) technological, incarnated by indications of given instrument, which should perform the music and way of playing it (articulation, notes on spatial distribution of the musicians etc.); 2) artistically-imagery, which corresponds to certain affect and is indicated by such marking as "dolce", "doloroso", "risoluto" etc. This distribution is a rather conditional one, because technological and artistic spheres regarding timbre are co-dependant. Last statement can be proven by the nature of dynamical remarks as it is an important mixed tool, which; 1) includes volume, changing throughout the time, and; 2) artistic content, shaped by technology of performance and musical context. Marks indicating character of music can be used as tempo indicators, as can be seen in various works.
Influence of timbre is especially conspicuous in the orchestra, where each instrument has its own parameters and qualities both as an independent unit and as an element of a system in the context of possible combinations with other instruments or instrumental groups. This means that phonic qualities of texture become dependent from timbre, at least to a certain degree. The problem of "correlation between timbre and texture" and respective "structural phenomena <...> expressive and illustrative
potential" is pointed out by V. Tsukkerman [11, P. 341]. The scholar examines "functional role oftimbre in its relation to texture", which is an ability oftimbre "to illuminate every textural function through its separation from another ones, to amplify its individuality and to demonstrate its role for the whole" [11, P. 341]. V. Tsukkerman calls this system of interaction between texture and timbre a "timbrally-texturalfunctionality" [11, P. 341].
We should add that phonic attributes of textural organization play functional role regarding the timbre as well. As M. Pliuschenko states, "timbre characteristics <...> are largely influenced by all the components of a texture"; at the same time, "texture, being involved in the dialogue with the timbre, becomes a complex and dynamic mean of expression" [19, P. 506]. Thus, timbre and texture are in inseparable dialectical interaction: 1) timbres have their functional roles in the complex of textural elements, regulating their phonic characteristics; 2) textural structure can define functional role of given timbres and shape their expressiveness in given textural context.
Thus, the parameter of textural "depth" is constituted by the following: 1) phonism of textural horizontal and vertical; 2) timbre as a functional factor. This allows to introduce parameters of texture in a complete three-dimensional space, in which "depth" of the texture is timbrally-acoustic incarnation of pitch vertical, unfolded in time, factor of textural "depth" is timbrally-textural functionality. Moreover, timbre can exist in memory, in conscience as well, and it is possible to "recreate" scores in our imagination in a certain timbre. It can be so since "vertical" needs to be recreated in a certain imaginary timbre inside conscience. At the same time, temporal coordinate can be imagined in a "condensed" form (simultaneous vision).
Conclusions. The research carried out allows to draw the following conclusions:
1. Timbre as psycho-acoustic phenomenon is caused by sonic spectrum as well as by perception of this spectrum's parameters by listener's auditory system. Constituted from partial tones and their temporal unfolding, timbre appears as sum of intonations, which proves its intonational nature.
2. In order to comprehend texture and its significance for form, musicologists developed three-dimensional space of texture, where "vertical" represents pitch and "horizontal" represents time. At the same time, "depth", according to studied researches [7-9], is understood
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as phonic "result" of action of these two coordinates, which is quite fair, although does not explain the nature of "depth" thoroughly.
3. Interconnection between timbre and texture, described by V Tsukkerman's term "timbrally-textural functionality" [11] is founded on their dialectical interaction: the timbres influence the parameters of the texture and its phonic properties; texture defines local functions of timbres and shapes their expressiveness in the given context. Timbrally-textural functionality makes it possible to substantiate a theory on significance of timbre in "depth" as a coordinate of texture.
4. "Depth" as a parameter of texture is caused not only by phonic attributes ofjoining the vertical and horizontal, but also by the crucial role of timbre. Timbrally-textural functionality is a factor of textural "depth", which is we define as timbrally-acoustic incarnation of pitch vertical, unfolded in time.
Overall, the perspective of further research on relations between timbre and texture lies in examination of role of stylistic, genre, dramaturgical and compositional factors in them, which influence final artistic result in a musical work, and occasionally even define it as a leading complex musically-expressive mean.
