Unfinished Work as Aesthetic and Musical Phenomenon: about Interrelation of Genre, form and Technique of Composition
DOI:
https://doi.org/10.31318/2522-4190.2021.132.249951Keywords:
Incompleteness, non finitо, musical genre, musical form, composition technique, open form, open workAbstract
The relevance of the study is dictated by the interest of contemporary creators and researchers in various fields of science to the problem of unfinished works. The appearance of the latter is associated with the historical situation and philosophical and aesthetic ideas of the time, with the psychological characteristics of the Creator's personality and the peculiarities of his thinking, as well as with the originality of the individual design of the work. In musical art, a productive direction in substantiating the specifics of unfinished works is their consideration both through the “prism” of the philosophical and aesthetic ideas of the time, cultural and historical context surrounding the composer, and based on fundamental theoretical teachings.
The aim of the research is to establish and substantiate the “zones” of action and mutual influence of categories that are important and system-forming for theoretical musicology — musical genre, musical form and composition technique within the boundaries of unfinished works.
The scientific novelty of the research is reported by: 1) the definition of the artistic and aesthetic phenomenon of “incompleteness”, which is universal for works of art, formulated and proposed for the first time; 2) the classification of unfinished works presented in relation to musical art; 3) analytical observations of the process of interaction of genre, form and technique of composition in conditions of various degrees of manifestation of incompleteness of musical works.
The research methodology is based on the works of various fields of scientific knowledge — philosophical and aesthetic research (U. Eco, J. Gartner, etc.), works on the history and theory of art (S. Stupin, E. Abramovskikh, etc.), research in the field of theoretical and historical musicology (Y. Kholopov, E. Ruchevskaya, M. Pereverzeva). The main research methods are the general scientific observation method and the comparative method, as well as various methods of analyzing a piece of music.
The results of the study reflect the following conclusion. A progressive tendency is clearly visible from work to work, which in music belongs to the category of “unfinished”: from a ghostly “hint” expressed through the genre, through a meaningful idea “underlying” the form, to the assertion of the principles of an “open work” through total interdependence genre, form and technique of composition.
The study is undoubtedly of practical value. It significantly supplements and expands knowledge about some new genres that are little studied in music (fragment, sketch, etc.) and their compositional originality.
References
Abramovskikh, E. V. (2007). Creative reception of unfinished works as a literary problem (on the example of adding unfinished excerpts by A.S. Pushkin) [Kreativnaya retseptsiya nezavershennykh proizvedeniy kak literaturnaya problema (na primere dopisyvaniya neokonchennykh otryvkov A. S. Pushkina)]. The dissertation author's abstract for gaining the degree of the Doctor of Philology: by specialty 10.01.08 Literature theory. Textology / Russian State University for the Humanities. Moscow, 44 p. [in Russian].
Vorobyova, S. Yu. (2015). “And the line does not end …” (Ret. On the book: The phenomenon of the incomplete: the collective monograph. Yekaterinburg. 2014. 528 p.) [«I ne konchayetsya stroka…» (Rets. na kn.: Fenomen nezavershennogo. Yekaterinburg, 2014. 528 p.)]. In: Science Journal of Volgograd State University. Linguistics. Issue 4 (28), pp. 168–175 [in Russian].
Digonskaya, O. G. (2008). Unfinished Operas by Shostakovich: Based on Unknown Autographs [Nezavershennyye opery Shostakovicha: po neizvestnym avtografam]. Manuscript of Dissertation work for gaining the degree of the Candidate of Art Criticism by specialty 17.00.02 Music Art. N. A. Rimsky-Korsakov Saint Petersburg State Conservatory, 221 p. [in Russian].
Eco, U. (2018). Open work. Form and uncertainty in contemporary poetics [Otkrytoye proizvedeniye. Forma i neopredelennost’ v sovremennoy poetike]. Moscow: AST; CORPUS, 512 p.
Zapevalova, L. G. (2019). The term “open form”: arguments “for” and “against” [Termin «otkrytaya forma»: argumenty «za» i «protiv»]. In: Scientific works of the Belarusian State Academy of Music [Aktual'nye problemy terminologii v kontekste sovremennogo belorusskogo muzykoznaniya]. Issue 47: Actual problems of terminology in the context of modern Belarusian musicology [Aktual'nye problemy terminologii v kontekste sovremennogo belorusskogo muzykoznaniya]. Series 3: Questions of music theory [Voprosy teorii muzyki]. The Belarusian State Academy of Music. Minsk, pp. 91–100 [in Russian].
