Sonoric timbre in the music of Russian composers of the last third of the 20th century

Abstract

   Sonorous timbre in sonorous works of Russian composers of the last third of the twentieth century is the most important subject of research. To demonstrate a variety of approaches and methods of using sonoric timbre, the author analyzes the works of composers S. Gubaidulina, A. Schnittke, N. Kordorf, G. Ustvolskaya. The sonoric timbre is considered in general as a syncretic timbre and timbral texture. Private (loud, register and articulatory) properties of the sonority timbre are also analyzed. The author demonstrates how the sonoric timbre was deeply and thoroughly developed and developed in the works of composers of the last third of the 20th century, when the development of the dramaturgy of musical composition began to depend more and more on timbral, rather than harmonic and melodic factors. Even today, modern music shows similar trends.