| Popis: |
The concept of the “dispersed theme” relects the important turns in the development of Russian musical scholarship. The demand for it appeared in the 1960s and 1970s in connection with analysis of new music and ancient folklore. The concept was irst introduced by A. G. Yusin (1971). The theoretical base of the renewed concept was elaborated on by V. P. Bobrovsky. The functional approach made it possible to expand a set of music theory concepts, including that of the musical theme. In 20th century music the functions of the musical theme may be carried out not only by integral constructions, but also by other type of structures. The dispersed theme, according to Bobrovsky, presents a chain of motives (phrases) atomized in musical space, which bear separate attributes of the musical image. Relections of scholars about new forms of thematicism exposed two most crucial problems: the necessity of creating “musical universals” and the possibility of using old terms for their identiication. Musical universals presumed the development of a single terminological apparatus for analyzing various musical specimens in terms of their historical and ethnical origins (Jay Rahn, V. V. Medushevsky). The question of expediency of use of the old terminological apparatus for ixation of such universal concepts has been decided in various ways. New terms have been suggested for new structures carrying out thematic functions (for instance E. I, Chigareva’s “generating intonation”). The article also examines the correlation of the concepts of “disperse theme” and “micro-theme.” Keywords: musical theme, dispersed theme, function and structure in music, micro-theme |
