Реальні й можливі виміри смислового простору фактури
Actual and potential measurements of musical texture semantic space

Summary/Abstract: Artistic significance of musical texture is based on its unusual ontological gist. For the perception of music the texture is as if material and spatial form. By E. Nazaykinsky, texture is a "three-dimensional art efficient Music and spatial configuration of sound tissue, which differentiates and integrates horizontal, vertical and depth of the entire set of components" [1, 73]. However, from a physical point of view the terms "vertical", "horizontal" are very relative. They reflect the association of people who are used to introduce with music by traditional musical graphic. Similar to the physical three-dimensional space, in the musical texture our ears distinguish elements, whose coordinates differ in pitch scale, time scale and volume scale. So, these three coordinates are not responding to qualitative unity of the three spatial coordinates. Coordinates of music texture are historically changeable. Vertical coordinate springs with the appearance of polyphony. Horizontal, basically – a temporal coordinate, not spatial initially [1, 122]. Coordinate of "sound depth" emerges only when a musician is wittingly operating with degrees of closeness/distance of sound range plans. Actually, no need to be limited by these three coordinates. There is a panning – i.e. placement of sound sources in real space. Coordinates of panning are artificially excluded from the texture spatial model. In actual practice, however, they included: - in the orchestra dispositions; - in the orchestration; - in the antiphons and similar methods ; - in a number of contemporary music compositions, which important component are placement and movement of sound sources ; - in different playback modes (stereo, quadraphonic sound, Dolby Digital, etc.). Music texture contains non-spatial parameters, such as density. Development of coloristic in music over the last century permits to predict the emergence of timbre similarities/differences scale as another potentially important texture coordinate. Distinguishing texture layers depends strongly on timbre integration or differentiation of its components. The possibilities of electronic music allows to set gradual changes of timbre [3, 10–11], as well as gradual change degree of reverberation, chorus and other effects [2, 143–153]. Such non-spatial texture characteristics – density, brightness, chorus, etc. – can then be realized as new spatial dimensions. The vertical did not promptly become a special quasi-spatial coordinate. Overtone sounds above its fundamental tone, but it is treated simply as timbre component. The same, although in a lesser degree, can be said about the parallel interval and chord motion. Realization of vertical coordinate became possible due to the score recording of polyphony: this coordinate helps to distinguish voices and layers of texture. Relativity of vertical coordinate conception can be easily revealed: orchestral and ensemble, voices, written above the other, may sounding below. The horizontal coordinate remain always in demand because it is impossible phenomenon of music as timeless and beyond summation points in time in memory. Music texture in our perception is built so: we take out of the flow of events some related phenomena, mentally combine them in groups, and these groups understand quantitative relationships on the principles of proximity/distance parameters such as "before-after", "above-below", etc. [5, 49]. So, musical texture based on the multidimensionality of semantic relationships between elements of flowing events. These relationships exist not only in our memory and thinking. They are caused by the real relationship between a series of events and by time coherence [7, 411]. This feature provides time communication not only between events that directly flow from one to another, but also between distant events a row. Music texture, especially in figurations and ostinati often serves as a "neutralizer of time" for secondary events. The spread of "time window " depends on how big is the period of time between the event and its return. The basis of "spatiality" of texture is the principle of ability to return the item as a factor in its continuous presence. In most musical styles texture ensures the integrity and internal stability of structures of composition phases of musical dramaturgy. Conclusions: - Spatial coordinates of texture is a conventional name. They actually have scales that quantitatively regulate certain qualitative characteristics of sound ("above – below", etc.); - Number of coordinates should not be considered historically constant and equal to three, so that does not include panning (i.e. real spatial coordinates) and some new coordinates could be added – timbre similarities/differences of other nuances of varying sonority (chorus, flanger, reverb); - Coordinates space textures create infinite possibilities for different degrees of separation of semantic and temporal areas of music.

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