Artem Liakhovych

“Mechanical” as a Metaplot in Prokofiev’s Music

Artem Liakhovych

Issue № 2 (774) │ 2021

“Mechanical” as a Metaplot in Prokofiev’s Music

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

References

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Liakhovych, A. “Phenomenon of tempo rubato in the evolution of musical rhythm.” https://muzkarta.info/statya/a-lyakhovich-fenomen-tempo-rubato-v (accessed 14 January 2021). (In Russ.)
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DOI 10.34690/146

Author Artem V. Liakhovych

Affiliation R. Glier Kyiv Municipal Academy of Music, Kyiv, Ukraine

Email avlyakhovich@gmail.com

ORCID

0000-0001-6325-9130

Abstract

The article is devoted to the sound-visual sphere associated with the image of a machine, mechanism, and its reflection in Prokofiev’s music. The main feature of a “mechanical” in music is ostinato, which was used in European music for several centuries, especially in the Baroque and Classicism eras with their priority of the rhythmic-energy element. In the 20th century it acquired “mechanical” associations in the context of new realities. Prokofiev is one of the founders of the new tradition of “mechanical” in music. This circle of associations is of particular importance in his music due to the priority role of rhythmic-energetic beginning and pulsation in it. The “mechanical” in Prokofiev becomes a representative of depersonalization, and the musical fabric becomes a field of conflict between personalized material and “mechanical”, which can be interpreted as a conflict of individuation and the collective structures of human consciousness.

For citation

Liakhovych, A. V. “‘Mechanical’ as a metaplot in Prokofiev’s music.” Muzykal’naya akademiya [Music Academy], no. 2, 2021, pp. 18–27, doi:10.34690/146. (In Russ.)

“Mechanical” as a Metaplot in Prokofiev’s Music

“Mechanical” as a Metaplot in Prokofiev’s Music

References

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