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Bagadurov V., Garbuzov N., Zimin P., Korsunskiy S., Rozhdestvenskiy A. Muzykal'naya akustika (Musical acoustics). Gen. ed. by N. Garbuzov. - Moscow: Gos. muz. izdat., 1954. - 236 p. (in Russian). Vahitov Ya. Teoreticheskie osnovy jelekreoakustiki I jelektroakusticheskaja apparatura (Theoretical basics of electroacoustic and electroacoustic equipment). - Moscow: Iskusstvo, 1982. - 415 p. (in Russian). Kosenko H. Tembrova semantyka alta yak khudozhnia metasystema (Timbre semantics of viola as an artistic metasystem). Problems of interaction ofArt, Pedagogy and Theory and Practice of Education. - Kharkiv, 2017. -No. 46. - P. 174-187. (in Ukrainian). URL: https://num.kharkiv.ua/intermusic/vypusk46/vip.46_174-187.pdf Terteryan R. Analiz tembrovoj dramaturgii simfonicheskih proizvedenij (na primere proizvedenij armjanskih kompozitorov 60-70-h godov) (Analysis of the timbre dramaturgy of symphonic pieces (on the example of works by Armenian composers 1960 s - 1970 s)). Vestnik obshhestvennyh nauk (Herald of social sciences). - Moscow, 1985. - No. 3. - P. 26-35. (in Russian).
Zharkov O. Tembr v muzyke: k probleme opredelenija ponjatija (Timbre in music: the problem of defining a concept). Kyiv musicology. - Kyiv, 2017. - No. 55. - P. 94-100. (in Russian). Holopova V. Faktura: Ocherk (Texture: Essay). - Moscow: Muzyka, 1979. - 87 p. (in Russian).
8. Nazaykinskiy E. Zvukovoj mir muzyki (The sonic world of music).- Moscow: Muzyka, 1988 - 254 p. (in Russian).
9. Skrebkova-Filatova M. Faktura v muzyke: Hudozhestvennye vozmozhnosti. Struktura. Funkcii (The texture in music: Artistic opportunities. Structure. Function). - Moscow: Muzyka, 1985. - 285 p. (in Russian).
10. Shyp S. Muzychna forma vid zvuku do styliu: Navchalnyi posibnyk (Musical form from sound to style: Tutorial). - Kyiv: Zapovit, 1998. - 368 p. ( in Ukrainian).
11. Tsukkerman, V. Tembr I faktura v orkestrovke Rimskogo-Korsakova (The timbre and the texture in orchestration by Rimsky-Korsakov). Muzykal'no-teoreticheskie ocherki I jtjudy (Musical-theoretical essays and studies). Moscow, 1975, No. 2, P. 341-458. (in Russian).
12. Savchenko H. Tembrovo-fekturna struktura rannikh orkestrovykh tvoriv I. F. Stravinskoho (vid Symfonii Es-dur do baletu "Zhar-ptytsia") (The Timbre-and-Texture Structure of the Early Orchestral Works by Igor Stravinsky (from Symphony in E-flat to the Ballet The Firebird)). Traditions and novations of the higher architectonic and art education. Kharkiv State Academy of Design and Fine Arts. - Kharkiv, 2019. - No. 4. - P. 71-76. ( in Ukrainian). URL: https://tihae.org/Zpdf/t2019-04-11-Savchenko.pdf
13. Grybyneneko J. Semantyko-kompozytsiini funktsii instrumentalnoho tembry u tvorcohsti H. Ustvolskoi (ne prykla-di Kompozytsii No. 1 (Semantico-compositional functions ofthe instrumental timbre in the work of G. Ustvolskaya (on the example of Composition No. 1)). Music art and culture. - Odesa, 2017. - No. 25. P. 19-30 (in Ukrainian). URL: http://music-art-and-culture.com/index.php/music-art-and-culture-journal/article/view/299
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14. Asafev B. Muzykal'naja forma kak process (Musical form as a process). - Leningrad: Muzyka, 1971. - 376 p. (in Russian).
