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The paper discusses the influence of musical components on the openness of the form on the example of the String Quartet no. 8 op. 110 by Dmitri Shostakovich. Different collaborations and interweaving of musical components create various solutions for both the macro and micro structure of a work. This kind of cooperation will be analyzed in this paper on the example of the analysis of the work String Quartet No. 8 op. 110 by Dmitri Shostakovich. This quartet mostly belongs to the field of tonality. Without losing sight of the integrity of the musical flow, the analysis of individual components is carried out with the aim of indicating how they are activated and participate in the construction of the musical flow. The analysis is focused, first of all, on one of the most significant means of expression of this work - the thematic content. The reason for this is certainly its leading role, of course in cooperation with other components and musical plans, in the education of the openness of the form of this musical work. The focus of attention are also compositional techniques and the way Dmitri Shostakovich uses them in this string quartet, as well as quotes from composers such as J. S. Bach, P. I. Tchaikovsky and autoquotes of his own compositions from different periods of his creation. It was concluded that by passing other composer’s material through his own stylistic prism, Shostakovich builds a specific sonority, moving airy harmony and chordal texture into the dark, ghostly realm of Shostakovich. The method of analysis and synthesis was used in the paper.
Sarajlić et al. (Thu,) studied this question.