In the mentioned dialogue Plato's "Ion" it was found that executor poetic text - the rhapsode is to a certain extent its interpreter and critic. Indeed, the perception of the audience will largely depend on how a literary work is performed - people will begin to focus on how the actor intones the pronunciation of the text: from rises and rises, pauses, timbre, loudness and other acoustic techniques, especially if before there is no graphic analogue with the eyes - our emotional, intellectual and collective (nearby - other listeners with their reactions) attitude to a work of art often depends.
Talking with Socrates, Ion winds up that he can not only reproduce the epic poems of Homer, but also interpret their meaning (talk about Homer). But resorting to an individual interpretation, he inevitably introduces into them his own accents, not provided for by the author, and as a result, loses the original semantic nuances. This self-will will be reflected in his performing style. Reinterpreting Homer, he involuntarily, probably not realizing this responsible role, turns into a co-author, engages in co-creation.
Just as the visual, visualized perception of the text (type of paper, typeface and font size, margins, indents, spacing and illustrations) affects the reader, so the sound envelope of a literary work constitutes an essential layer of psychological reaction to a work of art. In particular, he wrote about this Alexander Afanasyevich POTEBNYA(1835–1891) in a treatise "Thought and Language"(1862): “When a word is created, as well as in the process of speech and understanding, which occurs according to the same laws as creation, the impression already received undergoes new changes, as if secondarily perceived, that is, in a word, apperceived". According to the scientist, the word perceived by a person gives rise to a similar image in his mind, which interacts with what he heard.
The oral pronunciation of a text depends on its pronunciation, the rate of speech, nuance, rate of speech and, ultimately, on the personal charm of the performer. Coming into contact with the audience, he partly becomes a critic who seeks to convey his own interpretation to her consciousness.
In the domestic art of artistic reading, there were many talented people who read the same artistic texts from the stage or in front of a microphone. The outstanding masters of this business are considered to be I. Andronikov, A. Gribov, I. Ilyinsky, V. Kachalov, Ya. Smolensky and others. Nowadays, the art of performing literary works has acquired special significance and, one can safely say, is experiencing a rebirth. In connection with the development of audiobooks, there is a need for artists who can most intelligibly convey the author's word to the ears of the modern public, mainly the youth. Fans of this form of acquaintance with literature exchange their impressions, determine the best readers, make ratings. On the Internet, you can find many forums where certain advantages and disadvantages of performers are discussed.
However, the verses read S. Yursky, sounded and felt completely different from how it did M. Kozakov, a V. Gvozditsky offered a different version of poetic masterpieces compared to A. Kutepov. But it is one thing when we compare the interpretations of talented reciters, and another when people who do not have great talent join the cause.
In other words, when we hear a mediocre reader, even a talented work in his mouth may seem to us of little interest: it will lose many of the virtues that were originally inherent in it. And vice versa - middle-level poems, read with great expression and feeling, can make a strong impression. By the way, it is in this plane that the paradox lies that in most cases neither poets (they are too fond of the musical side of their creations), nor actors (in their performance, meaning and stage interpretation prevail over everything else) demonstrate the ability to convey to us all the beauty and the depth of the work of art. This is best done by critics and literary scholars who are able to preserve and harmoniously combine the sound, semantic, intellectual and emotional layers of the text. Of course, provided that the performer has normal diction, correctly articulates words and phrases: tongue-tied, illegible speech does not bring success to anyone. Griboedov's commandment - to read "not like a sexton, but with feeling, with sense, with arrangement" - a guarantee that you will be heard and correctly understood.
“The truest and highest remedy
service to great composers
consists in bringing them the fullest
the artist's sincerity"
(Alfred Cortot).
Since the appearance of a piece of music recorded in a certain system of notation, the creative relationships between the main carriers of music - composers and performers - have been in the process of constant modification. In this commonwealth, two tendencies are struggling - the desire for fusion with the desire for self-expression. Since the middle of the 19th century, Russian pianism has become one of the most progressive groups in the world of performing arts. In Russia, earlier than anywhere else, they understood the need for the most careful study of the author's text, combined with a creative attitude towards it. The first four decades of the 20th century are the time of the most harmonious resolution of the question of the attitude towards the author's text; pianists began to comprehend the essence of the work and the style of its creator much more deeply. Soviet musicians have made a worthy contribution to the world performing Bakhiana. M.V. Yudina worshiped Bach throughout her creative life. This is evidenced by the number (about eighty) of his compositions played by the pianist - almost unique for artists of her generation. In Bach's repertoire, she abandoned many expressive romantic means, including specific piano ones; it was characterized by a more historical, in comparison with the interpretations of the romantics, reading of Bach. Yudina was one of the first to realize that Bach's work and the modern piano belong to different eras as a living artistic reality that puts the interpreter in front of difficulties. The innovative features of Yudina's style can be judged by her performance of the Chromatic Fantasy and Fugue, which is distinguished by linear figurations, ascetic coloring and energetic harpsichord dissection of articulation. Attention is drawn to the "registration" in the old clavier spirit, with a touch of organism, as well as the slow, "sovereign" tempo and strict agogics. The pianist's desire for style has never turned into a museum-like "dryness" of her performance. In the interpretations of Yudina, the ability to express a long immersion in one emotional state, lost in romantic readings, began to return to the works of Bach: the revival of the principles of clavier-organ registration; the disappearance of the diminuendo in the final bars; the rejection of the tradition of gradually increasing the power of sound in fugues from their beginning to the end, the absence of impulsive rubato. One more "clavier" feature in Yudina's performance decisions should be noted - the increased importance of articulation.
Among Soviet musicians, Svyatoslav Teofilovich Richter became a classic of the post-romantic stage in the history of pianism, an artist in whose work the leading trends of the new performing era were concentrated. He created interpretations, without which the history of the performance of Bach's music is inconceivable. Resolutely breaking with the tendencies of a romanticizing interpretation of the work of this composer, Richter deleted transcriptions from his programs. In the Preludes and Fugues from HTK, which occupy the main place in Richter's Bach discography, he contrasts the romantic freedom, the subjectivity of interpretations with the desire for maximum objectivity and, as it were, "goes into the shadows", wanting to let "the music itself" sound. These interpretations are imbued with a careful, chaste attitude towards the author. Self-absorption here completely dominates the external manifestations of feelings; emotional intensity is guessed only in a huge intellectual tension. The unique skill is reflected in its invisibility, in the laconism and asceticism of pianistic means. We hear in Richter the possibility of organ, vocal, orchestral, orchestral-choir and harpsichord sounding and bells. “I am convinced that Bach can be played well in different ways, with different articulations and with different dynamics. If only the whole is preserved, if only the strict outlines of the style are not distorted, if only the performance is convincing enough ”(S.T. Richter).
