| Abstract [eng] |
The object of this artistic research – the figurate music composition (FMC) – is a special type of musical composition, often mistaken for Augenmusik, enigmatic and graphic notational traditions. The typology of notational functions reveals the typical feature of this phenomenon – the function of the structural codification, predetermining reductive nonlinear visual representation. The characteristic FMC compositional techniques (linear addition, polytempo, transpositions, etc.), as well as their visually and musically integral application, determine the fundamentals of this phenomenon. The choice of the term "figurate music composition" is justified by strong links between this type of composition and the phenomena of numeri figurati and carmina figuratum. The analysis of FMC cases from the 14th–16th and 20th–21st centuries, together with the practical aspects of the author’s figurate scores, reveal the creative potential and perspectives of this type of composition. The identification of FMC models in precomposition, compositional process and postcomposition, enriched by the composers’ reflections on their creative process, witnesses the variety of FMC application strategies and inspires further investigations in this research field. |
