The newest composition techniques and contemporary music genealogy

Abstract

The article is devoted to the genealogy of contemporary music and the evolution of the newest
composition techniques. Parallels are drawn between discoveries in science and changes in art. The
described processes are based on the author’s personal experiences. Some world music centers were
noted where the modern style is being improved, the future of music is evolving and is being forged and
world premieres are held. In particular, Impuls (Graz, Austria), Accademia Santa Cecilia (Rome, Italy),
Conservatorio Giuseppe Verdi di Milano (Italy), Conservatorio C.Pollini di Padova (Italy), where the author
had numerous opportunities to discuss the latest composing techniques with the creators, poets and
architects of new music. Existing methods and concepts of playing various musical instruments as well as
new techniques and their development are demonstrated and structurally analyzed in the context of the
author’s music. Namely, the use of extended techniques is shown on the example of «Omaggio a Ivan
Fedele» (Tribute to Ivan Fedele) for solo flute, the ability to comprehend the primary musical material of
a modern score is based on «Tears of Silence», concerto for piano and symphony orchestra. The functions
of «Campo armonico» (harmonic field) are viewed on the example of «Ombre del Vuoto» (Shadows
of the void) for 11 performers (flute, oboe, clarinet, bassoon, trumpet, triangle, gran cassa, tam-tam,
vibraphone, piano, I and II violin, viola, cello). New methods of organizing time in music are shown on
the example of «Serenata di stelle invisibili» (Serenade of invisible stars) for 5 performers (flute, clarinet,
alto saxophone, cello, piano). The article is about the correlation between composer’s and performing
techniques and the emergence of a new timbre-Textur musical space-time coordinate.
Key words: contemporary music, avant-garde, sonoristics, microtones, multiphonics.