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Marina Khorkova’s Compositional Practices: Research, Language, Techniques

Luca Guidarini

Nuove Musiche Numero 7 - 2020, pagine: 91-122
DOI 10.12871/97888333972145 | @ Pisa University Press 2023
Pubblicato: 20 maggio 2023


This article explores the compositional practices of Marina Khorkova by analyzing her composition process through the study of sketches. Specifically, the analysis focuses on Khorkova’s approach to new instruments, microtonality, and articulative architecture through the examination of her pieces “Falsche Spiegelungen” (for two prepared pianos, 2012), “Aleph” (for ensemble, 2012), and “Collision” (for ensemble, 2015).

In Falsche Spiegelungen, Khorkova’s approach to the prepared piano is investigated as an instrument that defines part of her aesthetic choices over time and on which she concentrates her instrumental research.

In Aleph, Khorkova’s approach to harmony is examined, with particular attention paid to her approach to creating microtonal systems. Finally, in Collision, the focus is on form and the articulative organization of musical events and how they develop over time, examining Khorkova’s terms of “formal scars” and “sonic landscape”.

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