Music performance |

musical performance – creative. the process of recreating music. works will be performed by means. skill. Unlike spaces. art in (painting, sculpture) music as temporary art, reflecting reality in sound arts. images, needs the act of re-creation, the mediation of the performer. Objectively existing in the form of musical notation, its real sound, and most importantly, its society. existence of music. a work acquires only in the process of execution, its art. interpretation. It lives in the mind of the listener like music heard, sounded. This feature of music is inherent in its nature, in the dialectic. unity of music. prod. and execution. How independent. kind of art. creativity I. m. develops on that historical. musical development stage. claim-va, when in the conditions of the mountains. cultures, systems of fixing music with conventional signs arise. In musical notation, performing only semiotic. functions and fixing only a combination of high-altitude and rhythmic. correlations of sounds, a certain art is fixed by the composer. content. The intonation of a musical text, its interpretation is a creative act. The field of means of expression of a performing musician has a certain independence and specificity. Performing intonation differs from the composer’s (fixed in musical notation) primarily in its improvisation. nature. The finest intonation nuances, agogic, dynamic. and tempo deviations, various methods of sound extraction, not recorded in musical notation, constitute a complex of performing means of expression that complements the complex of elements of music. language used by the composer. Depending on the manner of intonation of the performer, due to his creativity. individuality, the degree of sensitivity to the perception of music, perhaps a different disclosure of its figurative content and emotional structure. Such variant multiplicity of performance is determined by the variant multiplicity of the very content of the muses. works. Availability of art. the reality of music. product, existing in the form of a musical text and recreated by the performer (or performers) on the basis of the aesthetics inherent in it. patterns, fundamentally distinguishes I. m. from improvisation.

Formation I. м. how prof. art-va, with its inherent features, arts. and technician. tasks associated with the evolution of societies. music making, the development of music. genres and styles, the improvement of notation and music. tools. Formation I. м. in the Middle Ages, it took place mainly within the framework of the cult music that dominated at that time. Church. ideology with its preaching of asceticism limited its expression. the possibilities of music, contributing to the development of a “generalized” wok. and instr. sound, determined specific. selection will express. means and methods of performance, static style. Very naked. polyphonic. warehouse of cult music and approx. the forms of its recording, initially in non-mental, and then in mensural notation, determined, on the one hand, the predominance of collective music-making (ch. arr. choral a cappella), and on the other hand, he will perform features. practice based on predetermined rules and conventions. AND. м. considered only as the “fulfillment” of these rules in relation to a given musical text, the performer – as a kind of “craftsman”. New understanding I. м. develops in the 16-17 centuries. in Italy with its humanistic traditions of the Renaissance. With the growth of mountains bourgeois. culture, the emergence of new forms of secular muz.-societies. life (academies, opera house) prof. music means. least freed from the dominion of the church. The approval of the homophonic style, the development of instrumentalism, especially playing the bowed instruments, affected I. м. New aesthetic the principles of the Renaissance lead to an increase in the expressiveness of the muses. isk-va. The decisive influence on I. м. renders opera and violin art. Opposite in their aesthetics collide and mutually influence. direction of the trend: “instrumentalization” of singing, characteristic of the bel canto opera style. voices, which was especially vividly manifested in the suit of castrati singers of the 17-18 centuries, and the “humanization” of instrumentalism, which found complete expression in the suit of “singing” in Italian. violinists, the premise of which was the creation of a classic. violin type as a wide melodic instrument. breathing. Leading aesthetic the trend is the approximation of instr. sound to human expressiveness. voices (“In order to play well, you must sing well,” proclaimed J. Tartini), directly associated with the desire to give it an individual. coloring. The violin, which allows you to individualize the sound to a greater extent than wind and plucked instruments, becomes the bearer of a new, democratic. perform. culture, determining the development of I. м. in the direction of greater completeness and diversity of expression. Neither the organ, nor the harpsichord or lute, playing on which in the 17-18 centuries. reached a high technical level. and arts. level, did not have such an impact on the performer. claim It is the violin melody – long and extended, rich in modulation. shades, capable of expressing different