On continuity in the musical avant-­garde

Abstract

On the basis of musicological analysis of the composer’s text, the most important style representatives of avant-garde music of the twentieth century are considered: dodecaphony, collage and sonorica. When characterizing dodecaphony, we note its new, non-classical features associated with the equality of 12 tones, reliance on the principle of series, meaning a linear concept of music, rigidus determinism and aesthetic infantilism. The reasons for the exhaustion of the resources of dodecaphony as a creative method and its continuity with the musical classics are explained. When characterizing collage, its reliance on the principle of casualness and its close connection with the phenomenon of quotation, presented in the postnon-classical musical paradigm in a hyperbolized form, are revealed. Particular attention is paid to sonorics, containing the intension to beauty and sensuality. Different types of sonoric text are considered, where such parameters as spatiality, hypermultiplicity, and timbricity are emphasized. It is pointed out that the accentuation of colorful sonority led to “monotony of luxury”, the principle of repetition – to excessive constructive simplicity, the timbre side of music – to dull /boring/ sameness of style pattern. The genesis of the phenomenon and its connection with the stereophonicity of sound in temple music is outlined. The aim of the work is to reveal the genesis of avant-garde innovations, the tasks are to show the ways of adaptation of classical principles of music in the musical avant-garde of the twentieth century, represented by non-classical and postnon-classical style of musical thinking. The main conclusion of the work is the thesis – Littĕra scripta manet.