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FACTUROLOGY IN THE RUSSIAN MUSICOLOGY OF THE 20TH CENTURY

E. V.Titova

Abstract

Evolution of the facture theory in the Russian musical science is discussed in this article. System of views, oriented to study the way how a sound tissue is organized, forms a separate area called facturology (as defined by Y. N. Kholopov). The facture theory in music in its orientations at the stage of formation was similar to separate representations of related art and literature. Works of V. Markova, V. Kandinsky etc. are of some interest in this aspect. Later facturology developed as an independent direction in the music theory. Currently, it is being studied in such areas as harmony and analysis of musical compositions, as evidenced by the scientific works of the last decades by T. S. Bershadskaya, E. A. Ruchievskaya, Y. N. Kholopov, V. N. Kholopova, V. V. Zaderatskiy. Term system of the facture theory is constantly enriched with new terminology that is connected with analytical development of modern music, which represents various composition techniques. The introduction of a number of categories is becoming a matter of debates; a constitution category is referred to such categories. The characteristics of the St. Petersburg and Moscow theoretical schools which essentially vary from each other, are presented here. The facture issues are among the topical in methodical work.

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DOI resolver: doi.org/10.5593/sgemsocial2018/6.2/S26.040

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