THE INSTRUMENTATION AS A FACTOR OF THE ARTISTIC INTERPRETATION IN THE ART OF COMPOSITION

Abstract

The article deals with the problems of a composer's creative work and his own musical piece transcription process by himself. The purpose of this publication is to determine the instrumentation as a factor of the artistic interpretation in the art of composition on the example of fragments from two versions (the piano and the orchestral) of the first part of “Spanish Rhapsody” by M. Ravel. The research is implemented in the bounds of the functional-structural method for the consideration of structural organization components of musical piece fragments, which are studied in the article. A philosophical and aesthetic approach is also applied to found the theoretical part of the article, which defines the interpretative essence of the instrumentation. On the analytical work basis, it is concluded that the instrumentation as a factor of the artistic interpretation in the art of composition touches upon all levels of the organization of musical material, influencing the contents of a musical piece. In this case, the instrumentation correlates with other contents’ components of analyzing fragments and enhances their imaginative characteristics. The subject of the article may be continued in explorations aimed at further analysis and comparison of two versions of the "Spanish Rhapsody" by M. Ravel in sense of the composer’s interpretation context, the timbre and texture interaction or the instrumentation’s interpretational power. It is also possible to direct the vectors of subsequent publications to the way of the melody, rhythm and harmony analysis of this musical composition and their expression in the instrumentation. Research results could be valuable for the educational process in courses of instrumentation, analysis of musical works, interpretation, music history and individual special classes of composition and instrumentation. Fragments from two versions of the first part of the "Spanish Rhapsody" by M. Ravel were analyzed in the context of the interpretative potential of the instrumentation for the first time in this article. A new approach to the musical piece analysis proposed there, aimed at a detailed survey of certain contents’ components of the work and their combined implementation in the timbre.