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Journal articles on the topic 'Pianist-concertmaster'
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1
Dengaova, Ao. "PROFESSIONAL TRAINING OF THE FUTURE MUSIC TEACHER FOR CONCERTMASTER ACTIVITIES IN THE CLASS OF CLASSICAL DANCE." Innovative Solution in Modern Science 7, no. 43 (2020): 17. http://dx.doi.org/10.26886/2414-634x.7(43)2020.2.
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The article is devoted to the questions of a number of aspects of formation of skills of concertmaster activity as a component of piano preparation of the pianist-beginner in the class of classical choreography, revealing of the functional connections of the tandem teacher-choreographer – pianist-concertmaster, determination of the level of psychological-pedagogical students and performers interaction with the choreographer. The data are analyzed in the context of consideration of the general laws concerning the selection of the performing repertoire for musical design of classical choreography lessons, their importance, expediency and correspondence to the students' age characteristics, their level of musical perception. Key words: concertmaster activities, beginner concert pianist, choreography art, classical dance, psychological and performance barriers, musical design.
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Molchanova, Tetiana. "The Model of Concertmaster Training in Music Institutions of Professional Higher Education of Ukraine." Bulletin of KNUKiM. Series in Arts, no. 47 (December 26, 2022): 67–73. https://doi.org/10.31866/2410-1176.47.2022.269566.
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The purpose of the article is to investigate the models of training students in the Pianist concertmaster specialty of five higher education music institutions in Ukraine, to consider the algorithm of the learning process at the departments of concertmaster<em>.</em> The methodological basis of the article is determined by an integrated approach to the consideration of the outlined problem using the following methods: analytical (to describe the origin and formation of the Pianist-concertmasters specialty in higher education music institutions of Ukraine); comparative (to compare certain parameters of teaching this type of performance, to determine the common and different); statistical (to analyse the preferences of students in choosing the specialty of Concert Pianist for their future); axiological (to understand the importance of the Concert Pianist profession and to establish value guidelines in pedagogical practice through the prism of the musician education’s tradition. A significant correlation was found between the concertmaster’s departments of the higher education music institutions of Ukraine. Results. The leading links of the concertmaster department of each educational establishment are determined. The preferences of students in choosing the specialty of Pianist-concertmaster are confirmed through an online survey. The novelty and practical significance of the study lie in the study of the algorithm teaching this profession in each of the higher music education institutions of Ukraine and will facilitate the exchange of experience between higher and secondary establishments (colleges, schools, specialised boarding schools), as well as musical institutions of other countries.
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Vinogradova, Maria A. "Mastery of the Concertmaster and Accompanist as a Phenomenon of Modern Musical Art." Общество: философия, история, культура, no. 8 (August 23, 2023): 211–16. http://dx.doi.org/10.24158/fik.2023.8.31.
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Nowadays, the mastery of the concertmaster and accompanist is one of the most important criteria of modern musical art. The concertmaster strives to realize the artistic intent of the composition and becomes a full partici-pant of any musical ensemble, realizing the figurative content of the performed composition. Despite all the versatility of this figure, the number of studies examining the concertmaster’s performing activity in contempo-rary music-performing practice is currently insignificant. Nevertheless, there is reason to argue that scholars need to scrupulously investigate this phenomenon of contemporary musical art in order to further understand and actualize the activity of the pianist-concertmaster-accompanist in performing practice. For these reasons, the present work is of indisputable scientific novelty and relevance. The author stresses that a concertmaster combines many functions, and is primarily focused on creating a harmonious interpretation of the musical work being performed in conjunction with the pianist or vocalist. The versatility of the concertmaster figure ensures his demand as a specialist in the musical environment, and hence, this profession should be in demand among students as well.
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Rudneva, Svetlana Vladimirovna. "The specifics of the pianist's concertmaster competencies in the process of working with soloists-vocalists." Manuscript 17, no. 3 (2024): 269–74. http://dx.doi.org/10.30853/mns20240038.
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The purpose of the study is to identify the main concertmaster competencies that ensure high quality and productivity of the pianist's collaboration with soloists–vocalists. The article raises the question of the typology of concertmaster competencies, examines the role of various competencies in the performance of the tandem "vocalist/pianist". Their specificity is considered by the example of the concertmaster's work on the Tchaikovsky romance "To Forget so Soon". The scientific novelty of the research lies in the systematization and differentiation of the content of competencies. As a result of the research, the boundaries of the following concertmaster competencies have been identified and defined: performing (highly professional), musical-theoretical, pedagogical, organizational, socio-psychological competencies. The prospects for the implementation of a competence-based approach in concertmaster activity are determined.
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Obolenska, Mariia. "Controlled anticipation as a psychological attitude of the pianist-concertmaster (on the example of M. Ravel’s Sonata № 2 for Violin and Piano)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, no. 66 (2023): 61–78. http://dx.doi.org/10.34064/khnum1-66.04.
