Просторовість музичної фактури як компонент темброколориту
The spatiality of music texture as a component of timbre-coloring

Summary/Abstract: This article is devoted to the problem of spatiality of musical texture. It reveals the relationship between the concepts of spatiality in objective physical and conventional musical space. The common coordinate of musical spatiality’s system are formed. We consider the main timbre-coloring effects that are based on the phenomenon of spatiality in the works by Olivier Messiaen. The problem of spatiality in music is that music art, unlike painting, architecture, or even theater, is not related to spatial. Therefore, the notion of musical spatiality is as conditional as the concept of time in painting. The spatial sensations occur in the perception of the listener, based on a musical material and general internal spatial experience of listener. The subjectivity of this process does not allow to explore the phenomena throughout the volume, but allows you to identify trends of spatiality. The main difficulty of the study is that the full disclosure of the problem require to combine the data of acoustic and phisiology, of music psychology and music theory. The purpose of this article is discovering of interaction between spatiality coordinates of objective reality and conventional musical space. Research objectives: submitting the factors that contribute to the emergence of spatial representations of music, presenting major musical effects of spatiality in the works by O. Messiaen, studying spatiality as a component of timbre-coloring. The real three-dimensional space has three homogeneous dimensions: height, width and depth. Contributed equal fourth dimension – time, they represent a physical model of the world, the space-time continuum. Within the development of music the coordinates of musical fabric were distinguished, so to speak, as "musical counterparts" of physical coordinates: vertical, horizontal and depth. The vertical coordinate is the most important for spatial representations. It defines the direction consistent deployment of melodic lines and textural layers for high-rise scale and simultaneous sounding of high-rise complexes. Thus, the music vertical coordinate reflects two physical coordinates at once – the height and width. The coordinate of the depth is absolutely necessary for a sense of spatiality; it takes in music the same important function as a perspective in painting. The deep appears through the dynamic and timbral differences between voices, layers, plans. Finally, the temporal nature of music makes absolutely essential the presence of the horizontal coordinate in the musical fabric. The horizontal coordinate allows to feel the space as deployment somehow arranged musical events. We consider the special musical effects that give the impression of spatiality. The imitation of resonance or echo makes the most striking spatial effects. Accordingly, in the music there is some rhythmic difference between these two effects. Simulated resonance occurs in small groups of durations (eighth, sixteenth), while the echo simulation takes some time retreat, repeats not individual sounds, but entire groups. The simple method as pausing gives a big spational effect. In the movement № 1 of "Catalogue of Birds" by O. Messiaen dysonant chords that present "screams Alpine jackdaws over the abyss", are separated with the big fermata (vols. 28-29). They allow you to feel the reverberation echoes after sounding chords while performing in a concert hall. Messiaen also often uses the natural properties of piano resonance. Long chords, extended with sounding pauses, are not rare in the works by Messiaen (see "Catalogue of Birds," "The garden Warbler "). Almost always this kind of effect is enhanced with sound complexes, built on the resonating cavity of the intervals of newt, fifth, seventh and eighth. It is noteworthy that all these intervals are included in the series first seven overtone spectrum, and they are in basics of the harmonic language by Messiaen. Messiaen constantly used the spatial properties of intervals in the construction of vertical. The idea of echo appears in Messiaen’s works in more metaphorical terms. The famous Messiaen’s method of "upper and lower overtones" is image of more relief material, the reverberation in a particular environment. Finally, the multifaceted texture plays an important role in creating of soundscape. A lot of plans (independent melodic figures, textural layers), while they contrast each other, differentiated, brighten deep coordinate and enhance texture volume. In Messiaen texture, lines, thickened with octave doubling or dense chords, acquire meaning of layers, often covering almost the entire range of the piano. Another kind of spatiality is based on the graphic texture lines that transmit plastic movement. The main function of spatiality is to give an idea of conditional of quasi-space where musical events take a part. But there is another, color function of spatiality, which makes it an integral component of timbre-coloring. The analysis of main effects of spatiality ostended: these effects often are based on means of expression that make up the timbre-coloring system, namely timbre, high-altitude position, dynamics, articulation, pedal, intervals and the texture as a whole. Thus, spatiality as a component of timbre-coloring communicates with higher systems, image-aesthetic and stylistic.

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