A deep and comprehensive, truly artistic approach to the CTC cycle is characteristic of Richter. Listening to Richter's performance, it is easy to detect two main tendencies in him, which sometimes fight with each other. On the one hand, his performance seems to be within the boundaries predetermined by the peculiarities of the clavier art of Bach's time. On the other hand, it is constantly dealing with phenomena that go beyond these boundaries. “In it, as it were, the harpsichord, clavichord, and organ sympathies of Bach, and his brilliant insights of the future are “soldered” together” (J. Milshtein). It combines both expressive and constructive elements, as well as linear ones. That is why, in other preludes and fugues, Richter brings to the fore the intellectual, constructive-polyphonic principle and connects their figurative structure with it; in others, it emphasizes the philosophical depth of Bach's music and the organic balance of all expressive means associated with it. Sometimes he is attracted by the expression of smoothly flowing melodic lines (coherent articulation of legato), sometimes vice versa, by the sharpness and clarity of the rhythm, the dissection of the articulation. Sometimes he strives for romantic softness, plasticity of the game, sometimes for sharply emphasized dynamic contrasts. But he, of course, is not characterized by "sensitive" rounding of the phrase, small dynamic shades, unjustified deviations from the main tempo. It is also extremely alien to the highly expressive, impulsive interpretation of Bach, asymmetrical accents, sharp emphasis on individual notes and motifs, sudden “spastic” acceleration of tempo, etc. His performance of HTK is stable, large-scale, organic and whole. “His highest happiness is to dissolve in the will of the composer he has chosen” (Y. Milshtein).
The main impetus of Glenn Gould's remarkable, world-conquering interpretations is his amazing intuition, the irresistible force of musical emotions living in him. Guldovsky Bach is the greatest pinnacle of the performing arts of the second half of the 20th century. The harpsichord palette of Gould's pianism, its melismatics and much more testify to the intellect and the deepest penetration into the culture of Bach's time. Gould's interpretations of inventions, partitas, Goldberg variations and other works by Bach became an artistic asset, perceived by our contemporaries as masterpieces of performing art, as a stylistic standard cleared of all accumulated layers. However, the creative dominant of the master has never been an imitation of Bach. He submits to his intuition, while not stopping at changes in the direct data of Bach's "white" text. Gould performs Bach's works with varying degrees of artistic persuasiveness. Not all the fugues from the first volume of the CTC are performed at the usual artistic level for Gould. In the game of the master, there are often direct wastes from the text, its rhythmic-high-altitude variants.
Gould's playing impresses with its original and, to the highest degree, expressive melismatics. Their location is also original - many are added, others are not performed. Without them, Bach's interpretations of the artist would have lost a lot. The artist often resorts to rhythmic variations of the text. But if the above features of the master's playing do not introduce far-reaching changes into the character and meaning of the works, then other Gould's transformations intrude into the very essence of the compositions. The interpretations of the Canadian master cover the richest imaginative spectrum. He plays many things with deep lyricism, rhythmic freedom, unusual for Bach, and short phrasing. His playing strikes with perfection, convexity of voice leading. The whole fabric of music is clear "as in the palm of your hand." The music seems to be enriched by the expressive intonation of all voices.
Very developed, varied, refined line art of the master's play. His strokes give the motive structure of Bach's melodies the most diverse look. Of particular interest is the unusual method of varying strokes in the same melodies, including the themes of fugues, inventions and other works, and opens up new performance problems. The study of Bach's orchestral works, which contain a certain number of author's leagues - strokes, shows the possibility of such an example. The great composer himself varied strokes, and not so rarely. The Canadian freethinker created the most convincing Bach of our time. He is a different Bach: not the one that was during his lifetime, and not the one that, changing, appeared to different generations, but he seems to Gould's contemporaries the most authentic Bach.
In the field of instrumental music, the work of J.S. Bach opened up a whole new era, the fruitful influence of which extends to the present day and will never dry up. Unfettered by the ossified dogma of a religious text, the music is broadly directed to the future, directly close to real life. It is closely connected with the traditions and techniques of secular art and music making.
The sound world of Bach's instrumental music is marked by a unique originality. Bach's creations have firmly entered our consciousness, have become an integral aesthetic need, although they sound on instruments other than those of those times.
Instrumental music, especially Köthen, served Bach as an "experimental field" for perfecting and honing his comprehensive composing technique. These works have enduring artistic value; they are a necessary link in Bach's overall creative evolution. The clavier became for Bach the daily basis for musical experimentation in the field of order, harmony, and shaping, and more widely connected the various genre spheres of Bach's creativity. Bach expanded the figurative-expressive sphere of the clavier and developed for it a much wider, synthetic style, which incorporated expressive means, techniques, thematics learned from organ, orchestral, vocal literature - German, Italian, French. Despite the versatility of figurative content, which requires a different manner of performance, Bach's clavier style is distinguished by some common features: energetic and majestic, content and balanced emotional structure, richness and variety of texture. The contour of the clavier melody is expressively melodious, requiring a cantabile manner of playing. To a greater extent, Bach's fingering and setting of the hand are connected with this principle. One of the characteristic features of the style is the saturation of the presentation with harmonic figurations. Through this technique, the composer sought to “raise to the surface of the sound” the deep layers of those grandiose harmonies, which, in a continuous texture on the clavier of that time, could not fully reveal the treasures of color and expression contained in them.
Bach's works are not just amazing and irresistibly captivating: their influence becomes stronger the more often we hear them, the more we get to know them. Thanks to the huge wealth of ideas, we find something new in them every time that causes admiration. Bach combined a majestic and sublime style with the finest decoration, the utmost care in selecting the details of a compositional whole, for he was convinced that “the whole cannot be perfect if the details of this whole are not “fitted” to each other” (I. Forkel).
It is difficult to give a definite answer to this question. Perhaps there are grounds for preferring the performance of an interpreting composer to that of an artist with a purely performing talent. But I would not categorically state that this is invariably the case, and not otherwise, despite the fact that the two greatest pianists in history - Liszt and Rubinstein - were both composers. As for myself, I feel that if my performance of my own compositions differs from the performance of other people's works, it is only because I know my music better.
Composer, I have already thought about it so much that it has become, as it were, a part of me. As a pianist, I approach it from the inside, understanding it deeper than any other performer can understand it. After all, you always study other people's compositions as something new, which is outside of you. You can never be sure that by your performance you are correctly realizing the intention of another composer. I became convinced, while studying my works with other pianists, that it can be very difficult for a composer to reveal his understanding of the composition, to explain to the performer how the piece should be played.
There are two vital qualities inherent in the composer, which are not indispensable to the same extent for the performing artist. The first is imagination. I don't want to say that the performing artist is not imaginative. But there is every reason to believe that the composer has a greater gift, because he must imagine before he creates. To imagine with such force that a clear picture of the future work arose in his mind, before at least one note was written. His finished work is an attempt to embody the very essence of this picture in music. It follows from this that when a composer interprets his work, this picture clearly emerges in his mind, while any musician performing other people's works must imagine a completely new picture. The success and vitality of an interpretation depends to a large extent on the strength and vivacity of his imagination. And in this sense, it seems to me that the composer-interpreter, whose imagination is so highly developed by nature, can be said to have an advantage over the artist - only the interpreter.
And an even more important gift that distinguishes the composer from all other musicians is a finely developed sense of musical color. It is said that Anton Rubinstein was able, like no other pianist, to extract from the piano an amazing richness and variety of purely musical colors. Those who listened to Rubinstein sometimes imagined that in his hands were all the means of a large orchestra, for, being also a great composer, Rubinstein had an intense sense of musical color, which extended both to his performing and his creative activity. Personally, I think that having a keen sense of musical color is the composer's greatest asset. No matter how great a musician a performer is, I think he will never be able to achieve the full depth of sensation and reproduction of the full range of musical colors, which is an integral part of the composer's talent.
