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DOI: https://doi.org/10.34069/AI/2022.57.09.21
How to Cite:
Suita, B., Bench, O., & Riabchun, I. (2022). Nonlinearity as a strategy for creating postmodern musical texts in the
1970-1990s. Amazonia Investiga, 11(57), 198-204. https://doi.org/10.34069/AI/2022.57.09.21
Nonlinearity as a strategy for creating postmodern musical texts in the
1970-1990s
Нелінійність як стратегія створення постмодерністських музичних текстів у
1970-1990-х роках
Received: October 1, 2022 Accepted: November 2, 2022
Written by:
Bogdan Suita64
https://orcid.org/0000-0002-4986-3451
Olga Bench65
https://orcid.org/0000-0002-3998-3062
Iryna Riabchun66
https://orcid.org/0000-0001-8070-7847
Abstract
It is relevant in this research context to consider
the ways of organizing the text, algorithms, and
ideological principles of modeling the content
components of a musical work. The purpose of
the study is to establish strategies for the
development of postmodernism in music, as well
as non-linearity in music as a creative strategy of
postmodernism. The study is devoted to
fragmentation as perception and accumulation of
information, a form of artistic experience
reflected in musical creativity. Precedent
phenomena that perform the function of
meaning-making in the music of the last decades
of the 20th century are determined by their
symbolism, the possibility of mentonization and
evaluation. Thus, in the musical text of
postmodernism, the new work is incorporated
into the figurative and expressive system in the
space of fragmentary discourse, and the
extratextual content of the musical text is formed.
The research methodology is based on complex
approaches. The main methods used in work are
description, analysis, and synthesis, the method
of intertextuality and the comparative-historical
method were used to work with the material. The
result of the work is the definition of new
methods of constructing musical works of
fragmented discourse, where an effective means
is the selection of precedent phenomena, an
individualistic vision of the audience, and
intertext.
64
Doctor of Art Science, Habilitated Professor, Professor of Ukrainian National Tchaikovsky Academy of Music, Ukraine.
65
Candidat of Art Science, Habilitated Professor, Rector of Kyiv Academy of Art, Ukraine.
66
Candidat of Art Science, Professor Assistant in Kyiv Academy of Art, Ukraine.
Suita, B., Bench, O., Riabchun, I. / Volume 11 - Issue 57: 198-204 / September, 2022
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Keywords: nonlinearity, fragmentarism,
postmodernism, musical text, precedent
phenomena.
Introduction
The 70-90s of the twentieth century were defined
by an active search for absolutely innovative
creative directions in music, thus a new creative
method was developed, everything went through
changes, approbations, experiments. There was a
tendency to combine completely different, and,
at first glance, unrelated directions, genres,
styles. Different in nature and form realities,
ideas and meanings within one integral musical
work were actual phenomena for the music in 60s
of the twentieth century and actively continued
for several decades. First of all, it is worth
mentioning the symphonic music of Luciano
Berio, which is significant for the European
postmodern art culture. Thus, non-linear
strategies of creating texts enter the artistic
musical space, the last decades of the twentieth
century brought new ways of processing material
in music, reception and reflection, rooted in
intertextuality, individuality, precedence and
fragmentation. During this period, a number of
new, non-linear, marginal forms of working with
musical material are activated, which generally
changes the principles of working on musical
text.
Among such innovations a special place belongs
to fragmentation. In fact, this method has long
been known in art and literature, but in the last
third of the twentieth century it was actively used
in music for the formation of texts,
encoding/decoding of the contents of a musical
work. Nowadays, all multilayered contents and
methods of reading texts, creating new contexts
are based on the principles of precedence,
intertextuality, and mixing of genres and styles
are actively used.
Aims. The main aim of the study is to establish
the strategies of postmodern development in
music, ways of expressing nonlinearity in music
as a creative strategy of postmodernism. The
focus is on the consideration of fragmentation as
perception and accumulation of information, a
form of artistic experience that forms the
composition of the work.
