ВОКАЛЬНОЕ ИНТОНИРОВАНИЕ В ФОРТЕПИАННОМ ВОСПРОИЗВЕДЕНИИ: МЕТОДОЛОГИЧЕСКИЙ ДИСКУРС

Сетьян Г. Г.
2018 Zenodo  
The article is devoted to the substantiation of the specificity of the phenomenon defined by the metaphor "singing piano". It is noted that this metaphor has deep historical and stylistic roots, stemming from the nature of music as the art of an intonated sense (B. Asafyev), in which the sound is primary (F. Chopin), and the word and music are only various vectors of this art. In the process of the evolution of musical thinking, the vocal and instrumental elements interacted in a complex and
more » ... in a complex and varied manner, alternately occupied leading positions in the practice of public music-making. Reflection of these processes was the art of piano playing, where the very "image" of the instrument (L. Gakkel) appears as universal not only in terms of the ability to reproduce the qualities of an ensemble or orchestra (F. Liszt), but also in the field of combining vocal-and-speech and "pure" instrumental principles. Achieving of the instrument sound similar to the vocal sound quality (M. Riabukha) is the task of performers, implemented through a whole set of appropriate techniques, defined by the concept of cantabile, which corresponds with ritmico as a reflection of the percussion-and-keyboard nature of the instrument. It is noted, in particular, that the issue of "singing piano", on the one hand, is quite obvious for practicing pianists, and on the other hand, its methodology and technique have not been sufficiently developed to date. Being a universal instrument, the piano incorporates the timbre qualities inherent in vocal and instrumental ensembles, chorus and orchestra, but implements these qualities through specific forms of sound producing and sound carrying. The introduction of the mechanism of double rehearsal allowed the piano as though to sing, that is, it became possible to reproduce unfolded melodic lines and polyphonic combinations on it, based initially on the vocal intonations of different sources and semantics. Two sources and two principles, characterized as rhythmic-and-melodic intonation (sound speech coming [...]
doi:10.5281/zenodo.1807068 fatcat:32rmycbvpjhbflstvbn7vqvh7m