Generációelmélet Dubrovay László ütőhangszeres szólóinak tükrében : Identitás és nemzetköziség = Identity and internationality in the percussion works of László Dubrovay : Safety of generation theory

Szives, Márton Gábor (2025) Generációelmélet Dubrovay László ütőhangszeres szólóinak tükrében : Identitás és nemzetköziség = Identity and internationality in the percussion works of László Dubrovay : Safety of generation theory. SCIENTIA ET SECURITAS. ISSN 3057-9759

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Abstract

Dubrovay László marimbára írt Solo no. 15/B című műve a marimbatörténelem első ötven évének intuitív összefoglalása, miközben Dubrovay saját zenei nyelvezete először jelenik meg a dallamjátszó ütőhangszereken minden aspektusában. Ez a két tulajdonsága önmagában is figyelemre méltó, együtt pedig egy olyan művet hoznak létre, amely hazai tekintetben nemzetközi folyamatokat képes összegezni. | In 1981, László Dubrovay began to create a series called Solos for each instrument. In these Solos, he created a new palette of expressions based on extended techniques and his unique progress of harmony (Dubrovay 2020b; SolymosiTari 2015), which became the new standard for instrumentalists. In this series, he wrote Solo No. 15/B in 2021 for marimba and vibraphone, where he intuitively summarises the techniques of the first 50 years of the mallet percussions. How can a piece be a summarising work? What are the marimba techniques that are invoked in the piece? How can we build upon this, opening the marimba literature for a paradigm shift? This paper first explores the meaning of movement patterns and paradigm shifts in the literature and instrumental techniques of the mallet percussions, especially the marimba. A new generational theory is proposed here, which can be used to categorize pieces and techniques based on their possibilities of phrasing and the polyphonic use of the instrument. The generational theory consists of three generation from the start of the use of the marimba in the western concert culture (~1910) as a solo instrument up until today and the emerge of the new school of technique, the Pianistic Approach, of which the author himself is a master. We categorize movement patterns and techniques in these generations and set a list of aspects we can categorize music pieces, too. After this we analyse the percussion works of Dubrovay and their role in percussion literature based on the techniques and movement patterns he uses. We realize that the limited list of techniques he uses coincide the very first generation of our first generation in the theory. However, Dubrovay never knew about the generations, he subconsciously wanted to summarize the possibilities of the marimba not as a virtuoso instrument, but an instrument that can express his own musical language and become “Hungarian” in a way other instruments could not. Thus, with his new harmonic language and the organic use of Hungarian folkloristic build of melody and harmony he creates a safe image of identity for the Hungarian marimbists which is unique, familiar to the work of the world-renown marimbist from Japan, Keiko Abe.

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