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Statement of the problem. Controlled anticipation is a conscious process of fore sighting an upcoming event, preparing for its fulfillment, and taking full control over its course. Extrapolation of this universal model to the professional activity of a pianistconcertmaster allows to schematize the psychological foundations of the performance process. The distinctive feature of Ravel’s Sonata for Violin and Piano in G Major is demonstrating the incompatibility of violin and piano declared by the composer. The main task of the concertmaster is to create an ensemble integrity, within which he should cover the musical material of all the parts of the ensemble. In the context of this Sonata, the pianist resolves a paradoxical contradiction – to combine into a single integrity what is deliberately polarized at the compositional level. This study was based on scientific works in the field of psychology, in particular, the researches of Ukrainian scientists (Batrachenko, 2010; Nikolenko, 2014) and the studies revealing the problems of performing Ravel’s Violin Sonata (Baer, 1992; Kaminsky, 2004; Beavers, 2010, 2016, 2020; Lef&#232;vre, 2013). Objectives, methods, and novelty of the research. The purpose of the study is to highlight the general principle of controlled anticipation and to argue their importance in the work of a pianist-concertmaster. For the first time a theoretical substantiation of anticipation as a controlled psychological process in the field of music is proposed and the research attention is focused on the performance problems of the concertmaster, who is responsible for the unifying function in the ensemble in Ravel’s Sonata in G Major for Violin and Piano. The research methods are determined by attracting the psychological theory, which considered the concept of anticipation; an activity approach aimed at applying theoretical knowledge from the field of psychology in the preparatory work of a pianist-concertmaster, as well as the methods of deduction and induction in their direct interaction were used. Research results and conclusion. Controlled anticipation allows to solve effectively a wide variety of tasks and it is a universal model for working on any kind of music. The specificity of the concertmaster’s activity lies in the fact that he is obliged to embrace the soloist’s part with his consciousness in addition to his own material. It needs to correlate each structural element of the text with the partner’s capabilities. Controlled anticipation as a psychological instruction is aimed at helping both in the rehearsal and concert practice of a pianist-concertmaster. Moreover, in the course of a stage performance, the use of controlled anticipation reduces the problem of excitement to nothing.
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Sveshchynska, Natalia. "PECULIARITIES OF THE CONCERT MASTER ACTIVITY OF THE FUTURE TEACHER OF MUSIC ART." Academic Notes Series Pedagogical Science 1, no. 192 (2021): 129–32. http://dx.doi.org/10.36550/2415-7988-2021-1-192-129-132.
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The article analyzes the question of the peculiarities of concertmaster activity of future teachers of music art in the process of learning in the class of accompaniment and improvisation and in further practical activities. The author identifies the constituent structural elements in the training of pianist-accompanist in higher educational institutions of art, which is manifested in various aspects of the activities of future professionals. The field of activity for a musician-performer is concertmaster's work, which by its specificity requires from the specialist not only the possession of traditional performing skills, but also a whole set of personal qualities and the ability to work creatively with musical material. It should be noted that in the concertmaster class due to its specificity is the concentration and systematization of knowledge and skills acquired by students in piano, accordion, accordion, conducting, solo singing and music theory (N. Borisov, D. Gostev, T. Glyadkovskaya, M. Moiseeva, F. Khalilova and others.). This is especially evident in singing to one's own accompaniment and selection by ear, where the narrow professional skills acquired in various specialties are concentrated in one direction - the embodiment of the artistic image of a musical work. Such a variety of tasks requires a comprehensive improvement of the theory and technology of concertmaster activity. Сoncertmaster class is one of the performing disciplines that is important for the general professional training of music teachers. In the concertmaster's class, students' musical and performance activities are studying a wide range of vocal, instrumental, children's music literature, accompanied by a soloist-vocalist or instrumentalist, playing in an ensemble, singing to their own accompaniment, reading from a letter, transposing, listening. The concertmaster class in the structure of professional training of a musician-pianist is an important subject of a special cycle, along with other disciplines, is responsible for the holistic training of a specialist, provides a basis for work in the field of ensemble activities. The tasks of the concertmaster class in music education are to form and improve performance skills and abilities designed for the professional work of a pianist with soloists. Modernity requires the training of competent concertmasters with high performance potential, developed artistic and organizational qualities, possessing the means of artistic processing of musical material, accustomed to work in the stage.
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OPARYK, Larysa. "COMMUNICATIVE ASPECTS OF THE ARTISTIC ACTIVITY OF A PIANIST-CONCERTMASTER." Humanities science current issues 2, no. 79 (2024): 62–67. https://doi.org/10.24919/2308-4863/79-2-9.
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Sabri, Svitlana, and Halyna Hatsenko. "The role of the concertmaster-pianist in chamber-vocal works." IMAGE OF THE MODERN PEDAGOGUE 1, no. 6 (2019): 77–80. http://dx.doi.org/10.33272/2522-9729-2019-6(189)-77-80.
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Malinovskyi, Bohdan. "Digital competence of the future accompanist-pianist in the conditions of distance learning: an essential analysis of the concept." Musical art in the educological discourse, no. 8 (2024): 24–29. http://dx.doi.org/10.28925/2518-766x.2023.84.
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This article is devoted to the study of the concept of "digital competence" in the context of the future concertmaster-pianist in the conditions of distance learning. The article provides a substantive analysis of the concept of "digital competence" and describes the main components of this concept. The authors investigate what digital skills and knowledge a future concertmaster-pianist needs to successfully perform professional tasks in the conditions of distance learning. In particular, the article considers such aspects as working with specialized software, using online resources for searching and analyzing information, the ability to cooperate and communicate with other musicians and specialists. The findings of the study may be useful for future concertmaster pianists who seek to develop their digital skills and knowledge to enhance their professional opportunities in today's music industry. In summary, digital competence is essential for accompanist-pianists in the conditions of distance learning. Piano education is actively developing in the format of online learning, which expands the possibilities of theoretical knowledge and practical skills of students regardless of place and time while having high efficiency. A study aimed to ascertain what competencies professional accompanists and accompanying teachers deem sufficiently important to have found that digital competence is one of the essential competencies for piano accompanying. A study investigated the effect of online teaching and individualized instruction in piano lessons. A paper suggests new learning approaches to interactive piano instruction. Online piano education, individualized online instruction, and interactive piano teaching are some of the ways in which digital competence is being applied in piano education.
