Philosophical Concept of Time and Space in Spectral Music of the Twentieth Century of Gérard Grisey

Abstract

The purpose of the article is to reveal the main G. Grisey’s concepts regarding spectral composition in the 20th century. The research methodology consists in the use of methods of analysis and synthesis of the works by G. Grisey on the spectral method in the music of the 20th century. Source science and system approaches were used to study interrelated elements in the characteristics of the spectral method in the works by G. Grisey. The scientific novelty of the work consists in the generalisation of the results of studying the spectral method in author's music with the effects of specific sound spectra: attack and decay of sound; beats as prototypes of the rhythmic component; filtering and phase distortion as prototypes of the melodic component; intensity when adjusting the volume. It is noted that the results of the synthesis become the sound of an artificially produced musical space with different conditions for the existence of a natural sound structure in it. In such music, the concepts of time and space are inseparable. Time organises events in acoustic space. The space-time paradigm is multidimensional. It is based on the principle of organisational unity from the level of micro to macro space. Conclusions. The conceptual approaches of space-time in the works of the composer of the French spectral school G. Grisey are analysed. The composer noted that the appeal to the liminal – threshold concept of time and space of spectralism is based on natural and physiological processes. In the treatise of G. Grisey "Tempus ex machina" and his composition of the same name, the philosophical significance of the coordinate axis of the system is substantiated. For this, it was necessary to draw a parallel with Moll's theory of information, the natural-scientific law of Weber-Fechner. The technologies of mastering the intra-sound space in spectralism lead to a new sound concept – sound as a phenomenon of life. Switching plans from the internal composition of sound to external factors, the transition from microphonic to macrophonic space allows us to assert that sound is capable of life and death, when the starting point of understanding time in music is its relativisation as a rejection of absolute meaning. This is actually the conceptual basis in the work of G. Grisey, as one of the concepts of musical time in the compositions of the second half of the 20th century. They are characterised by a high degree of subjectivity of temporary sensations.