Reading scores |

1) The process of mental perception of music recorded in the form of a score. In psychology, the concept of n.p. is used as a definition of the horizontal-vertical coverage of an entire page of text.

2) Practical academic discipline in music. educational institutions. Its goal is to develop the skills of mental reading of the score (symphony, vocal-instr., choral, for the spirit. orchestra, folk orchestra, chamber ensemble) and its performance on the piano. The ability to read scores is essential for conductors, composers, and musicologists. For Ch. p., you need to understand the specifics. features of the score recording; such are the use of C keys, transposition, octave movements in the parts of certain instruments, the notation of harmonics on strings. tools; you also need to know the rules for reading the general bass. A number of difficulties are associated with the high-altitude placement of individual parties – the crossing of votes, the presence of duplications. Ch. p. requires skills in transferring the score text to the piano, i.e., the ability to arrange. Auxiliary form in mastering the Ch. p. are fp. transcription in writing, analysis of scores. Practical the task of the course Ch. p. is to acquire the skills of a free Ch. p. Being one of the links in the musical-theoretical. education, it also has a broader goal: acquaintance with symph. and opera music, with orc techniques. letters of various composers, with features of the functional structure of the scores decomp. styles Ch.p. develops internal pitch and timbre hearing.

References: Puzyrevsky A.I., Brief guide to instrumentation and information about solo voices and choir. Manual for reading scores (course of obligatory instrumentation of the St. Petersburg Conservatory), M., 1908; Taranov G., Course of reading scores, M.-L., 1939; Anosov N.P., A practical guide to reading symphonic scores, part 1, M.-L., 1951, the same in rum. lang. — Citirea parturilor simfonice, Buc., 1963; Volf O., Reader for reading scores, L., 1958, add. and correct. 1976; Gottlieb M., Kaabak Y., Makarov E., A practical course of reading scores for a brass band, M., 1960; Lysan G. A., Reading scores and instrumentation for wind bands, M., 1961; Poltavtsev I., Svetozarova M., Course of reading choral scores, vol. 1-2, M., 1964-65; Fortunatov Yu., Barsova I., A Practical Guide to Reading Symphonic Scores, vol. 1, M., 1966; Chaikin H., Course of reading scores for orchestras of Russian folk instruments, vol. 1-2, M., 1966-67; Shpitalny P., Reading symphonic scores. Reader, vol. 1, M., 1970; Varelas S.A., Score Reading Course. For students of music schools and students of conservatories, Tash., 1974 (in Uzbek); Kolomiets A., Pashchenko V., Tikhova E., Course of reading choral scores. Educational and methodological manual for music and pedagogical faculties and departments of pedagogical institutes and pedagogical schools, K., 1977; Riemann H., Anleitung zum Partiturspiel, Lpz., 1902, 1924; Gbl H., Anleitung zum Partiturlesen, W., 1923, W. – L., (1950) (Ukrainian translation – Reading scores, (K.), 1925, Russian translation – Guide to reading scores, L. , 1930); Krouer Th., Der volkommene Partitur-Spieler, 1930; Hagel R., Die Lehre von Partiturspiel, (Potsdam); Leschetizky Th., Anleitung zum Partiturlesen, W., 1941; Nágy O., Partituraolvasás. Partiturajátyk, Bdpst, 1954; Creuzburg H. Partiturspiel. Ein bungsbuch, Bd 1-4, Mainz, 1956-66; Jakobi Th., Die Kunst des Partiturspiels, B., 1957; Eben P., Burghauser J., Ctenn a hra partitur, Praha, 1960; Velehorschi A., Studiul transpozitiei, Buc., 1968; Bölsche E., Schule des Partiturspiels, Bd 1, Lpz., sa; Reciter F., Praktisches Partiturspielen, Halle, 1951.

I. A. Barsova