Abstract: The authors of the article focus on the study of intonational drama and the peculiarities of the structure of monological statements in M. Tariverdiev’s instrumental concerts. This aspect has not been specifically studied in relation to the chosen research material.
The methodological basis of the article, which uses a comprehensive approach combining musical-historical, theoretical and analytical perspectives, is based on the works of Russian musicologists (V. P. Bobrovsky, V. B. Valkova, Yu.D. Zlatkovsky, E. A. Ruchevskaya, I. S. Stogniy and others), who addressed the issues of intonational dramaturgy and intonation as a carrier of meaning.
Based on the analysis of M. Tarverdiev’s instrumental concerts, the article concludes that intonation and intonational development are a style-forming factor. The combination of elements from the main theme ensures close intonational kinship and continuity of intonational development of the subsequent musical material (Concerto for Voice and Orchestra, First Violin Concerto). The preservation of the immanent connotative properties of thematism is noted; a gradual change in the type of musical utterance: from the vocal type of intonation in early concerts, the composer moves to a declamatory or internally contrasting type of speech in the Second violin and Viola concertos.
Keywords: Mikael Leonovich Tariverdiev, instrumental concerto, thematics, intonational dramaturgy, musical intonation, monologue, composer’s style
For citation: Khorobrykh N. V., Maltseva A. A. «Tariverdiev» intonation: observations on the intonational nature of M. Tariverdiev’s instrumental concerts. Scholarly papers of Gnesin Russian Academy of Music. 2026;(3):112-123. (In Russ.). DOI: 10.56620/2227-9997-2026-3-112-123 |
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