psychologist human condition, determines the development of new tools. genres – preclassical. sonata and concerto, osn. on the union of contrasting muses. images into a single cyclic. shape. This was the beginning of the flourishing of solo performance, the enrichment of performers. means of expression. This reflects the requirement of the aesthetics of the Renaissance to reveal in the art-ve ext. peace of personality in all his individual. originality. A new type of musician-practitioner is emerging. This is no longer a narrow “artisan”, acting in accordance with the patriarch. traditions of the Middle Ages, but a universal artist with versatile knowledge and skills. It is characterized by the fusion in one person of the performer and the creator of music; at the heart of it will perform. skill lies creativity. improvisation. Performed the activity of the “playing composer” in the conditions of the feud. society was limited to the framework of “closed music making”, he performed in front of a select circle of listeners in a small room (aristocratic. salon, palace hall, partly a church). It was essentially chamber music-making, with Krom there was no sharp line between the performer and the audience – they were united by an intimate empathy of feelings. Hence such a characteristic detail as the absence of a stage. In contrast to modern an artist performing in front of a large audience with a pre-arranged program consisting of compositions by others. authors, the “playing composer” spoke to a narrow circle of “connoisseurs” and “connoisseurs” of music and usually performed his own. essays. He achieved success not so much technical. the perfection of the game, how much is the art of improvisation. music playback. Virtuosity was understood not as perfect possession of the sum of technical skills. performance techniques, but as the ability to “speak” with the audience using the tool. This was seen as the highest goal of I. м. Similar music. the practice was associated with an era when the “playing composer” was the leading creative. figure, and music. prod. was not yet considered as completely, to the last sound, pre-installed by his creativity. an act fixed in musical notation. Hence the predominance in the 17-18 centuries. incomplete forms of music notation (although the 5-line notation, which replaced the nemensional and mensural, fixed the exact height and duration of sounds) and the traditions of her improvisation. reproduction within the framework of the general bass and the art of ornamentation. The musician had to own special. knowledge and skills, since the art of creative. improvisation required the performer to obey certain rules. Artistic claim. improvisation played a huge role in enriching express. and technician. sides I. m., contributed to the strengthening of elements of art in it. subjectivism, the development of virtuosity. Completion by the end of the 18th century. formation of the classic symphony orchestra, associated with the formation of the symphony genre, and a little later, the promotion of a new solo instrument – the hammer-operated instrument, which contributed to the development of classical forms. sonatas and concertos, marked an important stage in the evolution of I. м. New complex genres and forms, covering a wider range of muses. images and emotions. states than the pre-classical ones, contributed to the further deepening and enrichment of the performers. means of expression. Music complexity. content necessitated not only a complete and accurate recording of musical text by composers, but also the fixation of special. perform. instructions. The general-bass system is dying out, the creative art is falling into decay. improvisation, degenerating into external embellishment. Under the influence of sentimentalism with its cult of feeling and individuality, solo song lyrics develop, instr. music acquires greater emotional saturation, dynamism, contrast, a new style of orchestral performance is emerging, which marks a revolution in the field of performing dynamics. The echo-like dynamics that dominated the Baroque era, resting on Ch. arr. on architectonic principles, gives way to smooth, gradual dynamic. transitions, subtly differentiators. dynamic nuances – the “dynamics of feeling”. Aesthetics of the new style I. м. reflected in the doctrine of affects (cf. affect theory). Establishing the relationship between performance and affect, characterized in the schools of I. Quantz and F. E. Bach, despite the mechanistic nature of generalizations, contributed to the deepening of the performers’ understanding of emotions. music content. work and its more complete identification in the process of performance. Having passed through the influence of the styles of baroque, rococo and sentimentalism, the art of I. м. by the end of the 18th century. is experiencing an ever-increasing impact of social changes caused by the assertion of the bourgeoisie. societies. relations. By this time, the process of formation of nat. perform. schools. Under the influence of the Great French revolution that put an end to the old “closed” forms of organization of the muses. life, main na academician. privileges, on the age-old dominance of feuds. nobility and the church, it is being democratized. A new form of open