The Influence of Choreographic Art on Wind Solo Musical Compositions

Abstract

The purpose of this scientific article is the detection of various influences from theatrical choreographic art on wind solo compositions as well as the revealing of their functions in the academic masterpieces by the Ukrainian and foreign composers of the second half of the 20th century – the beginning of the 21st century. These are concrete musical works: “Harlequin” – solo for clarinet by K. Stockhausen (1975), “Basta” – solo for trombone by F. Rabe (1982), “Homo ludens ІХ (oboe: me and oboe) the nine non-accidental stops for <the walking oboist> – solo for oboe by V. Runchak (2011) and “Interview on a given topic” –solo for clarinet by V. Martyniuk (2014). The methodology of this investigation is based on the interaction of the following methods: there are methods of analysis and synthesis, the method of performing analysis – targeted on the discovery of theatrical choreographic specifications in wind solo compositions. This is a structurally functional method, which permits to construct a series of functions concerning theatrical choreographic elements in famous wind solo masterpieces. The scientific newness of this investigative article is conditioned by the amazingly poor and unsatisfactory knowledge in relation to studying the phenomenon of arts synthesis in contemporary academic wind musical performing art, concrete theatrical choreographic expressive means in stage-single wind compositions solo. Conclusions: The functions of theatrical choreographic elements in solo wind masterpieces are discovered based on the analysis of series of wind solo compositions, which have been designated by the synthesis of different arts. To be more specific, this is the dialogical function, revealed as the internal (”Basta” – solo for trombone by F. Rabe) and external (”Harlequin” – solo for clarinet by K. Stockhausen) processes of dialogization. We also have the meaningconcentrating function, which is disclosing in the high-priority significance of theatrical elements for the comprehension of the artistically imaginative content of wind solo masterpieces (”Homo ludens ІХ (oboe: me and oboe), the nine non-accidental stops for <the walking oboist>” – solo for oboe by V.Runchak). The authors of this scientific article also emphasize the textgenerating function, which is allocated in the potential ability of the process of interpretation by musician-performer of composer remarks into note text; these are touching the introduction in musical text of the elements of theatricalization (“Interview on the given topic” for clarinet solo by V. Martyniuk).