Oriental concepts in modern chamber and instrumental music (on the example of the “Igeru” repertoire)

Abstract

The article is devoted to the study on the features of contemporary ensemble music through the example of the work of Igeru Contemporary Music Ensemble. The purpose of the article is to reveal the peculiarities of individual interpretations of the contemporary authors experimenting in the genres of academic ensemble music. In this respect, an analysis of several works that made up one of the concert programs of the ensemble is undertaken. In a broader context, the topic of “East-West” is considered, with the focus on the issues and principles of interaction between “Eastern” and “Western” elements in the whole artistic spectrum of musical works by composers from various schools and trends. The object of the analysis is the works that, for the most part, did not receive sufficiently wide coverage in the scientific literature. The premieres of some compositions, such as O. Nesipkhanov’s Quartet, Balasagyn Musayev’s Ush kuu, took place owing to the activity of the only contemporary music ensemble in Kazakhstan. Thus, in sum, the theme of “East-West” is still relevant in contemporary art; the composers’ addressing to it generates new experimental works. The study of the latest chamber-instrumental compositions in a comparative aspect is the most important stage of comprehension and deeper study of the characteristic features of the stylistic trends of modern musical culture, for an in-depth and meaningful understanding of the processes of development of modern musical art.