Reserch On Gubaidulina’s Parameter Of Expression

This article, Research on Gubaidulina’s Expression Parameter, chooses as its research object the music pieces of the Russian composer Sofia Gubaidulina (1931-), who remains active in the international music circle with high reputation. Specifically, this article talks about the formation and presentation of expression parameters in her music pieces.Chapter one introduces Gubaidulina’s life and compositional style and makes an empathetic discussion on the concept of expression parameter. Expression parameter, put forward by the Russian musician W Лин бовуарДжинна Herlow, refers to the unique creating techniques and analyzing methods employed in Gubaidulina’s works. It represents the composer’s overall consideration on how to compose a music piece, including the choice of the music sustaining process method and the setting of the final musical form. As a new structural parameter of music pieces, its core is antinomy, represented by the contrast between consonance and dissonance in function. Gubaidulina classifies articulation into legato and staccato. The formation and application of her expression parameter are deeply rooted in her philosophic thinking, her forms of art and her religious belief, which all have far-reaching influence.Chapter two to four analyze three works of Gubaidulina in different periods, Detto Ⅱ (1972), Flute Quartets (1977), and String Quartet No.3(1987), from the perspective of expression parameter, and conceptually reviews the development process of expression parameter from initial manifestation to the final formation of the expression parameter system.Chapter two, the initial manifestation of expression parameter, takes the Cello Concerto Detto Ⅱ (1972) by Gubaidulina for example, and discusses its creating background, structural analysis and the application of expression parameter. In Detto II, the expression parameter is indicated by the distribution of the band and the music theme. The present author proposes that it is the initial manifestation of Gubaidulina’s expression parameter.Chapter three studies and analyzes the creating background, the structural characteristics and the application of expression parameter in Flute Quartets (1977), and finds that the expression parameter is shown in the structure of the work and has been applied to all musical elements. This work shows that Gubaidulina has developed and bettered her application of expression parameter.Chapter four takes String Quartet No.3(1987) for example and briefly introduces four String Quartets of Gubaidulina, two of which employed the creating techniques of expression parameter. Moreover, in String Quartet No.3, the expression parameter is represented by the structure of the work, the musical language element and the formation of expression parameter "scales". The present author concludes this chapter with the idea that Gubaidulina officially established her expression parameter system in String Quartet No.3.The present author concludes the article with regard to expression parameter as the external reflection of the composer’s thoughts, its significant position in Gubaidulina’s works and its influence on other composers, and further elaborates that expression parameter is one significant characteristic of Gubaidulina’s works and artistically evaluates the establishment of expression parameter.