Gutova Svetlana Yrievna
Institute of Music, Theater and Choreography Russian State Pedagogical University named after A. I. Herzen

Abstract. The article substantiates the embodiment of the traditional overtone intonational song beginning in the composer’s work. The application of the main acoustic features of an authentic timbre is described, such as compression, the presence of «specific resonances», reliance on the vocal position and inharmonic overtones. The main composer’s task is to create a piece of music that would imitate or reproduce the resonance characteristic of the folk singing tradition — the overtone. The research is based on the method of sound-acoustic measurement of an audio signal. The work was performed using the Reaper V4,581 audio editor software (Digital Audio Workstation) and a spectrograph built into the Reaper brand iZotop Ozon5 Advansed. This model of the spectrograph allows you to see the spectrogram of the investigated audio material in 3D format and color image, which more accurately reflects the measurements of the vibration frequency of the sound wave, and is also equipped with a broadband FFT analyzer. The scientific novelty of the research lies in the consideration of composer folklorism from the point of view of the timbre acoustic model of authentic singing, and the adaptation of expressive means is investigated not within the framework of the style and manner of the melodic presentation of the material of individual composers, but from the point of view of the timbre content of the folklore voice. The article shows how the influence of ethno-singing on composer’s creativity is revealed through the prism of authentic timbre and the given spectral examples.

Keywords: timbre-acoustic model, authentic timbre, timbre-intonation, dialect, sound-acoustic studies, Russian overtone singing, composer folklorism, composer, sonoristics.

Volume 6, Issue 3(23) p. 4-11 PDF

DOI: 10.52013/2712-9705-23-3-1