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18. Tyulin Yu. Uchenie o garmonii (Learning of harmony). - Moscow: Muzyka, 1966. - 224 p. (in Russian).
19. Pliuschenko M. Genre of transcription in aspect of composer's style (On the example of Oleksandr Nazarenko's creativity). International journal of Scientific Research and Management, - Vol. 09. - Issue 01.2021.- P. 504-507. URL: https://www.ijsrm.in/index.php/ijsrm/article/view/3019/2231/ (in English).
Information about the author
Ruslan Hennadiiovych Kashyrtsev, post-graduate student and Lecturer of the Department of music theory,
Kharkiv I. P. Kotlyarevsky National University of Arts
Address: 62 N. Uzhviy Str., 61195, Kharkiv, Ukraine
E-mail: [email protected]; tel.: +38 (067) 261-69-32
ORCID: 0000-0001-9335-4446
КАШИРЦЕВ Р. Г., 1
1 Харивський нащональний утверситет мистецтв iм. I. П. Котляревського, Хармв, Украша
ТЕМБРО-ФАКТУРНА ФУНКЦЮНАЛЬНЮТЬ ЯК ЧИННИК «ГЛИБИНИ» МУЗИЧНО1 ФАКТУРИ
Анотаця
Мета: визначити поняття «глибини» фактури з урахуванням пров^но! ролi тембру у створенш цього фактурного вимiру.
Методи: застосована сукупшсть фундаментальних, загальнонаукових та спещальних музикознавчих ме-тодiв: спостереження, моделювання, структурного аналiзу та синтезу, узагальнення.
Результати: Проведено огляд теоретичних позицш з питань тембру та фактури в музикознавств^ включаючи теоретичну базу зi сфери музично! акустики. Виявлено, що тембр е психоакустичним феноменом, що виникае як результат процеав сприйняття спектру музичного звуку; водночас, фактура усв^омлюеться як «будова» музики. Для усв^омлення цього музичного елементу, музикознавцями була запропонована узагальнена тривимiрна «модель» музично! фактури, в якш «вертикальна» координата е представляе звуковисоту, а «горизонтальна» стосуеться часу. Параметр фактурно! «глибини» за ще! теорГ! трактуеться лише як фошчний результат звуковисоти, розгорнуто! в чаа, що мае художнш ефект та зумовлюе появу асощацш. Цей шдх^ (при вах його перевагах) не враховуе участь тембру у створенш фактурно! «глибини». Але, музична фактура i тембр знаходяться у Ясному взаемозв'язку, що репрезен-товано у такому термт як «тембро-фактурна функцюнальшсть». Тож, на основi отриманих даних iз джерел та проведених аналгтичних нариав запропоновано нове визначення «глибини» фактури, яке враховуе роль тембру.
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Наукова новизна: у дангй статт вперше розглянуто тембр як стилетворий чинник фактурно! «глибини»; також, вперше запропоновано визначення «глибини» фактури, яке враховуе роль тембру для цього фактурного вимгру; таким чином, набули подальшого розвитку теорiя та методологiя дослiдження фактури i тембру в музицi.
Практичне значення: проведене дослгдження розширюе понятгйний апарат музикознавства за рахунок уведення тембрового компоненту у визначення поняття фактурно! «глибини», який до цих пгр стосувався лише фонiчних та художньо-асоцгативних властивостей «вертикально!» та «горизонтально!» координат фактури. Отриманг результата е корисними для усвiдомлення музично-виразового потенцiалу тембру та фактури в !'хнш комплекснiй дГ!.
Ключовi слова: музична фактура, тембр, тембро-фактурна функцюнальшсть, глибина фактури в музицг, музикознавство, музична акустика.
1нформац1я про авторах
Руслан Геннадшович Каширцев, аспгрант та викладач кафедри теорГ! музики, Харкгвський нацгональний
унгверситет мистецтв гм. I. П. Котляревського
Адреса: 61195, Укра!на, м. Харкгв, вул. Н. Ужвгй 62
E-mail: [email protected]; tел.: +38 (067) 261-69-32
ORCID: 0000-0001-9335-4446
