Broniaus Kutavičiaus "Mažasis spektaklis": akustinio ir grafinio teksto interpretacija

LTStraipsnyje gvildenamos audiatyvinio muzikos suvokimo problemos. B. Kutavičiaus „Mažojo spektakli“ analitinės interpretacijos tikslas - vieno XX amžiaus pabaigos muzikos kūrinio pavyzdžiu atskleisti autoriaus sumanymo atspindžius kompozicijos struktūroje ir galimą metamorfozę klausytojo sąmonėje. Darbas grindžiamas dviejų muzikos kodų - grafinio ir akustinio - gretinimu. Pasitelkiant muzikos psichologų (J. Sloboda), bei kognityvinės muzikologijos atstovų (I. Deliège, M. Imberty, F. Lerdalilis, R. Jackcndoffas, R. Goday’us, G. Edelmanas) eksperimentinių tyrimų išvadas, siekiama atskleisti vizualaus ir audiatyvaus patyrimo sąveikos specifiką ir subtilumus. Analize siekiama pagrįsti nuomonę, kad muzikos klausymas reikalauja žinių, įgūdžių ir patirties, kuri gilina audiatyvinio suvokimo turinį. [Iš leidinio]Reikšminiai žodžiai: Akustinis tekstas; Akustinė erdvė; Audiatyvinė analizė; Audiatyvinė muzikos forma; Auralinė erdvė; Bronius Kutavičius; Erdvės ir laiko dramaturgija; Grafinis tekstas; Laiko tėkmės hierarchija; Žanro semantika; Acoustic space; Acoustic text; Auditive analysis; Audityve analysis; Aural space; Bronius Kutavičius; Dramaturgy of time and space; Graphic text; Hierarchy of time flow; The auditive form of music; The semantics of genre.

ENВ. Kutavičius' The Little Perßrmance is a five-part cycle on the lyrics by Sigitas Geda for an actress, two pianos and two violins. The composition of the piece manifests a fusion of musical and theatrical arts, which is embodied in the entire work as well as in the titles of its parts - Preliudas (Prelude), Monologas (Monologue), Antraktas (Antract), Scherzo and Postliudas (Postlude). As the parameters of the acoustic space and time of The Little Performance were explored, the geometry of the composition governed by dramaturgical principles emerged. Along with the vertical and the horizontal, typically found in music (they are respectively represented by tonal and metro rhythmic sound relations), the space is consciously expanded depth-wise: it is constructed through the manipulation of the place for situating different instruments (lontano - vicino). The sound material of The Link Performance is divided into definite spatial structures: exposing, juxtaposing and contrast between two types of the pitch hierarchy of musical sounds - the chromatic and the diatonic forms its vertical. The chromatic type is realised by dodecaphonic serialisation while the diatonic type is marked by modality, by trichords, tetrachords and hexachords. Spatial co-ordinates, visible in the score, are auditively perceived as a phenomenon of spatial geometry with definite parameters of vertical, horizontal and volume. The direction of the acoustic space, manifested in the graphic text of The Little Performance, embodies the author's idea, which is meant to become the context of the acoustic text: it is to be recognised by the listener and is to communicate meaning.Drawing from J. Sloboda's research into the formation of a certain hierarchy of development, it is claimed that segmentation in the listening process generally stems from a particular auditive experience, which manifests in an individual's mind in the shape of individual aural space. Models contained in the aural space enable us to identify the formative principles of the acoustic space and to grasp melodic patterns emerging in the course of music flow. The characteristics of time parameters in The Little Performance yield to analysis as a hierarchy of impressions consciously structured and based on perceptive expectations. The concept corroborates L. Meyer's views on an educated listener's reactions, interpreted as a compound system of probabilities. In the conclusions it is claimed that an adequate perception of the hallmarks of The Little Performance - its chamber character and dramatic monologue - is unattainable without the corresponding experience in listening to chamber music, familiarity with a literary dramatic genre and aptitude for an insight into the hero's inner world, conveyed in monologues. Respectively, the concepts of Prelude, Scherzo and Postlude contain semantics associated with a capacity to follow events evolving in the acoustic space, to grasp their logic within the framework of time flow, to recognise signs communicated in the course of music and to interpret their meaning. Auditive relation with music can be defined as recognition and reading of signs embodied in expressive forms. […]. [From the publication]