Page 300 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 300
musica et artes
of tremolo in strings and molto deciso in other instruments, in classical unity
of time, place and action, in cohesion of phases and space presentations whi-
ch are ending, depleting and transforming into something new.
Sometimes here the combination of lines leads to contradictions of di-
fferent musical surfaces in acoustic sphere (colours, dynamics, voices, regi-
sters, ect.). We experience this situation from the first sounds of the composi-
tion when from ppp in a low register appears the first shape of sound structure
which is transformed in fff and fills up the higher registers and then there
comes the choir sequence in whisper but in dynamic of f and molto espressi-
vo. This kind of narration gives an impression that the time passes regularly
(Example 6, percussion between numbers 20 and 40), reaches quickly a cul-
mination point ( fff before number 40), and loses the tempo (the closing be-
fore number 60 and 70, Example 7; bells before number 100; closing moren-
do al niente at number 170).
How can we receive the compositional lines in the musical structure?
We can find them on the technical level and also on the expression level. The
auditor is always kept in tension of expectation, is forced to the reflection, is
soften and then surprised by the violent beats of tutti. In the process of com-
position the phases of softness and eruption interweave reaching culminati-
on. This feature corresponds with the classical idea of composition in which
motifs presented before come back in evolution.
The idea of tights between music and architecture can be developed and
expanded over the other elements of musical construction. In this short pre-
sentation I tried to refer to some selected aspects of this interesting task and
experiment with some musical analysis in the context mentioned here.
298
of tremolo in strings and molto deciso in other instruments, in classical unity
of time, place and action, in cohesion of phases and space presentations whi-
ch are ending, depleting and transforming into something new.
Sometimes here the combination of lines leads to contradictions of di-
fferent musical surfaces in acoustic sphere (colours, dynamics, voices, regi-
sters, ect.). We experience this situation from the first sounds of the composi-
tion when from ppp in a low register appears the first shape of sound structure
which is transformed in fff and fills up the higher registers and then there
comes the choir sequence in whisper but in dynamic of f and molto espressi-
vo. This kind of narration gives an impression that the time passes regularly
(Example 6, percussion between numbers 20 and 40), reaches quickly a cul-
mination point ( fff before number 40), and loses the tempo (the closing be-
fore number 60 and 70, Example 7; bells before number 100; closing moren-
do al niente at number 170).
How can we receive the compositional lines in the musical structure?
We can find them on the technical level and also on the expression level. The
auditor is always kept in tension of expectation, is forced to the reflection, is
soften and then surprised by the violent beats of tutti. In the process of com-
position the phases of softness and eruption interweave reaching culminati-
on. This feature corresponds with the classical idea of composition in which
motifs presented before come back in evolution.
The idea of tights between music and architecture can be developed and
expanded over the other elements of musical construction. In this short pre-
sentation I tried to refer to some selected aspects of this interesting task and
experiment with some musical analysis in the context mentioned here.
298
