Ney Rosauro’s Concerto for Timpani and Orchestra: peculiarities of stylistic interactions

The purpose of this study is to identify the characteristics of stylistic interactions in N. Rosauro’s (b. 1952) Concerto for Timpani and Orchestra (2003). Through a holistic analysis, the article highlights the work’s distinctive features, including the combination of various styles and genre models, the introduction of new compositional techniques, polysemantic tendencies, multiparametricity, intertextuality. The scientific novelty of this paper lies in its first identification of the nature of the transformative processes conditioned by the complexity of stylistic tendencies in N. Rosauro’s Concerto for Timpani and Orchestra. The study established that the changes that emerged at the compositional and semantic levels of the work contributed to a fundamental rethinking of the approach to the use of the technical and expressive capabilities of the solo instrument and predetermined the integration into the arsenal of instrumental means of expressiveness of sound production methods borrowed from the practice of playing other percussion instruments, the transfer of ancient performance techniques to modern soil and the introduction of non-traditional playing techniques with a specific sound.