bourgeois. music-making – a public concert (with its principles of payment and a pre-prepared program), responded to the fundamental social changes that had taken place in the composition of the audience. The new listener, who went through a harsh life school, survived the events of the great revolution and the Napoleonic era, which deeply stirred up human passions, presents to I. м. new requirements. He prefers the fullness of feelings, vivid expressiveness, emotion to the intimacy of experiences. span. He is impressed by the performer-orator, speaking to a large audience. In conc. a stage appears in the hall, a kind of oratory, separating the artist from the public, as if placing him above it. In France, in music. performance develops a heroic style. classicism, foreshadowing the coming romanticism. From the beginning 19 in. AND. м. gaining more and more independence. The spread of the symphony and opera orchestras causes the need for more numerous. personnel of prof. performers. In the mass of musicians there is a division of labor between the composer and the performer. However, in new societies. conditions, a different type of musician is also formed – the “composing virtuoso”, who still combines the performer and composer in one person. The development of trade and cultural ties between countries, the penetration of muses. cultures in a broader, democratic. circles of the population change the nature of the activity of the performer. Economical the basis of his activity is not the salary paid to him by a patron of the arts or a church. curiae, and income from prof. concert activity. Advantages. interest in opera gives way to a growing interest in instr. music. This contributes to the creation of a new conc. audience. Having got rid of the need to please noble “connoisseurs” and “connoisseurs” of music, the concert artist is forced to reckon with the tastes of the bourgeoisie. the public buying concert tickets. T. about., although bourgeois. societies. the system freed the performer from the semi-feud. dependence and made him an equal member of society, this freedom was largely illusory. Only the forms of dependence have changed: they have become broader, more flexible, less obvious and rough. Expansion of scale will perform. activity does not allow the concert artist to personally manage the organization of his performances. This prompts him to seek help from others. persons. The profession of impresario arises. Receiving a certain share of income under the contract, the artist undertakes to perform in concerts organized by the impresario. The first “concert artist” who concluded such an agreement with a private person was N. Paganini. This marked the beginning of the modern conc. industries in capitalist. countries, the legalization of capitalist. forms of exploitation of the artist. The musician’s talent becomes an object for profit, a profitable investment of capital. “A singer who sells her singing at her own risk is an unproductive worker. But the same singer, invited by an entrepreneur who, in order to rake in money, makes her sing, is a productive worker, for she produces capital” (K. Marx, The theory of surplus value, ch. 1 TO. Marks and F. Engels, Soch., ed. 2nd, t. 26, h. 1, M., 1962, p. 410). Appeal to a mass audience (albeit in the understanding of that time) puts forward new creativity for the performer. tasks. The aesthetics of music is taking shape. performance, which found its end. expression in the claim of “composing virtuoso” – the leading creative. Romantic figures. Between him and the “playing composer” of the 17th-18th centuries. there is a profound fundamental difference: for a “playing composer” he will perform. art is only a means of realizing one’s creativity. aspirations, and, conversely, for the “composing virtuoso” composer’s creativity is just a means of demonstrating the performance. skill. New spatial-acoustic. the conditions of a large concert hall, in which the performer proceeds. the activities of the “composing virtuoso” have an impact on all aspects of I. m., as well as on the music. tools. The demand for greater strength and intensity of sound causes the weak harpsichord to be replaced by a more dynamic hammer action. The general increase in the pitch of the tuning fork led to a stronger tension on the strings of the violin, which in turn necessitated a change in its mount (improvement of the stand, homies, etc.). This explains the widespread use by violinists and cellists of the vibrato technique, which contributes to better sound propagation in a large room, and the unprecedented flourishing of virtuoso technique as a dynamic technique. forms of music transmission. movement. Acoustics big conc. pop music encourages the search for new expressions. and technician. funds will perform. isk-va. In order to strengthen the psychological impact on the mass of listeners, elements of entertainment are introduced into the performance. Acting reincarnation, express. Gesture is an important element of romanticism. performance. The “game” of the artist’s face and hands becomes a means of spatial “sculpting” by the performer of music. an image that enhances the listener’s perception of it (“Listening to Liszt’s play behind the curtain would be only half the pleasure,” wrote