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Kalitzky, Vitaly Valer'evich. "Towards the origins of the concertmaster-pianist's profession: the Art of maestro al cembalo." Культура и искусство, no. 3 (March 2025): 1–9. https://doi.org/10.7256/2454-0625.2025.3.73373.
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The relevance of the research lies in the urgent need for modern musicology to reconstruct the profession of a concert pianist. The subject of the study is the art of maestro al cembalo. The object of the research is the work of maestro al cembalo's and the features of his creative activity. The purpose of the research is to study the process of formation of the initial stage of the development of the profession of a concert pianist, which spanned the period from the late Renaissance to classicism. Research objectives: to highlight the main characteristics of joint performance using basso continuo; to provide information about the specific skills and knowledge that maestro al cembalo should have possessed; to show the importance of these musicians in the musical performances, as well as in the evolution of musical creativity; to present portraits of the most significant representatives of this profession. The author of the study focuses on the influence of maestro al cembalo's art on the formation of European concertmaster schools. In order to disclose the stated topic by the author, the following methods are used: anthropological, hermeneutic, comparative historical, theoretical and analytical methods. A special contribution of the author is the search, analysis and systematization of the archival funds of Italian theaters, as well as city archives, on the basis of which information about the life, work and specifics of maestro al cembalo's creative and pedagogical work has been introduced into scientific circulation. The main conclusions of the study show that the most important principles of professional activity of a modern pianist-concertmaster of a musical theater were formed several centuries ago. The results obtained can be applied both in conducting courses on the theory and history of performing arts, and in the practical activities of modern concert pianists. The conclusions of the study allow us to form a stable picture of the initial stage of the formation of concertmaster art, to trace its leading trends, which will be reflected in the subsequent development of this creative specialty.
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Molchanova, Tetiana. "The Future Pianist-Concertmasters' Competence Formation in the Context of Modern Educational Processes and Challenges." Bulletin of KNUKiM. Series in Arts, no. 48 (June 24, 2023): 71–78. https://doi.org/10.31866/2410-1176.48.2023.282451.
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The aim of the article is to reveal the features of a pianist-concertmaster’s competence, which is formed through the assimilation of professional information and the enrichment of professional knowledge, abilities, and skills, an inseparable connection with the cultural heritage of his people, the desire for self-education and self-development, expanding the boundaries of his creative work. Results. An algorithm for the training of future concertmasters in educational music institutions of the pre-higher and higher levels of education is proposed through the expansion of the boundaries of the professional orientation of a musician of this direction, his ethnocultural competence, which implies an inseparable connection with the spiritual values of his people, self-awareness as a true bearer of Ukrainian culture; the desire for self-education and self-development. The scientific novelty of the article consists in a comprehensive understanding of the formation of the competence of a pianist-concertmaster, which is generated through the assimilation of professional information and the enrichment of professional knowledge, abilities, and skills, their systematisation and classification by varieties and tasks. In addition, due to the inseparable connection with the cultural heritage of his people, the desire for self-education and self-development, expanding the boundaries of his creative work. In the context of today’s challenges, this approach becomes the basis for further successful activities of a musician of this direction. Conclusions. The proposed ideas and suggestions, as well as the practical experience of the concertmaster department of the Lysenko Lviv National Music Academy, allow us to state the relevance of forming the concertmaster’s competence as an attribute of professionalism, a valuable attitude towards the profession, and personal growth as a specialist based on a clear definition of relevant competencies. This, in turn, will allow us to determine the necessary forms of organising the educational process for musicians of this profile, as well as the most important directions for optimising the educational process.
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Сідорова, Ірина, Ілона Науменко та Діана Стребкова. "УПЛИВ ВИКОНАВСЬКОЇ МАЙСТЕРНОСТІ КОНЦЕРТМЕЙСТЕРА НА ПРОФЕСІЙНУ ПІДГОТОВКУ МАЙБУТНЬОГО ПЕДАГОГА-МУЗИКАНТА". Мистецтво в культурі сучасності: теорія та практика навчання, № 4 (2 січня 2025): 45–51. https://doi.org/10.31652/3041-1017-2024(4)-06.
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The article substantiates the focus of the content of the concertmaster's performing skills on the professional training of future music teachers and teachers of art disciplines. The components of performing skill and professionally important performing qualities of a concertmaster in the process of collective music making are considered. The achievements of the concertmaster's uniqueness are characterized, which are manifested in his ability to accompany performers of various formations, including vocal and instrumental ensembles (violin, brass), choral groups and others. Particular attention is focused on the work of a concertmaster in various vocal and choral disciplines in the context of higher pedagogical education. It was found that the concertmaster's performance skills are an important component of musical education. It is noted that the accompanist's ability to accompany on various musical instruments ensures his professional versatility. Such flair is born from the improvisational abilities of the performer. The analysis of modern studies of music pedagogy indicates a wide range of professional characteristics of a concertmaster: communicativeness, cultural outlook, psychological intuition, partnership creativity, mutual assistance and other personal qualities. It is noted that the performance skill of a concertmaster-pianist is ensured by professional qualities, including musical and theoretical knowledge, development of pedagogical and musical abilities, the formation of skills and abilities in the methodological aspect, performance skill in reproducing a musical work, consistency of performance with other instruments, and others. The role of the psychological aspect of the concertmaster's professional activity is highlighted. It is noted that the psychological component is of great importance for the successful performance of the concertmaster and his cooperation in various forms of interaction with other performers.
