Sixth Symphony of Avet Terterian as a Metaphor for the Universal Requiem

The research objective is determined the peculiarities of thecomposition and dramaturgical organization of the Sixth Symphony ofA. Terterian, taking into account the specificity of the pivotal-volumestructure of the material. To solve this goal, is selected the structuralfunctional method of analysis.In the article is identified the peculiarities of the development of thesymphony genre in the Armenian musical culture. The origins of the genreand the period of the flowering of the classical national symphony, which isassociated with the works of composers A. Khachaturyan, A. Babadjanyan,A. Haroutyunyan, E. Mirzoyan, L. Saryan, J. Ter-Tatevosyan, K. Orbelian arenamed. The features of the symphonic style of A. Terterian are considered onthe example of his single-movement symphonies. The main feature ofTerterian's creative work is synthesized – a synthesis of the technical arsenalof linguistic innovations of the twentieth century with deep, archaic strata ofdomestic culture – and it is defined as an innovative idea of the composer.Dramaturgical and compositional parameters of the Sixth Symphony areanalyzed. A connection was found in the concept of symphony with thesemantic core of the requiem. It is determined that music does not inheritstructural models of the genre and is free from church regulations, but thecomposer retains the semantic codes of the funeral mass. The peculiarities ofthe musical symbols of the spiritual genres, to which the composer appeals inthe symphony, is established. Sonographics and microchromatics are definedas the main composer techniques in the construction of the compositionalprofile of the work. The principles of reproduction of archaic symbols ofnational culture through the use of the phoneme of Old-Armenian vocabularyis researched. The significance for the concept of the symphony of the use oftape recordings of orchestral voices and choral voices is analyzed.