Музыкальное искусство и образование (Sep 2021)
Pedagogical Aspects of the Performing Interpretation of a Musical Composition
Abstract
The article deals with the issues of performing and pedagogical interpretation of a musical piece. The topic includes theoretical and practical aspects. In the coverage of the latter, the author relies on his experience of professional communication with teachers of performing classes of music educational institutions, among whom there is adivergence of ideas about the specifics of the teacher’s interpretative approach to working with students on a musical piece. The new hypothesis follows from the theoretical analysis of the problem and the nature of the differences in the methodological positions of teachers. In the work of a teacher with performing students, the objective essential principles and qualities of performing interpretative creativity should be integrated, and not just combined, with its focus on the development of students, that is, with the goals of “human creativity”. The article focuses on the universal features of the interpretative activity of musicians of different profiles – musicologists, performers, teachers of performing specialties – V. V. Medushevsky’s concept of the dual nature and essence of the musical form. The article also reveals fundamental differences, outlines ways of their further research. Branches of the mainstream include, in particular, the peculiarities of identifying and harmonizing the relations between the performing and pedagogical sides of the musical process by musicians, comprehending the meanings of a musical text at the “intersection” of these relations; the peculiarities of realizing the understanding and interpretation of a musical piece (more broadly, the composer’s style) in the activities of a musicologist, performer, teacher; the output of interpretation in the sphere of cultural and artistic communication, etc. In the interpretative activity of a musician-teacher, the immediate reality and individual concreteness of the student as the central subject of the educational process are highlighted as a factor determining its uniqueness. For the consideration of the reader-teacher of performing specialties, the author offers a creative combination of a “general model” and an “individualized matrix form” of interpretative work with students as a methodological tool for the implementation of the proposed hypothesis. The reflections, conceptual constructions, practical proposals contained in the article suggest their further development, the disclosure of theoretical positions in the perspective of the practical interpretative activity of the performer-teacher.
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