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Kalitsky, Vitaly V. "The Performing Art of Concertmaster: The Methodological Principles for Ensemble Pianist Training." Observatory of Culture 14, no. 6 (2017): 686–93. http://dx.doi.org/10.25281/2072-3156-2017-14-6-686-693.
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Kalitzky, Vitaly V. "THE DEVELOPMENT OF THE PIANIST’S CONCERTMASTER ART IN CHINA." Arts education and science 1, no. 34 (2023): 6–13. http://dx.doi.org/10.36871/hon.202301006.
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The concertmaster art of a pianist as a professional form of musical creativity is a rather young phenomenon and is currently developing intensively. The process of its formation is influenced by many factors: the development of keyboard instruments, the intensification of concert and music-theatre activities, the opening of specialized departments and chairs in higher and secondary educational institutions, scientific and methodological awareness of the specifics of concertmaster work, etc. In particular, in China, with its more than a hundred-year history of piano performance and pedagogy, concertmastering has only begun to develop in the last twenty years. The relevance of the article lies in the urgent need to generalize the available information about this type of musical creativity in China, with which Russia has established strong cultural and educational ties in recent years. The purpose of the article is to analyze the state of practice and pedagogy of the concertmaster art in China at the present stage. The article discusses the formation of accompanist activity in the PRC, the features of introducing the profile discipline into the curricula of Chinese universities, analyzes the problems arising in this regard and suggests ways to solve them. The research materials will be especially useful for Chinese and Russian teachers of concertmaster art: for Chinese colleagues to understand the goals and objectives of teaching piano students this type of activity, for Russian teachers of Chinese piano students to understand the level of their training and to form an appropriate learning strategy.
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Klebanova, S. V. "Keys to mastery: from the experience of the concertmaster’s work in the class of the concert-chamber singing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 8–20. http://dx.doi.org/10.34064/khnum1-53.01.
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The basis for the topic. The present article is devoted to the coverage of pedagogical functions of the concertmaster activity in the class of the concert and chamber singing. Taking into account that the functions of a teacher-concertmaster are quite extensive, and the scope of the performed repertoire in genre and style account is extremely broad, the topic of works on concertmaster studies is a special section of music science. The utmost goal of the concertmaster in the class of concert and chamber singing is to develop the artistic thinking and musical taste of the young singer, to increase his/her erudition and, as a result, to create a creative personality. The object of the study is the pedagogical activity of the concertmaster as a form of creativity; the subject is the experience of understanding the activity of the concertmaster in the class of concert-chamber singing. The purpose of the article is to substantiate the pedagogical factor of the concertmaster work in the class of concert and chamber singing as the basis of the professional activity of the future singer. The analysis of the recent publications on the topic. In the last decade, the Kharkiv performing school has greatly increased the attention of the researchers from practicing concertmasters to their professional self-identification. Thus, N. Inyutochkina poses the problems of concertmaster activity in the light of the general tenets of "ensemble co-creation", according to which the concertmaster is a sensitive ensemble-member and interpreter who has thoroughly studied the specifics of the vocal art and aligns all the means of his/her expressing instrument with the personal-psychological complex of the singer (2010). The dissertation for a Candidate degree written by G. Zub (2012) substantiates the specificity of this kind of performing creativity in historical, genetic, typological, and stylistic planes. The concertmaster’s work has been studied in the most encyclopaedic way in numerous scientific works by T. Molchanova (2015). The presentation of the main material. The presentation of the main material. The concert-chamber singing is regarded as a kind of co-creation of the vocalist and pianist, in which the former learns from the latter. The latter, on the basis of the professional service to the vocal art and its bearers, must create from his/her under warder a master who is capable in conditions of a concert performance for an artistic act-event. The main qualities of the concertmaster who wants to master the pedagogy of the vocal art are attention, memory, productive (creative) thinking and constant expansion of the consciousness and emotional sphere. A concertmaster must possess a complete set of musical talents: the advanced musical hearing, the imaginative thinking, the sense of rhythm, artistry, fantasy, mobility, activity and the specific ability “to pick up” a soloist in time and finish the composition. To do this, he/she cultivates an analytical mind, an intonation erudition, curiosity, perseverance and even tolerance, pedagogical endurance, and psychological drive to this field of music making. The way to master the whole complex of properties and qualities of the concertmaster’s training is a long and complicated one. The directions of applying the concertmaster mastery in the pedagogic job with young vocalists have been outlined: the preparatory work (the introduction to the composer’s text; the work on the poetic text; the processing of the poetic text); the performance as a psychological process (artistic influence, suggestion, performing means) and the concert performance. A concertmaster is a highly sought after profession of an exceptionally creative, intellectual prowess that requires something more than “playing of the notes”! Accompanists are the equal participants in a ensemble whole – the co-creation of a singer and a pianist, which creates for the listener an artefact “on behalf of the author”. Being a rhythmic and harmonious support of a singing performance, the concertmaster should be especially attentive. His/her attention distributes not only between his/her own hands, but concerns primarily a soloist. A concertmaster’s “circle of attention” contains such components as the pedal, the sound balance, the sound accompanying of the singer, the embodiment of a holistic artistic image, which requires a great strain of spiritual and physical forces. The conclusions identify the “keys to mastery” – the rules for young concertmasters. They are: to be able to listen to the soloist, to mentally sing and breathe with him/her; to constantly train to play music at sight; to always see 3 lines (the vocal one with the piano one); be with the singer “on one wave”: to empathize, support and lead, if necessary, his/her melodic line; not to distract the audience with unnecessary movements behind the instrument; to study the singer’s capabilities, his/her potential, taking into account the hall acoustics and the quality of the instrument; to find time for self-observation and rehearsals to improve the co-creation with the vocalist. Mastery and art are one: without one of these components, the vocalist will not reach the requisite professional height! Inspiration and artistry are the main components of an artistic personality, both of the singer and of his/her teacher-concertmaster. Maintaining the immediacy of feelings, openness to the Other-in-oneself is a pledge for the co-creation of the vocalist-soloist and concertmaster.
