About the implementation of ethnomusicology analysis to the composer’s creativity
Because that Avant-Garde destroyed classical canons of the music, it began to require different approach style in musicology and created some emptiness in the methods of analysis. Revolutionary changes in the style of the harmony, form and orchestral, minimalistic means of expression forced to create respectively tools of analysis. Experience of ethnomusicology that formed minimalistic tools of analysis for a long time seemed useful. Analysis of composer’s music based on intonation, timbre and using terminology can be an effective assistant for discovering the real purpose of music.
While looking through the XX century music, we are convinced that intonation methods of early folklore are not disappeared during development of musical thinking but also this period named as folklorism, neofolklore, new folklore wave by musicologists means returning with new social-cultural context and different intonation. Cause that archaic music examples have no nationality, it is applicable to use in research, archaic music of other ethnic group, nations and community (it includes kid folklore, ceremonial music, labor songs and etc. folklore music).
The purpose of the study: 1) apply ethnographic terminology and research methods using the example of a bright representative of the creativity of the new folklore wave Javanshir Guliyev, 2) to prove the assertions using examples 3) to clarify as much as possible how consciously the creative process of introduction into archaic folklore occurred.
In the research, the methodology of E. Alekseev for early intonation was most used. After receiving the results, the Bricolage term by K. Levi-Strauss and the patterns found between the repeater and the scientist were involved in the study. Some dark moments between the composer and the aesthetics of the modern period were clarified with reference to the idea of the composer-philosopher V. Martinov.
Sometimes a 3-level (pitch, dot-functional, intonational) study of music by composers, as in ethnomuscology, can guide us to more valuable results. Separately exploring the melodic language of the modern composer in the first place, you notice a huge difference in the structure of sentences, the quality of division and the technique of expression in classical thought. In our time, a simple musical example cannot express the full impression of music in one world just as in archaic folklore.
Classification of melodic types in the world Ethnography: Engelodic - narrow in range melody, Pendelmelodic - undulating, going back and forth, melody similar to the pendulum movement, Treppenmelodic - melody moves layer after layer like a ladder, Fanfarmelor melodic - favorite and often used and often used melodies are used by fan, melodies are melodies. classical composers of the early period, Assendent (from the Latin. Ascender) rising melody. When viewing all these types of melody in the composer’s activities, we cannot assume that all levels of melody development in archaic folklore and the composer happened analogously. Of course, if we assume that the second was the first interval formed, and all other intervals followed by increasing, then this thought would make our lives easier. But the reality in folklore is a bit different. The terms used in our study such as “diсhord”, “trichord”, “tetrachord”, “pentachord” and “chromatics”, first of all, draw our attention to the interval composition of music. Of course, the problems of the modus, the reference sounds, the scale, and the fret-functionality are characteristics of the next period. The intonational nature of the melody is the main semantic symbol of both folk and composition music.
In the works of composer Javanshir Guliyev, you can find many melodic examples created on two notes. But the presence of all the melodic types identified in the study does not indicate the presence of a similar stage in comparison with archaic folklore in the composer’s music. The image-emotional side is the decisive factor for a composer who chooses the range of melodies to be created.
You will notice the similarity between archaic folklore and our object of observation if we classify the tonic of Javanshir Guliyev according to the tonic movements of the work of the researcher A.V. Rudnev: tonic movement, tonic variability, tonic-stagnation. You need to clarify the exact differences between tones, tones and tonic in order to find some parallels between archaic music and the composer’s work. A tone is a sounding unit of the universe, building material for cosmic resonance, tone is the intonation of the human soul, a method of expressing reality, and tonic is a symbol of human freedom, standing above accurate sound and precise intonation. In ancient times, man was separated from the sound stream and could only connect with him and touch the cosmic energy. Tonic was created by man to be away from the sound stream and focus on the newly created reality. The reason for this is that only when we meet with a functional tone can we think of real human freedom.
Edward Alekseev in his study entitled “Early Folk Intonation” discovers 3 types of archaic folklore and ascribes them not only to the period of mode formation, but also prior to the formation of the notion of the pitch. 1. Register-based contradiction (α-melody) 2. Unstable glissando (β-melody) 3. Sound-soundly stable (γ-melody). A-melody is one of the archaic types of singing. You can see that this type is similar to the echo during the ceremony, shouts during the funeral and calls for long distances in everyday life. The simplest example of the melodic type β glissando is the loss of the pitch from top to bottom. Of course, the upward or downward glissando is an example of vocal melody. Since the volume of the lung capacity and the size of the human vocal chords are almost the same throughout the world, β-melody is international. Through a γ-melody of type III, you can see a good, noticeable sustained movement of sound. Because of walking in a range of small intervals (from a monochord to a tetrachord), this type is sometimes called “conquering the horizontals” or “walking tones”. Most of the ethnographic example we have is of this type. Inside the modal, narrow-range melodic turns with clearly pronounced speech intonations are usually referred to the pre-modal period. Based on the examples, we can decide that Javanshir Guliyev feels very comfortable with this type of archaic melodic types.
It is necessary to mention the role of semiotic, regulating the working mechanisms of characters and characters in the study of monuments of archaic art. According to the semiotic theory of Charles Pierce, “character-symbol-interpretation” is important for the disclosure of meaning. Without interpretation, the symbol means nothing. Symbols appear to be the cause of demand for man, and humanity fills the void between reality and meaning. The role of semiosis in the formation and culture of man is enormous. A new cultural experience is not invented every time, but is built within the boundaries of an accessible symbol.
Ancient people and modern composer, representing ancient human as well as modern thinking, use these symbols, symbols and intonations that do not need any translations. The methodology and method used in the article make it possible to better understand the music of the composer and come to philosophical results, which in the end can reveal the face of the modern period.
neofolklore, ethnomusicology, semiosis, bricolage, archaic folklore, intonation