SYMPHONIC CREATIONS BY AVET TERTERYAN IN THE CONTEXT OF THE NATIVE MUSICAL POSTMODERNISM
Abstract
The article briefly discusses the historical and semantic specificity of two (“social-realistic” 1930–50s and “true” 1960–80s) periods of the native musical postmodern of the XX century.
In the context of critical and spiritual creative tasks of the epoch of the 1960–80s the specificity of the content of A. Terteryan’s symphonies which absorbed traditions of the East and the West is analyzed. For the first time, from the standpoint of intertextuality, the symbolism of the “wave” forms of musical sonorica going back to the ancient roots of oriental culture — decorative and symbolic creativity-is considered. The new approach allows to interpret more correctly the intentions of the symphonies by A. Terteryan.
Native and foreign theories of postmodernism, intertextuality, semiotics which are developed in various forms of art (literature, painting, decorative arts, music) were the theoretical basis of the study.
About the Author
Lidya A. Ptushko
Nizhny Novgorod State Academy of Music named after M. Glinka, 40 Piskunova
St., Nizhny Novgorod, 603005
Russian Federation
Cand. Sci. (Arts), Prof.
Russian Federation
Cand. Sci. (Arts), Prof.
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Review
For citations:
Ptushko L.A. SYMPHONIC CREATIONS BY AVET TERTERYAN IN THE CONTEXT OF THE NATIVE MUSICAL POSTMODERNISM. Bulletin of Vaganova Ballet Academy. 2019;(1):229-244. (In Russ.)
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