Mono-Element Compositions in the Musical Art of the 20th Century

Abstract

The article is devoted to the study of two types of mono-element compositions in 20th century music: those based on a single pitch and on a single chord. The author of the article ties their significance with the achievements of avant-garde music, the search for new “sound ways,” and the emancipation of particular means of the musical language. The article focuses on the works of Siberian composers Askold Murov and Sergei Tosin, who created original sound conceptions based on single pitches and single chords. The article notes the evolution of one-pitch compositions in academic music, from the idea of demonstration of various capabilities of sound to its symbolic interpretation (Alban Berg, Ivan Wyschnegradsky, and Giacinto Scelsi). It is emphasized that in Askold Murov’s composition Monophony Rethe idea of unisonance expands towards creating the setting of historical and stylistic dialogue. The development of chordal mono-element structures can be traced from the late period of Alexander Scriabin and the music of Nicolai Roslavets and continues in musical works by Alfred Schnittke and Sergei Tosin. The analysis of Tosin’s composition highlights the use of textural-timbral, rhythmic, dynamic, and electroacoustic means, the introduction of “open” material by pianists, which demonstrates the tendency to multivariate functioning of musical works. It is emphasized that Siberian composers Askold Murov and Sergei Tosin, as the result of their interest in new techniques, have made a perceptible contribution to the dissemination of sound ideas pertaining to the avant-garde trend in Russian culture and were able to demonstrate the immense micro-world of sound.

Keywords: compositions based on one pitch, variations on one chord, the musical avant-garde, sonoristics, Siberian composers