Lidia Ptushko
Three Kinds of the Musical Processuality:
The Problem of the Dramaturgy of the Symphonies by Avet Terteryan
The category of Time, including the musical one, has a great significance in Terteryan’s music, because it determines the figurative and compositional
side of his symphonies. The attempts of the analysis of the organizational principles of the sonoristic thematism are rather topical now, refers particularly to Avet Terteryan’s original art; its sonorism permeated with the spirit of the Armenian (and generally Eastern) traditions hasn’t been investigated yet. Proceeding from the peculiarities of the composer’s sonorism, the author considers the stages of its time-flowing in the functional perspective, and reveals the main types of the processuality: static – as expositional, dynamic (of two types) – as developing, and symphonized – as compositional, resumptive. The article briefly appeals to the semantic spheres of the sonoristic processuality in Terteryan’s music.