Research On Texture Features And Main Musical Vocabulary In Denisov’s Works

Known as one of the "Three Heroes" of Russian modern music, Edison Denisov is a pioneer in avant-garde music of former Soviet Union in the late 20th century. Since the beginning of creation of Musique pour 11 instruments a vent et timbales and Variations pour piano in 1961, to the Cantata "Sun of the Inka ", which won the worldwide reputation for him, and numerous distinctive concerto thereafter, Denisov kept exploring in avant-garde music. He learned from the world’s most avant-garde compositional techniques of the same era, combined with his own aesthetic orientation, and gradually formed a unique musical language, created a large number of outstanding works.In his works, the main musical vocabulary features are:in pitch, the application from the twelve tone sequence to the signature motivation and "Denisov tone"-centric pan twelve sound; in rhythm, the complex notation and changeful rhythm; and work structure of various principles in parallel and so forth. The most representative is the texture based on above-mentioned elements in works, which became his musical features because of their unique and varied forms and rich sound effects.Mainlyfrom the perspective oftechnical analysis, this research selects hisrepresentative chamber and orchestra works of each period, to carry out a detailed analysis. It focuses on the two kinds of typical textures in his works:point-like texture and mesh texture, which will be mainly analyzed, categorized, summarized and named. The author classifies the point-like texture into shooting style, explosive fireworks style, dot style and panoramic sketch style. And the mesh texture is divided into micro polyphony type, comparing winding type, mixed type and freesound type. This research discusses the function of different texture structures in the works, and makes quantitative analysis on dispersion of point-like texture and density of mesh texture. According to three categories of homogeneous, heterogeneous and multiple alignments, the author makes a detailed analysis on various types of texture alignment phenomenon. In conclusion, it makes a brief analysis on the main reasons for formation of texture in Denisov’s works and generalizes his musical language features.