Consonance and dissonance are frequently invoked in discussions of Gubaidulina’s music, particularly in terms of the composer’s intentional contrasts between timbres and her golden section-oriented formal planning. In this paper, I use the notion of dissonance to mediate between several competing theories of Gubaidulina’s music and theories of timbre more broadly. Certain passages in her Meditation on the Bach Chorale “Vor deinen Thron tret’ ich hiermit” (1993) are identified as dissonant based on her compositional theories and on sketch material from the Paul Sacher Stiftung, and on further examples drawn from her Am Rande des Abgrunds (2002). Broadly speaking, “dissonant” sounds are closer to white noise than “consonant” sounds, aligning with empirical studies of dissonance perception as well as with spectralist compositional theories. However, Gubaidulina’s music uses this extended notion of dissonance particularly musically; dissonances have specific structural roles in a work and resolve to consonances.

中文翻译：

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Sofia Gubaidulina 两部作品中的和谐、不和谐和形式比例

在讨论 Gubaidulina 的音乐时，经常会提到和谐和不和谐，特别是在作曲家有意将音色与她以黄金分割为导向的正式规划之间的对比方面。在本文中，我使用不和谐的概念在 Gubaidulina 音乐的几个相互竞争的理论和更广泛的音色理论之间进行调解。根据她的作曲理论和 Paul Sacher Stiftung 的素描材料，以及从她的 Am Rande des Abgrunds（2002 年）。从广义上讲，“不和谐”的声音比“辅音”的声音更接近白噪声，这与不和谐感知的经验研究以及光谱主义成分理论相一致。然而，Gubaidulina 的音乐特别在音乐上使用了这种扩展的不和谐概念。不协和在作品中具有特定的结构作用，并决心解决协和。