INSTRUMENTS IN THE ELECTROACOUSTIC FORMAT OF MUSIC MAKING: ARTISTIC AND TECHNICAL PARAMETERS OF REALIZATION

Abstract

The article presents a comprehensive analysis of electroacoustic music making involving wind instruments as one of the leading directions of contemporary compositional and performance practice from the second half of the twentieth century to the early twentyfirst century. The electroacoustic format is considered as an integrated artistic and technological system in which the acoustic instrument, electronic means of sound processing, and the spatial environment function in close interrelation, forming a new model of musical communication. Particular attention is paid to the specificity of wind instruments, whose timbral plasticity, variability of spectral and noise components, and the direct connection between sound production and the performer’s bodily gesture determine their special suitability for electroacoustic and interactive formats. The article demonstrates that under conditions of real-time electronics, breath, attack, microdynamics, multiphonics, and transitions between pitched and noise-based sound cease to be secondary elements of performance technique and acquire the status of controlling parameters for electronic processing and formal development. It is argued that the technological parameters of electroacoustic performance are not neutral but directly affect the artistic result, performance strategy, and rehearsal protocol. In particular, the microphone and amplification system are conceptualized as components of the instrument itself; latency is understood as a factor determining the perception of cause-and-effect relationships between gesture and sound; and spatial modeling is interpreted as an element of musical dramaturgy. A special emphasis is placed on the Ukrainian context, where electroacoustic music emerges as a historically conditioned yet dynamic process that combines national intonational models with global technological trends. Examples of the integration of wind instruments into electroacoustic formats in the works of Ukrainian composers are examined, testifying to the formation of a stable tradition of a new type of chamber music making. In summary, the article substantiates an understanding of electroacoustic music making involving wind instruments as a promising direction of contemporary musical art that requires the integration of artistic, technological, and performative modes of thinking and calls for further research in the areas of performer training methodology, repertoire analysis, and the development of standards for stage realization.