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Ляликова, Л. Г. "SPECIFICITY OF THE WORK OF A PIANIST-ACCOMPANIST IN A BALLET CLASS." Music Journal of Northern Europe, no. 3(19) (May 28, 2024): 52–58. http://dx.doi.org/10.61908/2413-0486.2019.19.3.52-58.
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В статье затрагиваются проблемы концертмейстерской работы пианиста в балетном классе. Это творческая профессия, требующая не только отличных музыкальных навыков, но и знания хореографии. Учитывая большую востребованность таких специалистов в мире, студента-пианиста необходимо знакомить со спецификой данной работы в рамках учебного процесса. The article addresses the issues of the pianist’s concertmaster work in a ballet class. This creative profession requires not only excellent musical skills, but also the knowledge of choreography. Taking into account the great demand for such specialists worldwide, a student-pianist should be acquainted with the specifics of this work as part of the educational process.
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Molchanova, Tetiana. "Synergy Effect in Joint Performance Activity." Bulletin of KNUKiM. Series in Arts, no. 44 (June 25, 2021): 79–85. https://doi.org/10.31866/2410-1176.44.2021.235324.
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The purpose of the article is an attempt to substantiate the professional synergy of two musicians as a basic component of the art of joint musical action, to determine ways to gain experience in creative communication in the conditions of their professional interaction while working on a composition, to define an algorithm and create a single psycho-emotional space, which appear as the basic concept for implementing a joint performance. The research methodology combines the following methods: analytical (analysis of the communicative interaction of musicians in psychological and musicological aspects); hermeneutical (synergy study in terms of increasing the effectiveness of activities as a result of combining individual components into a single system due to the so-called “total effect”) and observational (firsthand pedagogical experience and experiment: analysis of the educational process in the concertmaster class and during students' concertmaster practice in vocal, instrumental classes, opera, symphony and choral conducting classes of the Mykola Lysenko Lviv National Music Academy; in the classes of chamber music (zespól kameralny) and during teaching the course “Warsztaty Artystyczne” at the Department of Music of Jan Dlugosz University (Czestochowa, Poland). Scientific reflection is focused on awareness of the importance of the interaction between a pianist-concertmaster and a soloist. Conclusions. The author of the article has identified conditions focused on the actualization of the motivational orientation of the integration of knowledge and skills of each performer. The article states the importance of parity interaction between the concertmaster and the soloist, which will help to increase the effectiveness of the joint activity. The article emphasizes the importance of creating a single psycho-emotional space, where a psychological attitude to “cooperation in interaction” is formed with the appropriate coordination of joint performance tasks, which are the fundamental basis for a convincing final result as a professional total effect.
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Obolenska, M. M. "The Accompanist as the Lord of Time (on the Example of Sonata for French Horn and Piano by Jane Vignery)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 93–107. http://dx.doi.org/10.34064/khnum1-54.06.
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Sonata for French horn and piano by Belgian female composer Jane Vignery (1913–1974), which has not been studied before, is analyzed in the article. The main attention is focused on the role of the pianist-accompanist in the process of composing dramaturgy. Skillful manipulation of musical time is the key to the convincingly constructed dramaturgy of a piece of music. Time management is especially evident in the moments of dramatic knots. By the dramaturgical knot we mean the transition from the completion of one dramaturgical element to the beginning of the next. At the beginning of a piece of music (or part of it) it is the transition from inaction to action, from silence to music. In the proposed chamber sonata, the overwhelming majority of the dramaturgical nodes are entrusted with the part of the solo piano, which forms the hypothesis of the research theme : the successful construction of the dramaturgical profile of the sonata, and, as a result, reporting to the listener a quality product, that can cause an emotional response, depends largely on the pianist’s professional knowledge of time. Objectives. The aim of the article is an attempt to prove the leading role of the piano part in the process of constructing the dramatic relief of the proposed sonata. In connection with the tasks set, the issues of correlating between the concepts of "concertmaster" and "accompanist" are clarified. As a conclusion, we see the central orientation in the activity of the pianist-in-ensemble in the conductor’s work, which includes the coverage of the score of the work and the management of musical time - the most important component of dramatic art. Results. A dramaturgical analysis of the sonata for French horn and piano by Jane Vignery has been made. The strategically important sections of the musical form are discussed and described in detail. The first part of the sonata is represented by the sonata allegro. There is no introduction in the sonata, so the initial impulse with which the pianist will take the first chords is very important. The development of the transition leads to the first culmination wave, which is given entirely to the piano part. Since the second subject part is also performed by the solo piano soloist, the conversion from the transition to the second subject pianist is free to act. Pianist has the right to determine the pace and, consequently, the nature of the second subject party. The development, as well as the previous dramaturgical elements, begins solo in the piano part. The development is crowned by the central culmination of the first movement. And, again, its performance is entrusted to the solo piano. In the second part of the sonata the melodic line, which is set out in the horn part, is performed three times without any changes in the musical notation. Its emotional coloring entirely depends on the nature of the piano texture. It is on the pianist that the formation of the correct dramaturgical profile depends, the development of which moves from the personal-subjective to the extrapersonal-objective. The culminating waves, which precede the second and third realization of the theme, are set out in the solo piano part. It is they who represent the most important dramaturgical nodes of this part. The finale of the sonata begins with a short two-stroke introduction, where the piano must switch moods and set the soloist to the desired character in an instant. The episodes of the final part of the sonata changed before the listener as in the kaleidoscope. The pianist is responsible for the change of pace and, as a result, the mood in each of elements. Based on the numerous audio and video recordings of this sonata, as well as our own practical experience, we offer performing recommendations for the piano part. In addition to analytical work, the article includes biographical data on the little-known composer. Also literary sources, which address to the problem of concertmaster skills are considered and classified in the article. We focused on the significant limitation of the range of problems in this field. Conclusions. The accompanist’s mastery consists not so much in accompanying the soloist, creating a comfortable background for him, but above all in conductor’s work, including the coverage of the score and management of musical time – an essential component of drama. Taking into account the acuteness and urgency of the problem, I emphasize the importance and practical necessity of such a type of performing analysis as concertmaster analysis. It’s not always the case that the development of dramaturgy depends on the will of the soloist. Sonata for French horn and piano by J. Vignery is an illustrative example of a compositional form in which all the key dramaturgical nodes are concentrated in the part of the solo piano. Performed according to the laws of dramaturgical logic, this sonata is capable of producing a tremendous effect on the listener. Despite the fact that it is considered a French horn sonata and requires the highest professionalism from the soloist, the construction of the dramatic relief is entirely subordinated to the skills of the concertmaster.