The research objective involves solving the
following tasks:
− to identify the role of non-linear strategies in
the organization of the musical form of the
text, text creation, content and methods of
reading musical works;
− to establish the level of involvement of
fragmentarism in postmodern discourse in
the 70-90s of the twentieth century;
− to analyze nonlinear characteristics as a
creative strategy of postmodernism on the
example of the nocturne “Hello M.K.” by
V. Runchak.
Literature Review
The study of strategies for the formation of
musical text within the artistic method, in
particular, postmodernism, is constantly in the
field of view of musicologists, art critics, music
historians, culturologists, philosophers (Gavins,
2012; Shaltovnaya, 2014). Researchers consider
a wide variety of characteristics and genre
features of musical works of this direction
(Craenen, 2014; Maslowski, 2022).
Fragmentation can be used to interpret what, at
first glance, is a collection of different genres,
styles, incompatible from the ideological point of
view, but, owing to the tools of postmodernism
and mastery of performance, they are perceived
as a new unity (Al Kasimi et al., 2007; Hall &
O’Donnell, 2009). The focus of researchers of
postmodern trends is on the peculiarities of
performing skills, the search for a new view of
innovation in the humanities education (Berndt,
2011; Chen & Zheng, 2021), the need to change
the methods of teaching performers (Lipka,
2013; Murphy et al., 2020).
The musical text and the ways of its
interpretation become the subject of discussion
among composers. Thus, the complexity of
approaches to the realization of the artistic idea,
instrumental tradition, education and musicology
is also in the focus of attention. There are
problems with historical tradition, which puts
pressure on the newest music and prevents the
realization of a lot of musical knowledge. It is a
certain obstacle for many musical endeavors,
creating an atmosphere of biased judgment,
especially for postmodern music, which aims to
move away from institutions and traditions
(Lehmann, 2012; Kozel, 2019).
The importance of successful public performance
of a piece of contemporary music was also
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determined, which is a complex and time-
consuming artistic achievement (Rychter, 2013).
A separate research area characteristic of
postmodern music is the study of the applied role
of music in the development of new digital
technologies (Tveit et al., 2014).
Methodology
The study of postmodern musical text, its genre
features, content, aesthetics and philosophy
should be based on an integrated approach. The
descriptive method, analysis and synthesis are
intended to explore the theoretical and
methodological foundations of the study of
postmodernism in music as an artistic movement
of the 70-90s.
An interdisciplinary method was also used to
work with the research materials in order to
determine the specific characteristics and
methods of organizing the musical text, the
features of its interpretation. The interpretative
method is used to analyze the musical text as a
complex synthetic multilayer structure. It is
characterized by intertextuality, fragmentation
and individual approach to interpretation.
In order to study nonlinearity as a strategy for
creating postmodern musical texts in their
interconnections with all branches of the spiritual
life of society, culture, tradition, the method of
interdisciplinary research was used. With the
help of this method, it is possible to identify the
main ideological and cultural characteristics of
postmodernism in music, to determine the
priorities and social status of the musical text in
the artistic paradigm.
The method of critical discourse within the
analysis of the musical text as an artistic work
can be used when considering the cognitive and
creative aspects presented through nonlinearity,
so it is possible to find out the specifics of artistic
trends, strategies of forming the musical text,
social and performance tasks of this art. This
method allows us to consider the peculiarities of
using the creative method in different social
contexts and discursive practices.
In general, to analyze nonlinearity as a
postmodern strategy, a phenomenon of artistic
and methodological order, the method of
interpretation is used, in which advertising is
described as a cultural concept that is
polyvariant.
Results and Discussion
Fragmentation can be achieved in the process of
non-linear text creation. This tendency is vividly
demonstrated in the composition “Hello M.K.”
by V. Runchak (Vienna Symphonic Library
GmbH, 2015). The perception of a musical work
begins before the vocalization of the musical
text, and ends no less original, all in accordance
with the author’s intention. The artistic integrity
of the work in postmodernism exists only under
the condition of the contact between the
composer and the listener established by the
author, as well as dictated by the open
possibilities of using precedent phenomena.
Much of the audience’s awareness is based on an
exhaustive thesaurus of the complex of
expressive means of contemporary music, which
the listener must have. A composer working
within the methods of postmodernism should
count on a certain musical education, readiness
of the audience to perceive a musical work. It is
important that the listener is able to
independently hear the integrity of the artistic
text from the received musical fragments,
author’s hints, suggestions, set out in all levels
and parts of the work without exception. It
should be borne in mind that even the lack of
certain preparedness of the audience, sometimes
misunderstanding of the strategic goals of the
author will not prevent the perception of music.