For a composer who is also a conductor, this keen sense of color can be a hindrance when interpreting other people's works, because he may introduce colors into the performance that are different from those intended by the composer.
The composer is always an ideal conductor - an interpreter of his compositions. I happened to hear three great creative artists - Rimsky-Korsakov, Tchaikovsky and Rubinstein - conduct their works, and the result was truly deplorable. Of all the musical vocations, conducting stands apart - it is an individual talent that cannot be acquired. To be a good conductor, a musician must have great self-control. He must be able to remain calm. But calmness does not mean serenity and indifference. A high intensity of musical feeling is necessary, but it must be based on a perfect balance of thought and complete self-control. Conducting, I experience something close to what I feel when driving my car - an inner calm that gives me complete control of myself and those forces - musical or mechanical - that are subordinate to me.
On the other hand, for the performing artist, the problem of owning one's emotions is more personal. I know very well that my game is different from day to day. The pianist is a slave of acoustics. Only after playing the first piece, experiencing the acoustics of the hall and feeling the general atmosphere, I know in what mood I will spend the whole concert. In some respects this is not good for me, but maybe it is better for an artist to never be sure of their playing beforehand than to reach some constant level of performance that can easily turn into a mechanical routine.
Does the performer that the life of the performer has an adverse effect on his work?
Much depends on the personality of the artist. For example, Strauss is active as a composer and conductor. Rubinstein worked on composing music every morning from seven to twelve, spending the rest of the day at the piano. Personally, I find such a double life impossible. If I play I can't compose, if I compose I don't want to play. Maybe it's because I'm lazy; perhaps the incessant piano lessons and the constant hustle and bustle associated with the life of a concert artist take too much energy from me. Perhaps it's because I feel that the music that I would like to compose is not acceptable today. Or maybe the real reason why in recent years I preferred the life of an artist-performer to the life of a composer is completely different. After leaving Russia, I lost the desire to compose. Having lost my homeland, I lost myself. The exile, who has lost his musical roots, traditions and native soil, has no desire to create, no other consolation remains, except for the unbreakable silence of undisturbed memories.
The performing interpretation of a musical work is connected with the secret of penetration into its content, semantic and emotional structure. At the same time, in addition to formal grammatical analysis (tonal plan, form, harmony, texture, etc.), the performer must inevitably resort to the analysis of figurative content. These difficulties are the result of the academic tradition: the analysis of the musical text is characterized by a narrow grammatical approach; no less common among performers is a highly technical orientation.
And, although many musicians - theorists and practitioners of pianism - paid active attention to the formation of performing articulation skills, it must be recognized that the development of a semantic analysis methodology makes it possible to approach this problem from the standpoint of expressive, rather than narrowly technical pronunciation of the author's text. Agreeing with the opinion of musicians who put the content of music at the forefront, proclaiming the primacy of “what” is pronounced, and not “how” it is pronounced (G. Neuhaus), we have to admit that most often the practical evidence of these calls remained the prerogative of the person who proclaimed them . The narrowly grammatical and often narrowly technical approach did not satisfy many musicians, which often necessitated poetic analogies, comparisons, associations in order to try to reveal the "poetic essence of the work" (A. Corto).
Forming ideas about the image, the "verbal characteristics" of the musical image, according to many musicians, contribute to the search for a variety of performing techniques. At the same time, the musicians acknowledged that "the content cannot be expressed in words, and it is not necessary, the word will only be next to the music" (S. Savshinsky). Nevertheless, this method has taken a large place in pedagogy, many agreed with the need to use verbal characteristics, metaphors, because they "have a piece of direct meaning" (V. Medushevsky).
Educators have often used the "poetic characteristics of the musical image" to make the meaning and content of the music accessible and the performer's version credible.
Development of perception of the form of the play
The development of the simplest perception of the form of a piece being performed is a necessary condition for its meaningful, expressive performance. From the very first steps, the student develops an idea of a musical phrase as a simple construction that contains a certain meaning. The student should be shown how phrases form a sentence, and sentences are combined into a period. The teacher helps to trace the development of the melody, its gravitation to the climax, draws the student's attention to the meaning of the beginning and end of the phrase, crescendo and diminuendo when performing the melody, to the role of caesuras. The student must feel that music is like human speech, it is meaningful and expressive.
To show the registers of the piano, you can use pieces with contrasting images, in the musical characteristics of which different registers are used. It is very important, while developing the student's perception of the means of musical expression, to associate their use with certain artistic tasks. For example, a quiet sound can be defined as transparent, light, airy, mysterious, etc., a low-pitched sound can be defined as disturbing, scary, etc.
In modern pedagogy of musical art, the education of a whole complex of professional and personal qualities of a musician is associated with the problem of artistic interpretation. An analysis of the experience of leading teachers shows that active creative activity in the process of interpretation stimulates the intensive development of musical abilities and artistic and figurative thinking, performing will and performing skills, creative imagination and intuition, musical culture and artistic taste of the student, forms an adequate self-assessment of the professional and personal qualities of students music. This circumstance allows us to consider interpretation from the standpoint of developmental learning.
The questions of the relationship between training and development have recently been of concern to many educators and researchers. The ideas of developmental education, coming from the great teachers of the past (A. Diesterweg, J.A. Komensky, J.-J. Rousseau), in modern domestic science, have taken shape in a position according to which training and development are closely interconnected, but not identical (B. G. Ananiev, S. L. Rubinshtein, A. N. Leontiev, L. V. Zankov, D. B. Elkonin, etc.). The implementation of the developing effect of learning, according to L.S. Vygotsky, consists in focusing on the "zone of proximal development", which determines the degree of difficulty of educational information and the rate of its assimilation. From the point of view of Z.I. Kalmykova, developing is training that forms artistic, imaginative, creative thinking. This, in turn, implies an orientation towards the principles of didactics, such as problematic, harmonious development of various components of thinking, individualization of the learning process.
The problem of interpreting a piece of music in the learning process
The form of individual lessons in teaching to play a musical instrument is, according to the listed teachers-researchers, a kind of territory, first of all, for the creative development of the student, where he, in cooperation with the teacher, shows his individuality in the process of working on musical works.
The implementation of the teaching and developing possibilities of interpretation presupposes targeted guidance from the teacher, who corrects the interpretation process, taking into account the individual characteristics of the student, stimulating the creative search for the optimal performing solution, developing the skills of independent performing activity in the process of artistic interpretation of the musical text of a musical work. Co-creation of a teacher and a student in the work on the artistic interpretation of musical compositions is a necessary condition for the development of artistic and figurative thinking of a student-musician.
This is evidenced by the experience of outstanding domestic pianists-teachers. In the class of the famous Russian teacher L.V. Nikolaev, the performing interpretation of any musical work was built differently each time, depending on the individuality of the student. “A teacher who is sensitive enough in the lesson,” wrote L.V. Nikolaev, - speaks and acts on the basis of what he heard from the student, adjusting to him. Therefore, in pedagogical work, you have to improvise anew every time. The principle of "improvisation" of a creative approach to students was one of the guiding principles in the pedagogical activity of this musician.