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Varlamova, T. P. "CONCERTMASTER'S MULTIFUNCTIONAL ACTIVITIES IN THE DOMRA CLASS." Arts education and science 1, no. 1 (2021): 15–23. http://dx.doi.org/10.36871/hon.202101002.
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The article is dedicated to theoretical examination of psychological and pedagogical qualities and basic professional skills of a concert pianist. The complete musical creativity of a concert pianist assumes achieving the artistic result and creation of a qualitatively new product in any area of musical art. In this regard, the article reveals the forms and particularities of performing collaboration at the special instrument class; examines the basic functions of the interaction between the subjects of the pedagogical process; it highlights the problems of intensifying the creative work on a piece of music related to the search for concrete artistic means for disclosing the composer's intentions. It is emphasized that the musical ensemble requires communication under the condition of coordinated understanding of different parts and ability to achieve a common goal through joint efforts. Direct and efficient contact occurs during the implementation of an interpretation plan, joint musical experience while solving a creative problem. Depending on the student's endowment various traditional subject forms and methods of work in the special instrument class are considered. Undoubtedly, the mastery of the concertmaster requires from the pianist versatile musical and performing abilities, artistic skills, acquaintance with all musical instruments. The success of joint playing depends on creative activity, emotional responsiveness, richness of imagination, initiative, flexibility of performing talent and creative fantasy of each partner.
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Antonyuk, Valentina, Mariya Kalashnyk, Oleksandr Stakhevych, Oleksandr Rudenko, and Valentyn Lihus. "Ukrainian vocal paradigm of Boleslav Yavorsky." Revista Amazonia Investiga 12, no. 71 (2023): 54–60. http://dx.doi.org/10.34069/ai/2023.71.11.4.
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The paradigmatic approach in the study of vocal phenomena art offers new approaches and produces non-traditional standards of scientific thinking, making significant corrections to the general scientific picture of the world. This is precisely what is connected with the growth of scientific interest in the multidimensional personality phenomenon of music theorist, composer, pianist-concertmaster Boleslav Yavorsky (1877–1942) and his influence on the formation of the vocal paradigm of music education in Ukraine. Historical musicology, exploring different areas of artistic life, has lost track of an important topic such as the concertmaster activity of pianistscomposers who traditionally accompanied the performance of not only their but also other’s compositions, resulting in the unique creative act when one author was becoming the interpreter of other master’s compositions – his predecessor or contemporary. In the cognition of music history, such artistic events are of notable significance, as they reflect not just the performing evolution but also the process of creative reframing of the musical material. The main benefits of Yavorsky’s theory consist in analyzing the structure of mode formation and the internal modal organization of musical composition and musical-historical processes as well as drawing analogies in the development of various kinds of arts.
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Nikitska, Yevheniia, and Hanna Savchenko. "Concert performance of operas in the educational process: goals, examples, innovations, perspectives." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (2024): 7–26. http://dx.doi.org/10.34064/khnum1-70.01.
