Implementation of orchestra sound in selected works of original and transcribed literature for bayan solo

[N. Ž. Aćimović]

135 listova

Doktorska disertacija Implementacija orkestarskog zvuka u odabranim delima originalne i transkribovane literature za harmoniku solo bavi se izučavanjem specifičnih aspekata oblikovanja interpretativnih rešenja u izvođačkom domenu koncertne harmonike koji se zasnivaju na praksi projektovanja orkestarskog kreiranja zvučnih odnosa. Akordeonistička literatura poznaje veliki broj transkribovanih dela čija kompleksnost i količina prenesenog materijala harmoniku izdvajaju po izvedbenim kapacitetima naspram ostalih solističkih instrumenata, te je takav fenomen zahtevao detaljno sagledavanje. Polazeći od karakteristika koncertne harmonike, uviđaju se mnoge izražajne mogućnosti bliske instrumentima iz sastava simfonijskog orkestra. Široka paleta boja koje pružaju registri i mnoštvo načina njihovog tretmana predstavljaju bazu na kojima su takve sličnosti zasnovane. Sa ciljem identifikovanja korelacije zvuka između navedenih medija, deo programa obuhvatio je izabrane orkestarske kompozicije, koje su u te svrhe adaptirane i pripremljene za izvođenje na ovom instrumentu. Studija se detaljno bavi svim etapama procesa aranžiranja, od početnih, u koje su uključene selekcija i odabir dela, pa sve do iznalaženja i sprovođenja načina prenosa i zadržavanja krucijalnih detalja muzičkog sadržaja na putu ka primeni orkestarskog metoda plasiranja zvuka. Takav vid podrazumeva analitički pristup u kome se podrobnim istraživanjem obuhvataju sve relevantne komponente odabranih dela. U drugom delu rada, razmatrane su kompozicije originalno pisane za harmoniku koje su karakteristične po integrisanim citatima, pozajmljenim iz pojedinih orkestarskih dela. Složenost materijala na kome su zasnovane ukazuje da je stvaralački manir kompozitora inspirisan orkestarskim zvukom i zasnovan na njegovim postulatima, što će predstavljati i put vođenja konceptualizacije interpretativnih rešenja. Umetnički projekat trebalo bi da razjasni ovaj specifični aspekt akordeonističkog izvođaštva u kome će ustanovljeni model oblikovanja zvuka biti značajan doprinos i od velike važnosti u razvoju domena koncertne harmonike.

The doctoral dissertation Implementation of Orchestral Sound in Selected Works of Original and Transcribed Literature for Bayan Solo deals with the study of specific aspects of shaping interpretative solutions in the performance domain of the concert accordion, which are based on the practice of designing orchestral creation of sound relationships. Accordion literature knows a large number of transcribed works whose complexity and amount of transmitted material distinguish the accordion in terms of its performance capacities compared to other solo instruments, and such a phenomenon required a detailed examination. Starting from the characteristics of the concert accordion, many expressive possibilities close to those of the instruments of the symphony orchestra are recognized. The wide palette of colors provided by the registers and the multitude of ways of their treatment represent the basis on which such similarities are based. With the aim of identifying the correlation of sound between the aforementioned media, part of the program included selected orchestral compositions, which were adapted and prepared for performance on this instrument for this purpose. The study deals in detail with all stages of the arrangement process, from the initial ones, which include the selection and choice of the piece, to finding and implementing the method of transmitting and retaining crucial details of the musical content on the way to the application of the orchestral method of sound placement. Such a view implies an analytical approach in which all relevant components of the selected works are covered by detailed research. In the second part of the paper, compositions originally written for the accordion are considered, which are characterized by integrated quotations borrowed from some orchestral works. The complexity of the material on which they are based indicates that the composer's creative manner is inspired by orchestral sound and based on its postulates, which will also represent the path leading to the conceptualization of interpretative solutions. The artistic project should clarify this specific aspect of accordion performance in which the established model of sound shaping will be a significant contribution and of great importance in the development of the domain of concert accordion.

koncertna harmonika, implementacija orkestarskog zvuka, transkripcije, Grig, Sibelijus, Kusjakov, Zolotarjov

bayan, implementation of orchestral sound, transcriptions, Grieg, Sibelius, Kusyakov, Zolotarev

780.647.2:78.091(043.3)

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