Aktualios XX a. muzikos formos sampratų tendencijos : formos genezės tyrimų Vytauto Bacevičiaus kūriniuose fortepijonui teorinis kontekstas

LTŠiame straipsnyje nagrinėjamos aktualiosios XX a. muzikos formos sampratų tendencijos. Teorinis kontekstas kreipiamas į formos genezės tyrimus Vytauto Bacevičiaus kūriniuose fortepijonui. Siekiama apibendrinti ir struktūrizuoti XX a. muzikos teorijoje išsiskleidusią formos sampratų įvairovę, atsispindėjusią ir kompozicinėje praktikoje. Išskiriamos dvi pagrindinės kryptys: mėginimas poliarizuoti XX a. formų reiškinius, išskiriant kraštutinius jų atvejus, bei pastangos juos teoriškai subendravardiklinti, arba konceptualizuoti, akcentuojant moderniosios formos labilumą. Bandoma įžvelgti giluminius muzikos formų dinamikos procesus, konkretizuojami ir apibrėžiami būdingiausi muzikos formų raiškos atvejai. [Iš leidinio]Reikšminiai žodžiai: Evoliucinė forma; Fliuktuojanti forma; Forma kaip formavimas; Forma kaip muzikinis organizmas; Formos genezė; Formos individualizavimas; Formos individualizmas; Fuzinė forma; Muzikos forma; Evolutionary form; Fluctuating form; For as forming; Form as a musical organism; Form as forming; Form as musical organism; Fusion form; Genesis of the form; Individualization of the form; Music form.

ENAt the beginning of the 20th century a problem of the conception of music form arose; it was no less significant than the issue of tonality survival. The theoretical discourse dealing with the issue of music form reflects general trends and problems of classification of the 20th century music phenomena. The pluralism of the last century music processes, on the one hand, caused a reasoned avoidance to create a solid system, the one that had been possible for at least two centuries. On the other hand, even an extreme denial did not abolish the imminent potential for the rise of some laws. The article discusses the spread of the conception of the form in the 20th century, as it was substantially changing in response to the pluralism of the new music phenomena and processes. Two tendencies of theoretical conceptions have been distinguished, one of them being an attempt to conceptualize the phenomenon of the form envisaging a potential "elasticity" of the form, i.e. its ability to adapt to different formation principles of the music material, technological means and to retain the notional focus of the form under different conditions. Thus, the conception of the form as a formation (of the process, way of thinking), as an organism (of morphological or energy origin, as a bearer and transferor of genetic information), as a conception of an abstract of space configurations.All of them could be united by an individualized approach to the form, which, according to Martin Kirschbaum, after the decadence of the genre system has to be concretized separately for each piece. The other formulated direction of the theoretical conception of the 20th century music form could be defined as polarization of the form types, focussed onto the opposition of determined and undetermined forms. Different notion antinomies are used by different authors: closed - open (Carl Dahlhaus), fixed - random (Hennig Eisenlohr), totally organized - changeable/fluctuating (Wolfgang Andreas Schultz), static - developing/expanding (Dietrich Mast), structurized - flexible, form as an encasement for the contents - a process developing from itself (Reinhard Febei) and others. All of them refer to either the static, definite or the dynamic, fluctuate state of the form. The article is based on the MA research work "Vytautas Bacevičius' Piano Pieces: Genesis Aspects of the Form" defended at the Lithuanian Music Academy in June 2003 (research supervisor Assoc. Prof. Dr. Gražina Daunoravičienė). [From the publication]