However the artistic integrity of the work may
not be perceived, and will therefore change the
aesthetic parameters of the text, leading to
inadequate reading of the musical message. The
above mentioned work of V. Runchak is just in
the realm of modernist discourse with the most
open worldview and worldview pluralism. In the
postmodern interpretation, each element of a
piece of music is symbolic, it can be a precedent
name. Thus, the title of the musical work
contains the cryptonym “M. K.”. Only those
devoted to the history of music will understand
that we mean a modern German composer, a
representative of the avant-garde movement
Mauricio Kagel, and more specifically his 70th
anniversary. The composition of V. Runchak
presents the stylistics, potential connotations,
reminiscences to the work that can be read by the
audience. This creates the possibility of building
intertextual figures, reaching a deeper level of
feeling and reading the text. The splitting of the
semantics of the author’s text is inscribed in the
parody and grotesque presentation of the author’s
text. The realization of the work presupposes the
readiness of the listener to split the semantic
structure of the work. It is worth presenting two
levels of such splitting: the actual layer created
by the composer and the familiar expected sound
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layer. Activation of basic knowledge forms a rich
contextual environment for a full reading of the
musical text. This allows the semantics of the
work to be read at the first stage of performance.
Holistic comprehension of what is heard occurs
due to the intersection of real data, an integral
fragment of the text that is already represented in
the listener’s memory. The character of
M. Kagel’s humorous and grotesque works is
conveyed by the author, but also emphasized by
the text fragment (verbal form) and voiced with
the help of allusions. Only presented in its
entirety, composed of fragments, the non-
linearity of the work can be properly appreciated
by the audience. The title of the work is also
significant, which in itself is a grotesque and a
joke: “three — contemporary sonar norm for
piano” (Ukrainian: "rtipboxnhiacna conaPna
Hopi a 47.2 ePopmeniano" (the verbal part of the
text is equivalent to the musical part). The
author's notes state that in all announcements,
programs, posters it is important to give the full
title of the work and its parts. Even the verbal
part of the musical work, imitating the manner of
M. Kagel, jokingly confuses the letters in the
titles and “author’s” names of the parts: Part I:
nocturne – “Afternoon rest” mosquito”; Part 2:
open form – “Death of a hedgehog”; Part 3:
variations – “Repetition of the 2nd part “encore”
several times”. This is a technique characteristic
of postmodern philosophy – the expansion of
cultural and historical contexts, also at the level
of composition, the expansion of the sign system
of a musical work. The composition of the work
“Nocturne” is constructed in such a way that the
first and main parts perform the function of
representing the integrity, the technique of
reflecting the whole in the part is also used, that
is, the composition of one part repeats the
composition of the whole work. This is a
demonstration of the author's intention, where
through the compositional features the idea of the
large-scale and temporal expression of the
essence of the work, the relativity of time-space,
its ridiculousness and awesomeness is conveyed.
This absence of a model, or absurdly grotesque
solution of the composition of the sonata (which
can be conditionally called a sonata) can be
called an “echo sounder”. According to the
scheme, each part also has an internal structure
similar to the external one.
А А1
Where the internal structure can be represented as
a + a a' + 1
Postmodern tradition also demonstrates the
presence of allusions. In the musical text there
are allusions to the works of C. A. Debussy,
which is presented in the title of the work. This
technique allows listeners to be already informed
and form a preliminary image of interpreting the
author’s creation, that is, it does not create an
intertextual effect in the process of perception,
but is pre-formed. The brilliant use of the
combination “verbal title + stylistic technique” is
a vivid demonstration of the use of the ideas of
hypertextuality and paratextuality. All this is
clearly shown in the second and third parts of the
analyzed composition.
The concept of “semantic non-contact” is also an
important component of “Hello M.K.” by
V. Runchak as a postmodern artwork. In the
absence of direct instructions in the musical text
on the rules of performance given by the author,
and this refusal to interpret is made deliberately,
which is part of the representation of the
paradoxical style of M. Kagel. There are also
references to the “Flight of the Bumblebee” by
Rimsky-Korsakov, which was confirmed by the
audience. Such construction of the intertextual
figure is related to the context, interpretation of
the sound as a stylistic play, a variant way of
deployment and similar background
characteristics. The genre solution of the
presentation of the musical work as a nocturne is
quite conditional, as it actualizes the reference to
well-known, recognizable works of music of the
last two centuries (F. Chopin, J. Field, I.