Another outstanding musician G.G. Neuhaus, creating in the process of classes an atmosphere of extraordinary spirituality, considered it important to make sure that each student, inspired by the power of the poetic image presented to him, mobilized all his spiritual forces and capabilities. As E.N. Fedorovich, it was cooperation that served as the foundation for educating a student’s creative personality in the pedagogical practice of many outstanding Russian pianists: F.M. Blumenfeld, K.N. Igumnova, G.G. Neuhaus, L.V. Nikolaev, A.G. Rubinstein, N.G. Rubinstein, S.B. Feinberg.
Genuine mastery of musical works and the creation of their own original interpretations in the class of the main musical instrument is carried out in the process of performing. Cognition proceeds by overcoming the difficulties of musical content and musical form, through understanding the logic of the work, comprehending its musical image.
According to L.A. Barenboim, such knowledge is associated with the development of students' skills, operating with musical material, to find similarities and differences, to analyze and synthesize, to establish relationships. It is absolutely obvious that performing actions are inseparable from the system of mental actions. But at the same time, musical activity is impossible without the emotional experience of the performance process and the creation of an artistic image, and the emotional coloring of the cognition process is characteristic of problem-based learning. The mastery of musical works is associated with a problematic situation of a certain complexity, both theoretical and practical. They cover the general laws of music, features of musical development, principles of form construction, the specifics of the harmonic and melodic language, etc.
The constant acquisition of new knowledge, the ability to apply it in practice, the involvement of basic thought processes - all this effectively contributes to the formation of artistic and figurative thinking. The upbringing of positive motivation also implies the inclusion of future music teachers in active musical and performing activities. Awareness of the repertoire supposed to be studied as professionally significant is associated with its systematic use in pedagogical and performing practice. To this end, we try to expand as much as possible the scope of personal performance activities of students in the classroom in all musical disciplines.
Instilling the skills of research work necessary to study the era, style, biography of the composer is an important condition for the formation of artistic and figurative thinking of future music teachers, and, accordingly, the interpretation of the musical works they perform. Students must be taught how to work with methodological and psychological-pedagogical literature, select appropriate material and use it, conduct experiments in teaching, generalize and systematize observational data, write abstracts or reports on various issues of interest.
The performing activity of the future music teacher proceeds more successfully, provided that a positive attitude towards public speaking is formed, the need for performing activity, psychological readiness and satisfaction from it, the presence of a cognitive interest in musical performance and other motives that encourage active performing activity.
We see the point in presenting recommendations of a general nature regarding the forms and methods of forming artistic and figurative thinking, promising in terms of influencing the creation of an artistic interpretation of musical works. To this end, we will analyze the process of artistic interpretation itself, and also dwell on some aspects that, perhaps, are indirectly related to the topic of our study, but at the same time are necessary for the formation of artistic and figurative thinking of a music teacher.
It should be noted that it is the first stage of work on the interpretation of a musical work that is decisive for determining individual characteristics in understanding the artistic image of the work under study. How to awaken fantasy, direct it into the necessary direction of logical understanding of the musical texture and the nature of the artistic image, how to help in choosing a performing option that is most adequate to the composer's idea - these and many other equally important questions arise before the teacher at the very beginning of the interpretive process.
Acquaintance with a work usually begins with playing a musical text, drawing up an intra-auditory “sketch” idea of it before starting a detailed study. Seeing everything that is written in the notes and feeling what the text signs express is not an easy task. The role of the teacher at this stage is to give a "key" to unravel the content of the musical language of the composition without being too active. This help is very important, since even the right emotional response to the work being performed is not enough to comprehend the artistic interpretation as a whole. At the initial stage of the formation of artistic interpretation skills, as a rule, the teacher outlines a sketch of the student's performance plan. The musical and artistic erudition of the teacher is especially necessary for the student in the work on compositions, the authors of which did not fully record their intentions on paper. As an example, let us name the urtexts of I.S. Bach, who, like many of his contemporaries, wrote down a minimum in notes.
In the process of mastering a musical text, one of the most important and difficult is the performing skill of sight reading. Thanks to him, the player gets the first idea about the work being studied. This skill contributes to the development of the student's internal activity, the activation of his creative imagination and thinking. One of the conditions for good sight reading is the ability to “grasp” meaningful musical complexes: “horizontal” (extended melodic constructions) and “vertical” (change of harmonies).
Our experience in the music department of the Kolomna Pedagogical Institute allows us to speak about a rather low level of students' mastery of this performing skill, which leads to a small amount and low quality of the material they have studied. Meanwhile, good sight-reading is necessary to create the performance baggage of the future teacher-musician, designed to promote all the best that has been created in the art of music. In addition, quick and competent mastering of the musical text can help students in related areas of their performance training, vocal and conductor-choral.
The formation of sight-reading skills should begin with the development of the ability to view the musical text with the eyes in order to understand the structure of the work (clarification of the size and tone, voices of texture, melody and accompaniment). Looking through the text, the student mentally listens to the musical material. This brings him to a clearer idea of the nature of the composition being studied and may contribute to the development of the student's inner hearing. At the heart of inner hearing is the ability to operate with musical and auditory representations - the most important qualitative sign of creative thinking. Based on the technique of fast and competent reading of music, sight-seeing will help the student to more easily and quickly form his own idea of a particular musical idea and plan for its interpretation.
The fresh and immediate primary emotional impact of the musical material allows the performer to conditionally predict the model of the subsequent listener's perception, which is especially important in the performance activity of a music teacher.
The second stage of artistic interpretation is based on the logical understanding of the material fabric of the interpreted work, the creation of its artistic and sound prototype in the imagination and finding the most perfect ways, methods and means for its implementation. The creative nature of the performing search for an ideal internal auditory artistic image of a musical work suggests a problematic type of learning. Placed in the conditions of the need for an independent search for a solution, students do not passively assimilate the ready-made information presented by the teacher, but on the basis of previous knowledge, relying on the logic of further reasoning, independently come to new knowledge for themselves. Solving problems of a problematic nature activates the student's artistic and figurative thinking, promotes the development of interest in performing activities, which is associated, among other things, with the research, search nature of the interpretation of musical works.
The development of artistic and figurative thinking, according to teachers-researchers, is facilitated by a personal attitude to the work being interpreted, the ability to create one's own idea of its figurative and intonational content based on the experience of aesthetic activity, the entire wealth of life and musical impressions. “No performance creativity is possible,” we read from Ya.I. Milshtein, - if the performer does not have a preliminary stock of information in his mind, if he is not prepared for this by all his previous development, upbringing ... The higher the thesaurus of the performer, the more voluminous his “storeroom” of associations and images ... his personality, the more significant, brighter, more abundant the associations that arise in him when he comes into contact with the author's thought, with primary information.
No less significant is the use of indirect sources of information in the process of creating an interpretation of a musical work: historical materials about the era in which the author lived, information about himself, his creative method and style, existing traditions of performing his musical compositions. This not only contributes to the development of the student's cognitive interest, the expansion of his fund of artistic knowledge, but also makes it possible to variantly decipher the emotional "subtext" of the musical notation of the work, which gives an individual character to its performing interpretation.