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Statement of the problem. A pianist-concertmaster is a well-trained, technically equipped, multidisciplinary, comprehensively developed musician. Accordingly, teachers of concertmaster departments in institutions of higher education are entrusted with a great responsibility for the training of highly professional and competitive specialists. In this context, the study of entire opera works, not individual numbers or scenes, the result of which can be a concert performance of operas, deserves special attention. This is an extremely important area of training for future concertmasters, which allows young performers to acquire the complex of knowledge and skills necessary for further work in the musical theatre. Objectives, methods, and novelty of the research. Various aspects of concertmaster skill are studied in numerous scientific works (Borovytska, 2018; Zub, 2021; Iniutochkina, 2010; Kretov, Novik-Kretova, 2017; Molchanova, 2015, 2017; Pidporinova, 2023). The tasks of this article are to determine the goals of performing operas in the concert version by students of the class of accompanist mastery; to put together methodical instructions regarding the concertmasters’ work on the opera as a whole; to outline the prospects of a special project that has been carried out for many years at the Department of Concertmaster Skill of the Kharkiv I. P. Kotlyarevsky National University of Arts under the leadership of its head Ye. Nikitska. For the first time, on the basis of the application of genre and performing research approaches, methodical guidelines for the work of a student-concertmaster on a concert performance of an opera have been systematized. Research results and conclusion. The purpose of concert performance of operas by student pianists of the class of accompanist skills is to make them ready for future professional activities as concertmasters of musical theatres. That is why concert performances of operas as entire works play an important role in the system of teaching concertmaster skill. In the process of preparatory work on complete opera compositions, practical situations that pianists-concertmasters face in their further professional activities are modelled and reproduced. This allows one to develop a set of knowledge, abilities, skills and competencies that are necessary for a concertmaster in a musical theatre. The work on a concert performance of a complete opera requires a certain algorithm of actions, a teaching method, the components of which are: 1) a careful choice of the opera; 2) selection of soloists; 3) drawing up the compositional and dramaturgical plan-scheme of the opera and, accordingly, making decisions regarding the edition / cut out of the choral and choreographic (mass) scenes and the removal of minor characters; 4) if necessary, compiling the literary basis; 5) work with students on the piano part of the opera in its integrity in various aspects (interaction between concertmaster and vocalist; overcoming pianistic technical difficulties; achieving an “orchestral” sound; supporting the temporhythm of the performance as a whole). The practical worth and viability of the educational and creative project in question has been confirmed by time and numerous successful concert performances of opera works in the halls of the Kharkiv I. P. Kotlyarevsky National University of Arts and on the concert stages of the country; and its life-giving force will be the expansion of the repertoire and the appeal to world and Ukrainian opera art of the 20th–21st centuries.
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Xiaoxue, Liang, and Chen Baiyu. "Formation of Professional Forms of Piano Playing in the Activity of an Accompanist." OOO "Zhurnal "Voprosy Istorii" 2022, no. 1-1 (2022): 125–29. http://dx.doi.org/10.31166/voprosyistorii202201statyi35.
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In the conditions of modern art education, the purpose of which is the formation of a comprehensively harmoniously developed personality, the role of music education becomes more significant, because music affects not only the intellect, but also the emotional sphere of the individual. That is why the principle of interpersonal contact, which should be based on the equality of all participants in the educational process, is now important for music education at an art school. And the humanization and humanitarization of education is aimed at the comprehensive harmonious development of the potential capabilities of each applicant for education. The experience is unique and of great importance for musicians of our time. Thus, in the activity of the concertmaster, it should be stated that there are pedagogical, psychological and creative functions, after all, the soloist and the pianist are members of a single organism.
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TSEIKO, Nataliya, and Tetyana KRYVYTSKA. "The art of improvisation in the activity of a pianist-concertmaster in the sphere of pop music and jazz." Humanities science current issues 3, no. 41 (2021): 47–57. http://dx.doi.org/10.24919/2308-4863/41-3-8.
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Merkulov, А. М. "PRE-MOSCOW PERIOD IN THE ACTIVITIES OF P. A. PABST (1854–1878)." Arts education and science 1, no. 4 (2020): 80–89. http://dx.doi.org/10.36871/hon.202004010.
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The article investigates for the first time in Russian and foreign musical science the early period of activity of P. A. Pabst, an outstanding Russian pianist of German origin and Professor at the Moscow Conservatory from 1878 to 1897. The author studies the ways of the musician's formation, the influence of his inner circle — his father August Pabst and brother Louis Pabst, as well as the influence of his teachers and senior colleagues — Louis Köhler, Anton Door, Adolf Blassmann, Franz Liszt, A. G. and N. G. Rubinstein. A wide historical material, often first introduced into scientific use (reviews in foreign and Russian press, memories of contemporaries, reference publications, archival documents, etc.), traces the artist's tour routes to Königsberg, Dresden, Riga, Warsaw, Smolensk, etc.; notes his collaboration with the largest performers of the time — Ole Bull, V. V. Bezekirsky, A. G. Menshikova, etc.; recreates the features of the young Pabst's performing style, especially his solo (piano and organ), but also ensemble and concertmaster art; reveals the repertoire preferences of those years; compares the creative principles of the early period with those of mature pianism, manifested later in Moscow. The result is a complete performing image of a wonderful musician.
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Grechyshkina, Nina. "Inversion of the Conventional View to the Performance of the Vocal Cycle "Galician Songs" by Levko Revutskyi at the Present Historical Stage." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 6, no. 1 (2023): 59–73. https://doi.org/10.31866/2616-759X.6.1.2023.276715.
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The purpose of research. The purpose of the article is to deepen the performing understanding of the uniqueness of Levko Revutskyi's vocal cycle "Galician Songs" (Op. 14) among performing musicians, teachers, and students of piano classes of concertmaster training, as well as in solo singing classes. Research methods. The methods used are the analysis of musical texts of different editions, the results of research on the problem of the twentieth and twenty-first centuries, methods of analogies and generalisations, as well as the synthesis of the experience of contemporaries and one's own experience. The scientific novelty of the research lies in the fact that for the first time, the solution to the performance tasks of the vocal cycle was formulated, thanks to which we achieved the inversion of the views inherent in the regional stylistic features of the folklore of Galicia, Hutsul region, and Bukovyna regarding the reproduction of the national characteristics of the melody of songs, a peculiar rhythm, and the manner of intonation during the performance of the vocal cycle of Levko Revutskyi "Galician songs". It has been proven that this opus 14 is precisely a "vocal cycle" and not a "collection of songs". Conclusions. It has been determined that the synthetic musical and poetic basis of the genre allows singers and piano students to become more familiar with the works of Ukrainian masters of the poetic word, as well as with examples of high poetry of other peoples of the world. For example, composers L. Revutskyi and Yu. Ishchenko (the cycle "Calendar Songs") and others, whose perspectives on the work of each of them are invaluable for the present. It is revealed that the content of the main tasks in the work on Levko Revutsky's vocal cycle "Galician Songs" indicates that its performance in the future will constantly require from the singer and concertmaster a deep knowledge of the folk traditions of music-making of Ukrainian songs, understanding of the peculiarities of the folklore of the Western Ukrainian region, acquaintance with the relevant pages of the history of the Ukrainian people and, of course, mastering a wide arsenal of performance techniques and good technique.
