Igor Krasil’nikov

Instrumentation in Condition of Real and Virtual Acoustics

This article is written in Russian. You can read it here.

References

Artem’ev, E. “Sound recording is a new art form.” Rozhdenie zvukovogo obraza: Khudozhestvennye problemy zvukozapisi v ekrannykh iskusstvakh i na radio [The Birth of a Sound Image: Artistic Problems of Sound Recording in Screen Arts and Radio], сomp. by E. M. Averbakh, Moscow: Iskusstvo, 1985, pp. 208–213. (In Russ.)
Berlioz, H. Bol’shoi traktat o sovremennoi instrumentovke i orkestrovke (komplekt iz 2-kh knig) [A Large Treatise on Modern Instrumentation and Orchestration (Set of 2 Books)], Moscow: Muzyka, 1972. (In Russ.)
Blagodatov, G. I. Istoriya simfonicheskogo orchestra [History of the Symphony Orchestra], Leningrad: Muzyka, 1969. (In Russ.)
Gevart, F. “Guide to instrumentation.” P. I. Tchaikovsky Poln. sobr. soch. Literaturnye proizvedeniya i perepiska. T. III-b [P. I. Tchaikovsky. Complete Works. Literary Works and Correspondence. Vol. III-b], Moscow: Muzgiz, 1961, pp. 11–359. (In Russ.)
Rimsky-Korsakov, N. A. Osnovy orkestrovki s partiturnymi obraztsami iz sobstvennykh sochineniy [Fundamentals of Orchestration with Score Samples from own Compositions], vol. 1, edited by M. Steinberg, Moscow, Leningrad: Muzgiz, 1946. (In Russ.)
Rogal’-Levitsky, D. R. Sovremennyy orkestr [Modern Orchestra], in 4 vol., Moscow: Muzgiz, 1953–1956. (In Russ.)
Rybnikov, A. “Sound recording is a creative process.” Rozhdenie zvukovogo obraza: Khudozhestvennye problemy zvukozapisi v ekrannykh iskusstvakh i na radio [The Birth of a Sound Image: Artistic Problems of Sound Recording in Screen Arts and Radio], сomp. by E. M. Averbakh, Moscow: Iskusstvo, 1985, pp. 201–208. (In Russ.)
Tsukkerman, V. “Timbre and texture in Rimsky-Korsakov’s orchestration.” V. Tsukkerman. Muzykalno-teoreticheskie ocherki i edudy [V. Zuckerman. Musical-theoretical Essays and Etudes], Moscow: Sovetskiy kompozitor, 1975, pp. 341–481. (In Russ.)
Chulaki, M. I. Instrumenty simfonicheskogo orkestra [Symphony Orchestra Instruments], Moscow: Muzyka, 1972. (In Russ.)

DOI 10.34690/94

Author Igor M. Krasil’nikov

Affiliation Institute of Art Education and Cultural Studies of the Russian Academy of Education

Email imkras@yandex.ru

ORCID

0000-0003-0418-4276

Abstract

Today, not only composers who create orchestral scores are engaged in instrumentation, but also a wide range of musicians–professionals and amateurs working in various genres of electronic music. Electronic instrumentation has a lot in common with its traditional form, since in both cases the same tasks are solved: realizing the color potential of the source text, building a compositional form by highlighting its sections, building a texture by filling the acoustic space and drawing its layers. The differences are due to the different nature of the sound material. In one case, it is the sound of orchestral instruments in a concert hall or in the open air. In the other case, it is a variety of synthesized sounds in a virtual acoustic environment, characterized by diversity and variability. Therefore, electronic instrumentation, based on the techniques developed in centuries-old practice, is enriched by the use of these new sounds and the ability to manage the virtual space of their deployment.

Keywords texture, instrumentation, acoustics of hall, electroacoustics, form, timbre, artistic image

For citation

Krasilnikov, I. “Instrumentation in condition of real and virtual acoustics.” Muzykal’naya akademiya [Music Academy], no. 3, 2020, pp. 178–184, doi:10.34690/94. (In Russ.)