Awakening the student's fantasy, finding his personal meaning in the work on the interpretation is closely connected with the search for artistic and figurative associations, metaphors, comparisons. Associative comprehension of musical images is an effective method of penetrating the artistic and poetic system, significantly influencing the process of understanding, experiencing and performing music, which is especially significant in educating the performing qualities of a teacher. This point is also important in the communication between the teacher and his audience in music lessons at school.
From the ability to penetrate into the emotional content of the piece being played, from the ability to create an individual emotional program of one's performance, the development of the creative potential of students and the focus on solving artistic problems related to the interpretation of musical works depend. In the future, the aesthetic effect of the performance creativity of a music teacher, the depth of the impact of his artistic interpretation on the school audience will be based on these qualities. The disclosure of students' creative abilities, the development of their emotional attitude to the work being performed are important tasks, the solution of which is possible with the use of some special pedagogical methods and special techniques.
Thus, the method of pedagogical display of the studied musical work actively contributes to the education of the “apparatus of experiencing” and the “apparatus of comprehension” (K.S. Stanislavsky). The method of pedagogical display is emotional "infection", the transfer of the main idea of the interpreted work to the student. Various types of display can be used: display - "involvement" (L.A. Barenboim), "search" display (M.E. Feigin), display of the semantic code of the work (K.N. Igumnov), etc.
The greatest efficiency of the pedagogical display is achieved under the condition of its interaction with verbal explanations. Depending on the purpose of the display, verbal methods can have a preliminary, accompanying and final function. For example, the role of the word as a setting that precedes listening to pedagogical performance, “guiding” the student’s perception is interesting. In the process of showing the teacher's remarks, they increase attention to any turn in the musical plot of the composition. In the course of the subsequent conversation, specific means of expression can be dealt with, with the help of which the composer and performer manage to achieve the desired effect. Such communication awakens the student's creative imagination, gives scope to his imagination and independent logical generalizations, develops artistic and figurative thinking.
The combination of various explanatory and illustrative methods and artistic and pedagogical analysis also contributes to the development of the emotional sphere and imagination, the skills of the student's analytical and artistic-figurative thinking in the process of finding an adequate performing solution. The method of verbal characterization of the artistic image of the performed work is effective for the formation of communication skills necessary for the future profession, including the skill of pedagogical improvisation.
Considering the musical and educational nature of the student's future professional activity, it must be remembered that the verbalized (expressed in verbal form) personal meaning of the artistic image of a musical work activates both the performer (the music teacher) and his listeners (the audience of schoolchildren). Therefore, in the process of working on interpretation, the teacher must seek from the student the ability to express in words the essence of the image of a musical composition and convincingly substantiate his performing interpretation.
The next stage of the second stage of the artistic interpretation of a musical work is aimed at the concrete embodiment of the idea in the field of performing motor skills, its final clarification and design. Phrasing, dynamic colors and timbre possibilities of texture, various strokes, pedagogical nuances, fingering options, pedalization and other elements of the musical language are the necessary means that reveal the composer's creative intent. The main form of work at this stage is the study of the work in fragments, the technical development and artistic finishing of each of them, memorization of musical material. The whole temporarily fades into the background, obscured by details. But with properly built work, it is the main core, with which all the details are mentally correlated.
The figurative content, the style of the work determine the requirements for the technique of the performing musician. Without dwelling in detail on the analysis of the whole variety of techniques, let us consider one of the moments that are of particular importance in matters of individual performance technique as a component of the professional performance qualities of a future music teacher. The best representatives of piano pedagogy primarily associate work on sound with an understanding of technique. “Mastering the sound,” we read from G.G. Neuhaus, - is the first and most important task among other technical tasks that a pianist must solve, because sound is the very matter of music ... In my studies with students, I will say without exaggeration, three-quarters of the work is work on sound.
Verbal subtext can serve as an auxiliary intonational reference point, which makes it easier to identify the convincing pronunciation of individual intonations and their sound characteristics. Each composer has a scale of the most commonly used designations for the qualitative characteristics of sound. It certainly helps to find the desired sound characteristics of the image. At the same time, according to G.M. Kogan, a “dead” phrase positively comes to life after you pick up intonationally suitable words for it.
The intonational comprehension of the work, in our opinion, can be significantly stimulated if the students are given the task of identifying the lyrical hero of this work (V.V. Medushevsky). The vision of a living person in the image of the hero of the work contributes to the understanding of his behavior and the creation of a logical subjective emotional program. The task of the student-performer is to merge his vision of the world with the hero of the play, to look at the world through his eyes. The emotional "living" of the image, the personal "inclusion" of the student, that is, the involvement of his intellectual and life experience, contribute to his knowledge of the personal meaning of the interpreted work.
The ability to recognize the emotions of a lyrical hero, to merge one's own vision with him speaks of a developed emotional intelligence (qualitative development of artistic and figurative thinking, and, accordingly, a convincing interpretation of a musical work). All this makes the work related to the search for a lyrical hero interesting and fruitful, allowing to liberate not only the emotional and intellectual, but also the artistic abilities of the student.
In the process of intonational comprehension of the artistic image of the interpreted work, artistic imagination helps in finding the game movements necessary for its sound embodiment. In order for any note, chord, passage or textural combination to sound exactly as the student would like, the teacher must help him to imagine not only the sound color or timbre, but also the playing technique.
A problem display opens up a great opportunity to identify the creative initiative and independence of the student. We consider pedagogical demonstration as a method of problem-based learning from the point of view that in this capacity it helps to ensure the creation of a problem-search situation by setting tasks related to the choice and justification of the solution. This can be achieved by showing possible versions of the musical material. In this case, the student independently chooses a variety of performing interpretation that meets his creative inclinations and tries to find technical means for solving a specific artistic task.
However, the specificity of performing activity is such that moments of a different order may arise in the process of mastering it. The movements themselves - according to the feedback principle - affect the work of the imagination, consciousness and hearing (A. Vitsynsky, O. Shulpyakov). The hand in the course of search repeated actions acquires the ability to "hear" (S. Savshinsky); not only “express”, but also “anticipate” this or that character of the sound. At the heart of the performance skills of both the student and the mature musician-interpreter should be the correspondence of the sound image to the movements and sensations of the hands.
It seems that the above material is quite sufficient to convince oneself of the importance of using the creative potential of technology (in particular, work on sound) in the process of interpreting an artistic image.
The situation of the birth of a performing interpretation of a musical work takes time - and the more, the more complex the given artistic image in terms of design, size, and form. With insufficient musical maturity of the performer (the moment of his professional development), the duration of this process can lead to a partial loss of his interest in work. Therefore, at this stage, the teacher requires maximum activity, will and ability to lead the student. Helping the student to understand the author's intention, working on various performance tasks, seeking diversity and colorfulness of sound from him, the teacher needs to ensure that interest in the beauty of harmony, the sensual image of the performed, the ambiguity of the intoned meaning of the musical work does not weaken. Some methods of artistic and pedagogical analysis, adequate to the nature of musical art, are called upon to help this. Along with the previously mentioned ones (search for an associative artistic range, synthesis of musical and visual associations), we list those that, in our opinion, contribute to creating an atmosphere of creativity in the classroom:
The method of comparing the works of the composer according to the principle of similarity and difference (described in detail in the works of B. Asafiev and N. Grodzenskaya);
The method of comparing different versions of the same work (variants, editions, sketches);
The method of "destruction" or deliberate change of one or more means of artistic expression (speed, sound strength, strokes), helping to find their optimal ratio in creating an artistic image;
The method of "re-intonation", which contributes to the best understanding of the performing phrasing.