R. Schumann). Hence the unusual, “theatrical” appearance of the artist, which often horrified the “respectable” bourgeois. This was also reflected in the protest of the romantics against the bourgeoisie. benevolence. Mixed concentration is also built on entertainment. a program in which the “composing virtuoso” performs along with singers, instrumental soloists, and an orchestra. Performing only own. Prod., “composing virtuoso” is limited to the genres of virtuoso concerto, fantasy and variations on popular operatic themes, brilliant characteristic play, shallow in content, but presenting grateful material for demonstrating the individual. perform. skill. The audience is influenced by the virtuoso scope of the game, a bold flight of fancy, a colorful range of emotional shades. Her enthusiasm culminates in the performance of the obligatory final number of the program – a free fantasy on a given topic. In it, according to romantic. aesthetics, the artist’s feeling was most fully, vividly and directly expressed, his personality was manifested. Many of the conquests of the Romantic performance, especially new colors. and virtuoso playing techniques, firmly entered the muses. practice However, the claim of the “composing virtuoso” carried a deep contradiction, which consisted in the gap between the wealth of expression. means and often insignificance of muses. material, to the embodiment of which they were sent. Only with such artists as Paganini, this was largely redeemed by a huge creativity. the strength of their individuality. Many their imitators I. м. degenerates into a salon-entertainment. art, which the progressive people of the era considered as an indicator of morality. the fallen Bourgeois. of society. K ser. 19 in. the growing contradiction between stylistic the orientation of the art of the “composing virtuoso” and general arts. trends in the development of music leads to a romantic crisis. performance. A new type of musician is being formed – an interpreter, an interpreter of someone else’s composer’s creativity. There is a radical stylistic. revolution in conc. repertoire. Fantasies and variations on operatic themes are being replaced by productions. AND. C. Baha, W. A. Mozart, L. Beethoven, F. Schubert, the works of old masters are being revived. In the sphere of influence will perform. Art-va involved deep layers of music.

In the initial period of approval of the claims of the muses. Interpretation of a huge role was played by the activities of a number of prominent musicians. Along with performers like the violinists F. David and Y. Joachim or conductor F. A. Khabeneck and others, these are also universal artists who were primarily composers, but at the same time wonderful pianists and conductors – F. List and A. G. Rubinstein, or only conductors – G. Berlioz and R. Wagner. Performed the activities of these musicians marked the most important historical. stage in development. m., which marked the beginning of the modern. perform. claim. AND. м. rises to a higher and qualitatively different art. level, a new type of performer is approved. “Composing virtuoso” – a performer of his own. prod., reflected in his claim-ve only a narrow circle of emotions. states and moods that corresponded to his personal aesthetic. aspirations. He was essentially nothing more than an improviser expressing his own. feelings, moreover, limited by subjective ideas about the possibilities of performing. isk-va. For a performer of a new type – an interpreter of someone else’s composer’s work, the exclusively subjective nature of the game gives way to an interpretation that places objective arts before the performer. tasks – disclosure, interpretation and transmission of the figurative structure of the muses. prod. and the intention of its author. The value in executable grows. isk-ve objectively-know. elements, the intellectual principle is enhanced. With the development of art-va interpretation in music. performance are formed performer. schools, trends, styles associated with decomp. understanding of the tasks and methods of I. m., problems arise in the performance of early music, forms of fixing interpretation are born – performer. editing and transcription. Invention at the turn of the 19th-20th centuries. Recording created the possibility of fixing any particular performance of production. A new type of performance has emerged in the conditions of studio recording – a kind of performer. “genre”, which has its own aesthetic. regularities and features that distinguish it from the usual conc. execution. Recording influenced all aspects of I. m., putting forward new aesthetic, psychological. and technician. problems associated with the embodiment, transmission and perception of music. Modern societies. life strives with her. The pace, the previously unheard-of role of technology, has a profound effect on I. m., the development of which takes place in difficult conditions. In the capitalist countries are negatively affected by the general tendencies of dehumanization inherent in modern. bourgeois claim. In the 1920-30s. in and. м. urbanistic is emerging. style “Neue Sachlichkeit” (“new efficiency”, “new thingness”) with its emotionality, apsychologism, fetishization of technology, constructive dryness, glorification strives. pace