Research On The Anagram Structural Thinking Of Gubaidulina

This article chiefly analyses and interprets the music of contemporary Russian Composer Sofia Gubaidulina based on a study of three of her works with the perspective of Anagram:Music for harpsichord and percussion instruments from Mark Pekarsky、 Offertorium and Perception.The article consists of Introduction, Part Ⅰ, Part Ⅱ and Conclusion. Part Ⅰ contains three chapters. The author studies the history, characteristics, classification and application of Anagram structure, examines the effect of Anagram structural thinking in music and discusses its formation on the basis of history. Part Ⅱ contain four chapters, the first three mainly studying the interpretation of the three works by Gubaidulina, analyzing pitch, rhythm, timbre, form and so on to understand the composer’s musical language and conception of these works and thus define the Anagram Paradigm present in the composer’s actual creation. The last chapter centers on the historical contexts of the composer’s Anagram Paradigm. The Conclusion of this article focuses on the detailed analysis of the three musical works, aiming to study the characteristic of Anagram structural thinking in the composer’s creation, comparing this sort of thinking pattern with the composer’s religious thinking and how she achieves the perfect unity of form and content.