Тембральные эксперименты Игоря Пинхасова и его электронная музыка

Electroacoustic music has emerged as a significant realm of exploration for contemporary composers. Among them is the renowned Uzbekistani composer Igor Pinkhasov, who delves into this field alongside academic composition and film soundtracks. This article presents a study of the specific nuances of Pinkhasov’s compositional approach, focusing on his album Time Helix, released in 2015 under the Emu Bands label. The methodology for analyzing electroacoustic music varies depending on the composer’s chosen sound material. Generally, such analysis is conducted by ear and often involves the creation of a chronometric chart. Given our particular interest in timbral aspects, timbres were of primary consideration in our analysis. Diverse compositions from Pinkhasov's album, including Light of Sirius, The Power of Machines, Echoes of Samarkand, and Memories, were analyzed. In each piece, timbre emerges as a crucial factor in shaping the musical narrative. Pinkhasov’s timbral dramaturgy draws upon multiple elements, including narrative, multiculturalism, spatiality, and structure. This underscores the multifunctionality of both acoustic and electronic timbres within his compositional framework. Timbral elements not only imbue Pinkhasov’s music with specificity and depth but also evoke genre associations, such as jazz, traditional Uzbek music, and a broader Eastern aesthetic. Similar to orchestral instrumentation, timbres in Pinkhasov’s electronic compositions establish virtual sonic spaces and define the structural and dramatic contours of his works. Throughout our study, we experimented with a method for analyzing the timbre of electronic music, tailored to Pinkhasov’s compositions. Moving forward, we aim to refine this method, particularly in compiling chronometric tables, to facilitate its broader application in analyzing similar electroacoustic works.