and athletic endurance. Since 1950-ies. the pernicious influence, on the one hand, of the bourgeoisie is increasing. “mass” culture, the commercialization of art-va, and on the other – music. avant-garde, denying I. м. like a lawsuit in a living person. speech, replacing his mechanical. mixing and reproducing sounds. This gives rise to I. м. ugly phenomena, forms a gulf between the performer and the public. The trends of degradation are opposed by owls. perform. art, as well as the activities of the largest progressive foreign artists, based on the traditions of great realism. and romantic. performance. statements B. Walter, W. Furtwengler, J. Sighety, P. Casals and others. др. artists vividly illustrate the words of K. Marx that “capitalist production is hostile to certain branches of spiritual production, such as art and poetry” (K. Marx, The theory of surplus value, ch. 1 TO. Marks and F. Engels, Soch., 2nd ed., vol. 26, h. 1, M., 1962, p. 280). However, in their finest art. samples of modern music with its complex intonation. and rhythmic. system deeply affects the evolution of the performer. means of expression and principles of concert performance. Its role is great in overcoming the established ideas about instr. and wok. virtuosity, in rethinking the role of rhythm by performers, in understanding timbre not as a means of “coloring” intonation, but as a means of expressiveness of muses. speech. The latter affects the development of special methods of articulation, specific. the use of touch and pedal by pianists, violinists and cellists – vibrato, portamento, special types of strokes, etc. n., aimed at the disclosure of psychological-express. subtext of the music. All this transforms instr. technique, spiritualizes it, makes it more dynamic. Modern perform. means of expression opened the possibility of a new reading of the muses. classics, “re-intonation” of its images to the complex musical ear of the modern.

Problems of I. m. have attracted attention throughout the history of its development. They are covered in many scientific works: from the treatises of ancient thinkers and the Middle Ages. scholastics to the philosophical works of D. Diderot, F. Hegel and K. Marx. From the 16th century specials appear. treatises on I. m., often bearing class, sharply polemical. character (for example, the treatise by Y. Leblanc “In defense of the bass viola against the claims of the violin …” – “Défense de la basse de viole contre les entréprises du violon et les prétentions du violoncel”, 1740), wok. and instr. “Methods” outlining the theoretical. and aesthetic the basics of I. m., considering questions will perform. practices. Wide development of music. culture determined the important place occupied by I. m. in modern. societies. life, its importance as a huge art.-ethical. forces that affect the spiritual world of man. Interest in the questions of I. m. has increased, and the very range of scientific research has expanded. problems. Along with the center. problems of aesthetics of I. m. (the ratio of the objective and subjective principles in it, the work and its interpretation), a comparative study of I. m., osn. on a sound recording, which makes it possible to compare and analyze decomp. interpretations of the same product. The impact on I. m. and on its perception of sound recording, radio, television, etc. is being studied. foreign literature, devoted. questions of I. m., presents a colorful picture. Realistic views and well-aimed observations of the nature of I. m. coexist with decomp. sort of idealistic. concepts and formalistic. theories that emasculate the ideological and emotional. the essence of I. m., with views that reduce it to the role of a mechan. transmitter of musical text, and with pseudo-scientific. predicting its death in the conditions of modern. scientific and technical progress. In some works, as, for example, in the book. T. V. Adorno “A Faithful Mentor. An indication to musical practice”, an attempt is made, based on the general features inherent in the modern. music (A. Webern, A. Schoenberg, A. Berg), to give new practical. executive instructions. Main on rethinking in this area the classic. and romantic. traditions, they relate to issues of reproduction, the use of certain playing techniques: hitting a key, pedaling, stroke, placement of accents, tempo, articulation, dynamics, etc .; in the department cases, these indications are of interest. Means. contribution to the study of I. m. makes owls. n.-i. and theoretical thought. In the USSR, the study of musical composition formed an independent branch of musicology—the history and theory of performance, based on the principles of Marxist-Leninist aesthetics. In his works, St. history of I. m., his theory and aesthetics, owls. musicologists seek to reveal the humanistic. and ethical the value of I. m. as realistic. claims of living human speech. Special editions are published in the USSR. Sat. “Musical performance” (issue 1-7, Moscow, 1954-72), “Foreign musical performing art” (issue 1-6, Moscow, 1962-72) and “The skill of a performing musician” (issue 1 , M., 1972). In many owls. conservatories read special. course of history and theory of music. performance.

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I. M. Yampolsky