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“My” “Musical” “Language” ?

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Augustyn R.
Musicology Today
|
2015
|
vol. 12
|
issue 1
3-17
EN
The problem associated with the musical “language” of a particular composer can be understood either literally, i.e. with some possible analogies to natural language, or metaphorically, as a substitute of style, technique, or manner. I try to combine both usages. In fact, my approach to composing music is not so much - to develop a consistent language ready for use in multiple instances and thus to attain a recognisable personal style, but rather - to try to build a tool for use in one particular composition on many levels of musical “grammar”. Another basic problem is the proportion between impulse and design as defined in a well-known book by Andrzej Panufnik. The examples discussed illustrate some core problems of the music creation process, such as the deliberately incomplete ‘‘monadic’’ form (Gamma from String Quartet No. 3); the evolution of style in the process of composition and its dependence on the medium (Rondeau for wind quintet); and purely intuitive composition (Con tenerezza from Cinque pezzi diversi).
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