Специфіка побудови композицій Джона Зорна

Abstract

У статті проаналізовано провідні принципи структурування композицій сучасного американського композитора та виконавця Джона Зорна. Виокремлено поєднання здобутків академічного та естрадного напрямків музичної культури як провідну рису творчого підходу Дж. Зорна. Наголошено на застосуванні таких принципів конструювання музичного цілого, які наявні в алеаториці та мінімалізмі. Виділено використання схеми побудови, притаманної джазовим творам, яка полягає у чергуванні соло та імпровізацій. Підкреслено полістилістику як основу композиторського мислення Дж. Зорна, котрий поєднує у своїх творах джаз, рок і академічну музику.

В статье проанализированы ведущие принципы структурирования композиций современного американского композитора и исполнителя Джона Зорна. Выделено сочетание достижений академического и эстрадного направлений музыкальной культуры, как ведущую черту творческого подхода Дж. Зорна. Отмечено применение принципов конструирования музыкального целого, имеющихся в алеаторике и минимализме. Выделено использование схемы построения, присущей джазовым произведениям, которая заключается в чередовании соло и импровизаций. Подчеркнута полистилистика как основа композиторского мышления Дж. Зорна, который сочетает в своих произведениях джаз, рок и академическую музыку.

John Zorn is a composer whose works is difficult to classify. His music is largely experimental. He is the initiator of many different projects that are aimed at creative collaboration with various performers. Within the framework of the projects there is a combination of different styles, speaking evidence of polystylistic thinking. The roots of such a multiplicity of his works are in accordance with the ideals of postmodernism, where everything is possible, different art areas coexist, interacting with each other and generating interesting synthetic formations. John Zorn is often combined pop and academic music. The realization of this task is due to borrowing the principles of constructing a musical material inherent in academic music and the content associated with jazz art. The main starting point for the experiments of John Zorn is the typical construction of the form – a jazz standard, followed by several improvisations, after which again the theme is made. His works combine categories such as freedom and rigorous control. The manifestation of this is characteristic of John Zorn’s “intervention” in the improvised solo members of the ensemble. He often manages the performance process, resembling a conductor, pointing out the nature and timing of the introduction for the performers, regulating their improvisations, switching the solo of one of the performers, and giving the language to another. A characteristic feature of John Zorn’s albums is the contrasting alternation of individual tracks that are part of it. For example, an album may begin with a work that is typical of stylistics and the musical language of free jazz, and then there may be some contrasting to it compositions based on the Kleizmerian chants, the authorship of which belongs to Zorn. In these works, polygonal thinking prevails, and they usually have an ostentatious bass line performed by the rhythm section, which creates a meditative, monotonous impression that enters the trance state. The following works can be rotated in the typical for free jazz sound. Some themes can be taught in the style of bebop, in a super-fast pace, in unison or an octave. Sometimes this method of teaching the theme is also used in "national" painted compositions, where it can use the jazz scheme of a work (theme-a series of improvisations – theme-a series of improvisations – the theme). In improvisations of soloists, built on the principle of dialogue, Zorn often violates the square, which is inherent in jazz, because in order to build a climax, he uses the principle of crushing the motive. This leads to a quick approach to the culmination, which often performs itself on the saxophone, after which there is a recession and the gradual formation of the next peak. The works of John Zorn are characterized by the use of the structure inherent in jazz standards. Techniques of development may be associated with improvisation, with auspiciousness accompanied by a variant repetition in the topic. This principle resembles a fixed form of aleatory, when the form is a stable factor, and its filling can vary at all times. This feature of the creative approach is directly related to the avant-garde composer’s academic creativity of the second half of the XX century. In addition to the principles of aleatory, John Zorn uses the minimalism he has genetically linked with both academic tradition and ethnic musical roots.