Of course, the use of these methods of artistic and pedagogical analysis requires awareness of pedagogical expediency in each specific case. At the same time, they help to solve the complex problem of the relationship between student and pedagogical initiative in the process of creating an interpretation of a musical composition. The ability to work in dialogue with the teacher stimulates the development of the skills of the student's artistic and communicative activity, creates the conditions for his adequate self-expression in the proposed situation. Working in the “concept of the student” (definition by V.G. Razhnikov), saturating and improving this concept, the teacher helps the student to delve into the author’s musical idea and, through overcoming private performance tasks, bring the initial “working hypothesis” of interpretation to the final, third, stage her formation.
Calling this stage the moment of "assembly" G.M. Kogan explains: “From now on, the emphasis is shifting; Although the work on the pieces continues, it takes on the character of refinement, completion, and the playing of the piece as a whole, trial performances come to the fore. They constitute the main content of the assembly stage. The student gets the opportunity to perform freely, focusing only on the musical image itself.
When playing a prepared work, it is quite possible for it to introduce new, previously unforeseen details. First of all, this can affect performance agogics - moments associated with tempo and rhythmic rubato, a colorful sense of harmony, artistic "pronunciation" of strokes, etc. Such a manifestation of the student's creative intentions is not arbitrary, but a kind of synthesis of his own perception of music and perceptions of the teacher, the result of their joint work. Here we mean that state of inner emancipation, creative freedom, a special rapprochement with the world of images of the interpreted composition, which is a necessary condition for a full-fledged performance not only for a mature musician, but also for a student. Supporting the student's initiative, encouraging even the most modest performance decisions by it, are tasks of paramount importance.
Conclusion
Concert performance crowns the work on a piece of music. On the stage, according to the majority of performers and music teachers, the process of its artistic interpretation is being completed. “Of course,” writes N.A. Lyubomudrov, “any composition should generally be well learned and performed, but it is a public performance that sums up all the work done in the class, obliging both the student and the teacher to its highest possible quality, requiring special completeness and relief to identify the idea.” The words of A.B. are consonant with the statement of Lyubomudrova. Goldenweiser: “Performance only then became complete when the work was played on the stage; It is pop performance that gives a powerful impetus to artistic development.
The student's focus on transferring his performing reading of a particular musical image to others is of great educational importance, arising from the natural interaction of the performer and listeners at the time of interpretation. Research by psychologists (D.L. Bochkarev, V.Yu. Grigoriev, M.Yu. Kapustin, G.M., Tsypin and others) shows that the contact between the performer and the audience is the basis of interpretive creativity in the process of musical communication.
The reaction of the public, the active perception of what is heard gives rise to a spiritual connection with the musician who interprets the work, thanks to his skill, artistry and dedication to revealing the figurative and artistic concept of the musical work. Evaluation and approval of the listener is a stimulus for further development of creative searches in creating one's own interpretations. The skill of creative communication with the public through performing interpretation can serve as an effective means of developing the artistic and imaginative thinking of the future teacher-musician.
Bibliography
1. Dubinets E. "Signs of sounds" K. Gamayun, 1999,
2. Kholopova V. The parameter of expression in the music of S. Gubaidulina. In the collection: "The main trends in modern music" Moscow, Music, 2007
3. Soviet Encyclopedic Dictionary ed. "Soviet Encyclopedia 1980
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- Music
Description:
The problem of interpreting a piece of music in the learning process
The form of individual lessons in teaching to play a musical instrument is, according to the listed teachers-researchers, a kind of territory, first of all, for the creative development of the student, where he, in cooperation with the teacher, shows his individuality in the process of working on musical works.
The implementation of the teaching and developing possibilities of interpretation presupposes targeted guidance from the teacher, who corrects the interpretation process, taking into account the individual characteristics of the student, stimulating the creative search for the optimal performing solution, developing the skills of independent performing activity in the process of artistic interpretation of the musical text of a musical work. Co-creation of a teacher and a student in the work on the artistic interpretation of musical compositions is a necessary condition for the development of artistic and figurative thinking of a student-musician.
This is evidenced by the experience of outstanding domestic pianists-teachers. In the class of the famous Russian teacher L.V. Nikolaev, the performing interpretation of any musical work was built differently each time, depending on the individuality of the student. “A teacher who is sensitive enough in the lesson,” wrote L.V. Nikolaev, - speaks and acts on the basis of what he heard from the student, adjusting to him. Therefore, in pedagogical work, you have to improvise anew every time. The principle of "improvisation" of a creative approach to students was one of the guiding principles in the pedagogical activity of this musician.
Another outstanding musician G.G. Neuhaus, creating in the process of classes an atmosphere of extraordinary spirituality, considered it important to make sure that each student, inspired by the power of the poetic image presented to him, mobilized all his spiritual forces and capabilities. As E.N. Fedorovich, it was cooperation that served as the foundation for educating a student’s creative personality in the pedagogical practice of many outstanding Russian pianists: F.M. Blumenfeld, K.N. Igumnova, G.G. Neuhaus, L.V. Nikolaev, A.G. Rubinstein, N.G. Rubinstein, S.B. Feinberg.
Genuine mastery of musical works and the creation of their own original interpretations in the class of the main musical instrument is carried out in the process of performing. Cognition proceeds by overcoming the difficulties of musical content and musical form, through understanding the logic of the work, comprehending its musical image.
According to L.A. Barenboim, such knowledge is associated with the development of students' skills, operating with musical material, to find similarities and differences, to analyze and synthesize, to establish relationships. It is absolutely obvious that performing actions are inseparable from the system of mental actions. But at the same time, musical activity is impossible without the emotional experience of the performance process and the creation of an artistic image, and the emotional coloring of the cognition process is characteristic of problem-based learning. The mastery of musical works is associated with a problematic situation of a certain complexity, both theoretical and practical. They cover the general laws of music, features of musical development, principles of form construction, the specifics of the harmonic and melodic language, etc.
The constant acquisition of new knowledge, the ability to apply it in practice, the involvement of basic thought processes - all this effectively contributes to the formation of artistic and figurative thinking. The upbringing of positive motivation also implies the inclusion of future music teachers in active musical and performing activities. Awareness of the repertoire supposed to be studied as professionally significant is associated with its systematic use in pedagogical and performing practice. To this end, we try to expand as much as possible the scope of personal performance activities of students in the classroom in all musical disciplines.
Instilling the skills of research work necessary to study the era, style, biography of the composer is an important condition for the formation of artistic and figurative thinking of future music teachers, and, accordingly, the interpretation of the musical works they perform. Students must be taught how to work with methodological and psychological-pedagogical literature, select appropriate material and use it, conduct experiments in teaching, generalize and systematize observational data, write abstracts or reports on various issues of interest.