Stravinsky, P. Hindemith), and the section titled
“Afternoon Rest” is associated with the
construction of a grotesque image, an unexpected
solution of the transition from the primary
musical text to the connotated one. Thus, it is
extremely important to use precedent titles of
works and themes, which generally contributes to
creating the appropriate atmosphere for the
audience.
In the second part of the nocturne, there are only
two bars of the musical text, which have one note
(the strings are plucked on the instrument), and
one fermata pause is presented in the work. The
indirect connection of the content and the title,
represented by “Hedgehog” or - “The Death of
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Ose”, creates an allusion to the oeuvre of
E. Grieg. Such a receptive intention, which is an
expression of non-linearity, is successfully
inscribed in the composition of the artwork,
genre priorities of postmodern art.
This construction of the musical text, called by
the author “open form”, sounds quite ironic and
again is a certain precedent reference to the
famous work of U. Eco “The Open Work”, and
turns out to be another fragment in the author's
picture of the nocturne. The precedent text also
performs the function of intertextuality, which
aims to create a simulacrum in the listener's
imagination, which should consist of fragments:
titles, verbal characteristics, musical text,
performance, reminiscences, allusions,
disclosure of the main concepts of the whole
work in the first part. As another element of the
composition - the performance - the obligatory,
serious turning of the page “to perform the third
part” is presented. Moreover, it can also preserve
the general mood of parody, theatrical
performance grotesque, in general, a kind of
musical humor. The heard and seen in the
complex create the ground for a new rethinking
of what was heard and to present the artwork in a
different way. The composition of fragmentary
type makes it possible to reorganize and rethink
the work of art all the time. At this stage of work
with the musical text, the author presents
“variations”. And then we can talk about the
finally completed organization of integrity that
forms the chosen discursive practice. The last
pause sustained in the work signals its end, the
artwork is performed. In postmodernism, great
importance is attached to performance skills,
individual approaches of musicians to the
performed text. Only taking into account this
aspect, the work can be considered successfully
fulfilled.
There is an integral value given to the dramatic
component of the “last part” as the final, binding
element. From the standpoint of the creation
integrity, all three parts are self-sufficient
fragments, they are not connected and do not
need to be continued in another part. That is,
unity is presented not through a set of formal
means of traditional methods of composition.
The author’s intention can be comprehended
only by accepting the concept and idea of the
author: among the fragments, presented hidden
and explicit textual allusions, concepts, stylistic
and genre elements, semantic bridges should be
created between the fragments of the artwork and
segments of parts. It is also crucial to be well
oriented in the world of music, recognize the set
of precedent phenomena, connotations and
perceive the intertextuality activated by the
author. Discursive analysis of the work solely
can help in interpreting the musical text,
peculiarities of its performance and perception as
an act of communication culturally marked and
innovative.
As we can see from the above materials, the very
concepts of fragmentarism and nonlinearity are
rethought in the context of postmodernism. In the
18th-19th centuries, nonlinearity as a way of
perceiving and forming musical texts was
expressed in the incompleteness of constructions,
the discontinuity of their semantics, the
incompatibility of fragments, the unusual
interpretation of the text, a peculiar manifestation
of ungrammaticality. We could also talk about
nonlinearity as a violation of the system
hierarchy: elimination, superstructure of
individual levels of the work, violation of
integrity and harmony in the composition of the
work.
For postmodern philosophy, nonlinearity as a
strategy for creating a musical work can use
fragmentarism. This concept should be seen as a
method of using precedent phenomena,
intertextual reading of the work, tested means of
related arts, allusions, which in their diversity,
create a rethought ideological and cultural
integrity proposed by the author for a prepared
audience. Precedence and intertextuality are
signs of fragmentary discourse in contemporary
music. A vivid evidence of such processes in
music are the works of Ukrainian composers
(“Infinite uniformity of the suns” for flute,
clarinet, piano, percussion, violin and cello by
K. Tsepkolenko, “...end less…” for symphony
orchestra by L. Yurina, two plays for marimba
and guitar “A year will pass” by M. Denysenko.
“20.02.2002” for two pianos by X. I Kovalinas).
