Menu: Home :: go to Journal :: switch to Russian :: switch to English
You are here: all Journals and Issues→ Journal→ Issue→ Article

Specificity of performance and intonation of clavier works of the Baroque era

Annotation

We analyze the specifics of performance and intonation clavier works of the Baroque era. An approximate model of the system for mastering the art of intonation of Baroque clavier music is given. The complex of expressive means of works for the Baroque clavier is analyzed. The subject of the research is the process of performance and intonation of Baroque clavier works. The purpose of the research is a scientific and theoretical justification of the system of mastering the culture of performance and intonation of Baroque clavier works. The relevance of the research is that there is a need to study the musical heritage of the Baroque era, preserve and continue the traditions of performing Baroque music, and search for innovative approaches to its development. The research methodology was based on the analysis of the results of experimental work on the research topic; comparative analysis and systematization of the main provisions of the intonation and style approach to the development of the musical heritage of the Baroque era. As a result of this research, a system is formulated and the need for stage-by-stage development of the piano performance culture-intonation of musical works of the Baroque era is confirmed. It is concluded that mastering the art of performance and intonation of clavier works of the Baroque era involves mastering the specifics of reading the musical text of clavier works, mastering the complex system of musical and expressive means of the Baroque era, the art of performing melisms. The field of application of the results obtained is the practical activity of a teacher-musician.

Keywords

clavier works of the Baroque era; performance and intonation of musical works; musical style of D. Scarlatti, J.S. Bach and G. Handel; musical culture; piano performance and intonation

Full-text in one file

Download

DOI

10.20310/1810-0201-2021-26-191-107-115

UDC

372.878

Pages

107-115

References

1. Abdullin E.B. Teoriya muzykal’nogo obrazovaniya [Theory of Music Education]. Moscow, Akademiya Publ., 2004, 336 p. (In Russian). 2. Malinkovskaya A.V. Fortepianno-ispolnitel’skoye intonirovaniye. Metodiki XVI–XX vekov [Piano and Performing Intonation. Methods of the 16th – 20th Centuries]. Moscow, Urait Publ., 2018, 232 p. (In Russian). 3. Kirillina L.V. Klassicheskiy stil’ v muzyke XVIII – nachala XIX vekov: samosoznaniye epokhi i muzykal’naya praktika [Classical Style in Music of the 18th – Early 19th Centuries: Self-Consciousness of the Epoch and Musical Practice]. Moscow, Moscow State Conservatory Publ., 1996, 192 p. (In Russian). 4. Medushevskiy V.V. Intonatsionnaya forma muzyki [Intonation Form of Music]. Moscow, Kompozitor Publ., 1993, 268 p. (In Russian). 5. Kholopova V.N. Muzyka kak vid iskusstva [Music as an Art Form]. St. Petersburg, Lan’, Planeta muzyki Publ., 2014, 320 p. (In Russian). 6. Bodki E. Interpretatsiya klavirnykh proizvedeniy I.S. Bakha [Interpretation of Clavier Works by J. S. Bach]. Moscow, Muzyka Publ., 1989, 388 p. (In Russian). 7. Gruber R.I. Gendel’ [Handel]. Leningrad, Scientific Research Institute of Art Studies Publ., 1935, 125 p. (In Russian). 8. Petrov Y.P. Taynopis’ muzyki barokko: sbornik nauchnykh trudov i vospominaniy ob avtore [Secret Writing of Baroque Music: a Collection of Scientific Papers and Memoirs About the Author]. Moscow, Muzyka Publ., 2019, 440 p. (In Russian). 9. Braudo I.A. Ob izuchenii klavirnykh sochineniy Bakha v muzykal’noy shkole [On the Study of Bach’s Clavier Compositions at the Music School]. St. Petersburg, “Kompozitor Saint Petersburg” Publ., 2004, 92 p. (In Russian).

Received

2021-11-09

Section of issue

Theory and methods of social and cultural activity organization

Для корректной работы сайта используйте один из современных браузеров. Например, Firefox 55, Chrome 60 или более новые.