Rhythmic structure of vocal and instrumental works by F. Yarullin
The rhythmic organization of vocal and instrumental music of one of the brightest and most famous Tatar composers F. Yarullin is a transcription of longitudinal models prevailing in the traditional music. The scope of his steady syllable-rhythmic forms boils down to four variants of equidurational longitudinal structures typical for lyrical songs of the Tatar people. It is important that the composer creates on their base not only typical mono-formulaic stanzas, but also poly-formulaic stanzas of his own. Consistent application of the latter is a clear confirmation of compliance of F. Yarullin's creative thinking with the practice of making music, which has developed in the Tatar traditional culture. It is interesting to observe how the composer relates the given syllable-rhythmic forms with clock meters. When placing the syllable-rhythmic clichés in the usual for the new European ear times 2/4, 3/4 and 4/4, F. Yarullin often violates the metric grid defined by the musical times: the effect of metric variability arises due to the mismatch of musical and poetic accents as well as the use of harmonic syncopation. It is often shown as one of the main means of musical expression in the composer's vocal works.