The performing activity of the future music teacher proceeds more successfully, provided that a positive attitude towards public speaking is formed, the need for performing activity, psychological readiness and satisfaction from it, the presence of a cognitive interest in musical performance and other motives that encourage active performing activity.
We see the point in presenting recommendations of a general nature regarding the forms and methods of forming artistic and figurative thinking, promising in terms of influencing the creation of an artistic interpretation of musical works. To this end, we will analyze the process of artistic interpretation itself, and also dwell on some aspects that, perhaps, are indirectly related to the topic of our study, but at the same time are necessary for the formation of artistic and figurative thinking of a music teacher.
It should be noted that it is the first stage of work on the interpretation of a musical work that is decisive for determining individual characteristics in understanding the artistic image of the work under study. How to awaken fantasy, direct it into the necessary direction of logical understanding of the musical texture and the nature of the artistic image, how to help in choosing a performing option that is most adequate to the composer's idea - these and many other equally important questions arise before the teacher at the very beginning of the interpretive process.
Acquaintance with a work usually begins with playing a musical text, drawing up an intra-auditory “sketch” idea of it before starting a detailed study. Seeing everything that is written in the notes and feeling what the text signs express is not an easy task. The role of the teacher at this stage is to give a "key" to unravel the content of the musical language of the composition without being too active. This help is very important, since even the right emotional response to the work being performed is not enough to comprehend the artistic interpretation as a whole. At the initial stage of the formation of artistic interpretation skills, as a rule, the teacher outlines a sketch of the student's performance plan. The musical and artistic erudition of the teacher is especially necessary for the student in the work on compositions, the authors of which did not fully record their intentions on paper. As an example, let us name the urtexts of I.S. Bach, who, like many of his contemporaries, wrote down a minimum in notes.
In the process of mastering a musical text, one of the most important and difficult is the performing skill of sight reading. Thanks to him, the player gets the first idea about the work being studied. This skill contributes to the development of the student's internal activity, the activation of his creative imagination and thinking. One of the conditions for good sight reading is the ability to “grasp” meaningful musical complexes: “horizontal” (extended melodic constructions) and “vertical” (change of harmonies).
Our experience in the music department of the Kolomna Pedagogical Institute allows us to speak about a rather low level of students' mastery of this performing skill, which leads to a small amount and low quality of the material they have studied. Meanwhile, good sight-reading is necessary to create the performance baggage of the future teacher-musician, designed to promote all the best that has been created in the art of music. In addition, quick and competent mastering of the musical text can help students in related areas of their performance training, vocal and conductor-choral.
The formation of sight-reading skills should begin with the development of the ability to view the musical text with the eyes in order to understand the structure of the work (clarification of the size and tone, voices of texture, melody and accompaniment). Looking through the text, the student mentally listens to the musical material. This brings him to a clearer idea of the nature of the composition being studied and may contribute to the development of the student's inner hearing. At the heart of inner hearing is the ability to operate with musical and auditory representations - the most important qualitative sign of creative thinking. Based on the technique of fast and competent reading of music, sight-seeing will help the student to more easily and quickly form his own idea of a particular musical idea and plan for its interpretation.
The fresh and immediate primary emotional impact of the musical material allows the performer to conditionally predict the model of the subsequent listener's perception, which is especially important in the performance activity of a music teacher.
The second stage of artistic interpretation is based on the logical understanding of the material fabric of the interpreted work, the creation of its artistic and sound prototype in the imagination and finding the most perfect ways, methods and means for its implementation. The creative nature of the performing search for an ideal internal auditory artistic image of a musical work suggests a problematic type of learning. Placed in the conditions of the need for an independent search for a solution, students do not passively assimilate the ready-made information presented by the teacher, but on the basis of previous knowledge, relying on the logic of further reasoning, independently come to new knowledge for themselves. Solving problems of a problematic nature activates the student's artistic and figurative thinking, promotes the development of interest in performing activities, which is associated, among other things, with the research, search nature of the interpretation of musical works.
The development of artistic and figurative thinking, according to teachers-researchers, is facilitated by a personal attitude to the work being interpreted, the ability to create one's own idea of its figurative and intonational content based on the experience of aesthetic activity, the entire wealth of life and musical impressions. “No performance creativity is possible,” we read from Ya.I. Milshtein, - if the performer does not have a preliminary stock of information in his mind, if he is not prepared for this by all his previous development, upbringing ... The higher the thesaurus of the performer, the more voluminous his “storeroom” of associations and images ... his personality, the more significant, brighter, more abundant the associations that arise in him when he comes into contact with the author's thought, with primary information.
No less significant is the use of indirect sources of information in the process of creating an interpretation of a musical work: historical materials about the era in which the author lived, information about himself, his creative method and style, existing traditions of performing his musical compositions. This not only contributes to the development of the student's cognitive interest, the expansion of his fund of artistic knowledge, but also makes it possible to variantly decipher the emotional "subtext" of the musical notation of the work, which gives an individual character to its performing interpretation.
Awakening the student's fantasy, finding his personal meaning in the work on the interpretation is closely connected with the search for artistic and figurative associations, metaphors, comparisons. Associative comprehension of musical images is an effective method of penetrating the artistic and poetic system, significantly influencing the process of understanding, experiencing and performing music, which is especially significant in educating the performing qualities of a teacher. This point is also important in the communication between the teacher and his audience in music lessons at school.
From the ability to penetrate into the emotional content of the piece being played, from the ability to create an individual emotional program of one's performance, the development of the creative potential of students and the focus on solving artistic problems related to the interpretation of musical works depend. In the future, the aesthetic effect of the performance creativity of a music teacher, the depth of the impact of his artistic interpretation on the school audience will be based on these qualities. The disclosure of students' creative abilities, the development of their emotional attitude to the work being performed are important tasks, the solution of which is possible with the use of some special pedagogical methods and special techniques.
Thus, the method of pedagogical display of the studied musical work actively contributes to the education of the “apparatus of experiencing” and the “apparatus of comprehension” (K.S. Stanislavsky). The method of pedagogical display is emotional "infection", the transfer of the main idea of the interpreted work to the student. Various types of display can be used: display - "involvement" (L.A. Barenboim), "search" display (M.E. Feigin), display of the semantic code of the work (K.N. Igumnov), etc.
The greatest efficiency of the pedagogical display is achieved under the condition of its interaction with verbal explanations. Depending on the purpose of the display, verbal methods can have a preliminary, accompanying and final function. For example, the role of the word as a setting that precedes listening to pedagogical performance, “guiding” the student’s perception is interesting. In the process of showing the teacher's remarks, they increase attention to any turn in the musical plot of the composition. In the course of the subsequent conversation, specific means of expression can be dealt with, with the help of which the composer and performer manage to achieve the desired effect. Such communication awakens the student's creative imagination, gives scope to his imagination and independent logical generalizations, develops artistic and figurative thinking.