Zapevalova, L. G. (2019). The Phenomenon of the “Incomplete”: Towards Formulating a Problem in Contemporary Art Studies [Fenomen «nezavershennogo»: k postanovke problemy v sovremennom iskusstvoznanii]. In: Bulletin of the Belarusian State Academy of Music [Vestsі Belaruskay Dzyarzhaynay Akademіі Muzyki]: scientific and theoretical journal, No. 35, pр. 41–45 [in Russian].
Ilyin, I. P. (2001). Open work [Otkrytoe proizvedenie]. In: Ilyin, I. P. Postmodernism: a dictionary of terms [Postmodernizm: slovar’ terminov]. Moscow: INION RAN; INTRADA, 384 p. [in Russian].
Kyureghian, T S. (2003). Form in music of the 17th –20th centuries [Forma v muzyke XVII–XX veka]. Moscow: Kompozitor, 312 p. [in Russian].
Lobacheva, N. A. (2010). Opera House S.S. Prokofiev on the example of “The Story of a Real Man” and unfinished designs of the 1940s [Opernyy teatr S. S. Prokof’yeva na primere «Povesti o nastoyashchem cheloveke» i nezavershennykh zamyslov 1940-kh godov]: Manuscript of Dissertation work for gaining the degree of the Candidate of Art Criticism by specialty 17.00.02 Music Art. Tchaikovsky Moscow State Conservatory. Moscow, 287 p. [in Russian].
Pereverzeva, M. (2018). Aleatoric as a principle of composition: study guide [Aleatorika kak printsip kompozitsii: uchebnoye posobiye]. Saint Petersburg: Lan'; Planeta muzyki, 608 p. [in Russian].
Ruchevskaya, E. A. (1998). Classical musical form [Klassicheskaya muzyikalnaya forma]. Saint Petersburg: Kompozitor, 268 p. [in Russian].
Stupin, S. (2021). Phenomenon of an open form in the art of the twentieth century [Fenomen otkrytoy formy v iskusstve XX veka]. Moscow: Indrik, 312 p. [in Russian].
Tsenova, V. (ed.) (2007). Theory of modern composition [Teorija sovremennoj kompozicii]: textbook. Moscow: Muzyka, 624 p. [in Russian].
Trofimova, A. V. (2016). Poetics of unfinished works by F. M. Dostoevsky [Poetika nezakonchennykh proizvedeniy F. M. Dostoyevskogo]. Manuscript of Dissertation work for gaining the degree of the Candidate of philological sciences by specialty 10.01.01 Russian Literature. Samara State Social and Pedagogical University. Yekaterinburg, 159 p. [in Russian].
Snigireva, T. and Podchinenov, A. (ed.) (2014). The phenomenon of the unfinished: [Fenomen nezavershennogo]. Ural State University. Yekaterinburg, 528 p. [in Russian].
Kholopov, Yu. N. (2008). Introduction to the musical form [Vvedeniye v muzykal’nuyu formu]. Tchaikovsky Moscow State Conservatory. Moscow, 432 p. [in Russian].
Shcherbo, T. (2002). On the relationship between the categories “genre”, “form” and “technique of composition” in chamber instrumental music of the second half of the 20th century [O sootnoshenii kategoriy «zhanr», «forma» i «tekhnika kompozitsii» v kamernoy instrumental’noy muzyke vtoroy poloviny XX veka]. In: Theoretical musicology at the turn of the century [Teoreticheskoe muzykoznanie na rubezhe vekov]. Belarusian State Academy of Music. Comp. and scientific, ed. E. N. Dulova. Minsk, pp. 120–139 [in Russian].
Yakovleva, T. A. (2019). Unfinished work of art as a research problem [Nezakonchennoye proizvedeniye iskusstva kak issledovatel’skaya problema]. In: Bulletin of the South Ural State University. Series “Social Sciences and the Humanities” [Vestnik Yuzhno-Ural'skogo gosudarstvennogo universiteta. Seriya «Sotsial'no-gumanitarnye nauki»]. Vol. 19. Issue 1. Chelyabinsk, pp. 77–82 [in Russian].