Discussion
The language of musical non-linear text,
performed in postmodern aesthetics consists of a
multilayered and complex composition of
fragments. In a number of studies (Berndt &
Theisel, 2008), the prospects for the development
of postmodern music are defined as complex
mechanisms of combination, attachment
(composition of the whole in the part),
technological aspects of the author’s idea, which
form more complex mechanisms and give a huge
space of possibilities. Under such conditions, the
listener has the effect of an authentic sounding
fragment, but the composition of a non-linear
nature can also be represented in computer
music. Expansion of the perception matrix,
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automation of synthesis parameters, according to
the authors, is a task for implementation in the
future, since this complex work requires a lot of
formal work with timbre. In this context, the
problem of forming performing skills through
innovative trends in music education, dictated by
such postmodern markers as multiculturalism of
education, the presence of high-tech and
ecological environments (Virgona & Kashima,
2021; Lu, 2022).
In fact, as our research shows, nonlinearity as a
strategy for the formation of a postmodern
musical text makes it possible to create new
discursive practices due to fragmentation,
intertextuality, precedence. The musical text in it
is not only a sound solution of the artistic level,
but a comprehensive solution for understanding
reality. This means that the requirements for
performing skills, an innovative approach to the
tendency of universalization of the musician, his
willingness to work in a complex of stylistic
techniques and genre contamination are
changing.
In musicology and music theory in general, the
problem of many contexts of the concept
“postmodern” is considered. Rychter (2019),
considering the problem of terminological
uncertainty, defines three contexts of
postmodernism as a concept: 1) a designation of
an artistic style; 2) a separate theoretical method
of interpreting culture; 3) a philosophical concept
of perception of the world in a certain space and
time. Referring to the philosophical concept of
Lyotard, a number of studies (Rychter, 2019;
Merlini, 2020) have identified changes in the
status of knowledge in the post-industrial era,
where the priority ideology of culture is
postmodern and this period is clearly manifested
in the 50s of the 20th century. According to our
research, postmodernism as a method of artistic
comprehension of the musical text is actively and
fruitfully developing in the last third of the 20th
century, where the achievements of the
Enlightenment and modernity are rethought,
having lost their original power and semantics.
The interpretation of the past heritage makes
possible the non-linear construction of a musical
text filled with allusions, grotesque, precedent
phenomena, etc. Thus, the legitimacy of
traditional discourses and practices is lost, and
instead a new integrity is formed, composed of
fragments of cultural heritage and reinterpreted
by the author in accordance with new meanings,
values, discursive practices.
Conclusions
In the creative method of postmodernism, it is
important to use new or rare for other artistic
concepts, methods of representation of author’s
ideas, positions or guidelines. One of such
innovations is a non-linear strategy in the
organization of the musical form of the text, text
creation, creation of new methods of interpreting
musical pieces. In the last third of the 21st
century, the nonlinearity of text creation and
fragmentation of a musical work become
discursive dominants, which allows the use of a
rich palette of stylistic means and genre
contamination in the works of contemporary
composers.
The development in the musical work is due to
the means of artistic combinatorics, the
combination of sounds-symbols and actions-
symbols, intertextuality, precedent phenomena,
allusions, verbal and non-verbal means of
highlighting the contents, ideas, concepts. Due to
the detailed consideration of the postmodern
music of the period of 70-90s it is possible to
establish that fragmentarism as a form of
manifestation of nonlinearity of postmodern
discourse is actively involved in musical
creativity. The postmodern element is presented
as a non-linear unity of different components of
the creative process. In the postmodern several
centuries of development of world music and
culture are rethought and "revised" through a
new vision. The intertwining of sound fragments,
drama, verbal text and performing individuality
allow composers to create new concepts,
simulacra and a new reading of precedent
phenomena through experiments with
composition and features of sound, performance,
constant encouragement of the audience to
actively read new meanings of the old. The
listener may not be deprived of the feeling of
authenticity and recognition of a particular
fragment. The audience is not deprived of the
impression of an authentic fragment that
dominates in a particular part as an element of the
composition, but the transparent semantics of the
work is revealed, the constituent fragments are
recognizable, and the nonlinearity of the
composition in general looks like integrity.
In the future, it is worth paying attention to the
evolution of nonlinearity strategies in the music
of the early 21st century, to what extent the
compositional integrity, performance
requirements and the level of musical education
of the audience are transformed.
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