The combination of various explanatory and illustrative methods and artistic and pedagogical analysis also contributes to the development of the emotional sphere and imagination, the skills of the student's analytical and artistic-figurative thinking in the process of finding an adequate performing solution. The method of verbal characterization of the artistic image of the performed work is effective for the formation of communication skills necessary for the future profession, including the skill of pedagogical improvisation.
Considering the musical and educational nature of the student's future professional activity, it must be remembered that the verbalized (expressed in verbal form) personal meaning of the artistic image of a musical work activates both the performer (the music teacher) and his listeners (the audience of schoolchildren). Therefore, in the process of working on interpretation, the teacher must seek from the student the ability to express in words the essence of the image of a musical composition and convincingly substantiate his performing interpretation.
The next stage of the second stage of the artistic interpretation of a musical work is aimed at the concrete embodiment of the idea in the field of performing motor skills, its final clarification and design. Phrasing, dynamic colors and timbre possibilities of texture, various strokes, pedagogical nuances, fingering options, pedalization and other elements of the musical language are the necessary means that reveal the composer's creative intent. The main form of work at this stage is the study of the work in fragments, the technical development and artistic finishing of each of them, memorization of musical material. The whole temporarily fades into the background, obscured by details. But with properly built work, it is the main core, with which all the details are mentally correlated.
The figurative content, the style of the work determine the requirements for the technique of the performing musician. Without dwelling in detail on the analysis of the whole variety of techniques, let us consider one of the moments that are of particular importance in matters of individual performance technique as a component of the professional performance qualities of a future music teacher. The best representatives of piano pedagogy primarily associate work on sound with an understanding of technique. “Mastering the sound,” we read from G.G. Neuhaus, - is the first and most important task among other technical tasks that a pianist must solve, because sound is the very matter of music ... In my studies with students, I will say without exaggeration, three-quarters of the work is work on sound.
Verbal subtext can serve as an auxiliary intonational reference point, which makes it easier to identify the convincing pronunciation of individual intonations and their sound characteristics. Each composer has a scale of the most commonly used designations for the qualitative characteristics of sound. It certainly helps to find the desired sound characteristics of the image. At the same time, according to G.M. Kogan, a “dead” phrase positively comes to life after you pick up intonationally suitable words for it.
The intonational comprehension of the work, in our opinion, can be significantly stimulated if the students are given the task of identifying the lyrical hero of this work (V.V. Medushevsky). The vision of a living person in the image of the hero of the work contributes to the understanding of his behavior and the creation of a logical subjective emotional program. The task of the student-performer is to merge his vision of the world with the hero of the play, to look at the world through his eyes. The emotional "living" of the image, the personal "inclusion" of the student, that is, the involvement of his intellectual and life experience, contribute to his knowledge of the personal meaning of the interpreted work.
The ability to recognize the emotions of a lyrical hero, to merge one's own vision with him speaks of a developed emotional intelligence (qualitative development of artistic and figurative thinking, and, accordingly, a convincing interpretation of a musical work). All this makes the work related to the search for a lyrical hero interesting and fruitful, allowing to liberate not only the emotional and intellectual, but also the artistic abilities of the student.
In the process of intonational comprehension of the artistic image of the interpreted work, artistic imagination helps in finding the game movements necessary for its sound embodiment. In order for any note, chord, passage or textural combination to sound exactly as the student would like, the teacher must help him to imagine not only the sound color or timbre, but also the playing technique.
A problem display opens up a great opportunity to identify the creative initiative and independence of the student. We consider pedagogical demonstration as a method of problem-based learning from the point of view that in this capacity it helps to ensure the creation of a problem-search situation by setting tasks related to the choice and justification of the solution. This can be achieved by showing possible versions of the musical material. In this case, the student independently chooses a variety of performing interpretation that meets his creative inclinations and tries to find technical means for solving a specific artistic task.
However, the specificity of performing activity is such that moments of a different order may arise in the process of mastering it. The movements themselves - according to the feedback principle - affect the work of the imagination, consciousness and hearing (A. Vitsynsky, O. Shulpyakov). The hand in the course of search repeated actions acquires the ability to "hear" (S. Savshinsky); not only “express”, but also “anticipate” this or that character of the sound. At the heart of the performance skills of both the student and the mature musician-interpreter should be the correspondence of the sound image to the movements and sensations of the hands.
It seems that the above material is quite sufficient to convince oneself of the importance of using the creative potential of technology (in particular, work on sound) in the process of interpreting an artistic image.
The situation of the birth of a performing interpretation of a musical work takes time - and the more, the more complex the given artistic image in terms of design, size, and form. With insufficient musical maturity of the performer (the moment of his professional development), the duration of this process can lead to a partial loss of his interest in work. Therefore, at this stage, the teacher requires maximum activity, will and ability to lead the student. Helping the student to understand the author's intention, working on various performance tasks, seeking diversity and colorfulness of sound from him, the teacher needs to ensure that interest in the beauty of harmony, the sensual image of the performed, the ambiguity of the intoned meaning of the musical work does not weaken. Some methods of artistic and pedagogical analysis, adequate to the nature of musical art, are called upon to help this. Along with the previously mentioned ones (search for an associative artistic range, synthesis of musical and visual associations), we list those that, in our opinion, contribute to creating an atmosphere of creativity in the classroom:
The method of comparing the works of the composer according to the principle of similarity and difference (described in detail in the works of B. Asafiev and N. Grodzenskaya);
The method of comparing different versions of the same work (variants, editions, sketches);
The method of "destruction" or deliberate change of one or more means of artistic expression (speed, sound strength, strokes), helping to find their optimal ratio in creating an artistic image;
The method of "re-intonation", which contributes to the best understanding of the performing phrasing.
Of course, the use of these methods of artistic and pedagogical analysis requires awareness of pedagogical expediency in each specific case. At the same time, they help to solve the complex problem of the relationship between student and pedagogical initiative in the process of creating an interpretation of a musical composition. The ability to work in dialogue with the teacher stimulates the development of the skills of the student's artistic and communicative activity, creates the conditions for his adequate self-expression in the proposed situation. Working in the “concept of the student” (definition by V.G. Razhnikov), saturating and improving this concept, the teacher helps the student to delve into the author’s musical idea and, through overcoming private performance tasks, bring the initial “working hypothesis” of interpretation to the final, third, stage her formation.
Calling this stage the moment of "assembly" G.M. Kogan explains: “From now on, the emphasis is shifting; Although the work on the pieces continues, it takes on the character of refinement, completion, and the playing of the piece as a whole, trial performances come to the fore. They constitute the main content of the assembly stage. The student gets the opportunity to perform freely, focusing only on the musical image itself.
When playing a prepared work, it is quite possible for it to introduce new, previously unforeseen details. First of all, this can affect performance agogics - moments associated with tempo and rhythmic rubato, a colorful sense of harmony, artistic "pronunciation" of strokes, etc. Such a manifestation of the student's creative intentions is not arbitrary, but a kind of synthesis of his own perception of music and perceptions of the teacher, the result of their joint work. Here we mean that state of inner emancipation, creative freedom, a special rapprochement with the world of images of the interpreted composition, which is a necessary condition for a full-fledged performance not only for a mature musician, but also for a student. Supporting the student's initiative, encouraging even the most modest performance decisions by it, are tasks of paramount importance.
