Comparative Study On Two Pieces Of Gubaidulina’s In Croce And Fachwerk

Sofia Asgatovna Gubaidulina has had a wide and profound influence on the musical world as one of the modern Russian composers.The subject of this article is two chamber works by Gubaidulina for Bayan,In Croce(1991)and Fachwerk(2009).The article focuses on the compositional structure of the work,the development of the thematic material and the specific compositional techniques,analyzing and discussing works in two periods of composition,mainly in the following four aspects: 1.The discussion of the compositional structure of In Croce,which is currently controversial in academic circles.2.The differences in the form of development of the musical material within the work.3.The two works embodied in the form of pitch organization The comparative analysis,although the compositional techniques are the same,there are major differences in how they are specifically organised and developed,such as the presentation of chromaticisation,which is discussed in In Croce through two perspectives: macro and micro,and the chromaticised material of Fachwerk manifested in monophonic,block and scale forms,which exist as horizontal development,vertical superimposition(same material)and vertical compound(different material).4.A comparative study of the different compositional techniques of the two works: the ornamental and symmetrical function of microtones,the core harmonic technique,the use of the triplet set[0,1,4] and [0,1,2] in In Croce,and the three embodiments of the triplets and the use of micro polyphony in Fachwerk.Through the comparative study of the above compositional techniques,the diverse compositional skills of the composers can be explored and their profound ideological connotations appreciated.