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Bertagnolli, Paul A. "Amanuensis or Author? The Liszt-Raff Collaboration Revisited." 19th-Century Music 26, no. 1 (2002): 23–51. http://dx.doi.org/10.1525/ncm.2002.26.1.23.
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Liszt's reliance on copyists throughout his career and in every stage of the compositional process aroused controversly only after his death, when published letters impugned his authorship by suggesting others had orchestrated his symphonic works. Thereafter, compelling testimony from three members of the Weimar Hofkapelle during the 1850's——concertmaster Joseph Joachim, prinicipal cellist Bernard Cossmann, and the scribe Joachim Raff——has informed the secondary literature's highly partisan criticism. Suspected scribal influence is constructed as weakness in Liszt's character and music, dismissed as inconsequential, or reluctantly acknowledged as a factor in Liszt's transformation from pianist to symphonist. I propose a more balanced view based on previously univestigated manuscript sources for incidental music to Herder's Der entfesselte Prometheus, produced in 1850. Raff's full scores for an overture and eight choruses, prepared from Liszt's typically detailed short-score, offer unrivaled opportunities to assess scribal influence. An original typology sorts contributions into four categories: minor tasks any competent musician could perform; transcribing unmarked passages in score order; extra doublings; and genuinely autonomus work, including the occasional invention of primary motives. Some of Raff's independent choices reflect astute awareness of Herder's text; others merely betray fascination with orchestral technique. Liszt's revisions eliminated or varied the overwhelming majority of scribal accretions, although Raff deserves credit for several salient features of the choruses. In the overture, however, rejection of Raff's contributions is virtually complete. The revisions also disclose that Liszt adopted more transparent textures, articulated phrases through gradual increases in orchestral density, and exploited instrumental ranges more idiomatically.
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Molchanova, Tetiana. "A Stranger in the Musical Interior of Romanticism: Fanny Cecilia Mendelssohn-Hensel." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 108–18. https://doi.org/10.31866/2410-1176.46.2022.258623.
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The purpose of the article is an attempt to draw the attention of domestic researchers and performers to the life and work of the German composer, the older sister of Felix Mendelssohn-Bartholdy, a significant figure in the musical life of Germany in the first half of the 19th century — Fanny Cecilia Mendelssohn-Hensel, who belongs to the unexplored figures in Ukrainian musicology; to outline the principles of her work as a performer and composer; to determine the genre and stylistic direction of her creative work. The article demonstrates the relevance of the analysis of her heritage, the relationship between the events of her life, and the main areas of her activity as a pianist, composer, and educator is established. Methods. The author of the article applies a system analysis that combines the following methods: analytical (reproduction of the overall picture of the life and work of F. Mendelssohn-Hensel on the basis of an objective analysis of the found sources in German and English, information from explanatory notes to music collections, Internet resources and the author’s own article), cultural (in order to identify the conditions that provided for the formation of the creative work of F. Mendelssohn-Hensel as a composer), axiological (to determine the artistic and performing value of her works), and observational (own pedagogical analysis and experiment: the management of the creative project “Little-known women-composers” since 2011, in the context of which there is the introduction into the educational process of students and masters of the concertmaster class, the Department of Solo and Chamber Singing, the Department of Chamber Ensemble of the Mykola Lysenko Lviv National Music Academy, the Department of Music of the Jan Dlugosz University (course “Warsztaty Artystyczne”, Poland, Czestochowa) of the composer’s works and their performance on the concert stage. Results. Based on the analysis of the life and work of the little-known German composer of the Romantic era F. Mendelssohn-Hensel, there are prospects for new research of women’s compositional creative work of the past in the context of the then aesthetic values and further reflection on its internal content essence. Scientific novelty. The article is the first experience of a special analysis of the biography of a little-known German composer and performer in Ukrainian musicology, which fills an existing gap in the history of domestic research and performance, and expands the worldview of students and performers, enriches their educational repertoire and concert programmes.
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Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.
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Background. The name of Amanda Maier (married – R&#246;ntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter, at least in domestic musicology, has significantly intensified in recent decades, which is due in part to the advancement in the second half of the XX and early XXI centuries of a constellation of the talanted women-composers in Ukraine – L. Dychko, H. Havrylets, A. Zagaikevych, I. Aleksiichuk, formerly – G. Ustvolska, S. Gubaydulina in Russia, etc. Today, it is obvious that the development of the world art is associated not only with the activities of male artists, but also with the creative achievements of women: writers, artists, musicians. During her life, A. Maier was the well-known artist in Europe and in the world and the same participant in the musical-historical process as more famous today the musicians of the Romantic era. Objectives and methodology. The proposed study should complement the idea of the work of women-composers of the 19th century and fill in one of the gap on the music map of Europe at that time. The purpose of this article is to characterize the genre-stylistic and compositional-dramaturgical features of selected chamber music works by A. R&#246;ntgen-Maier. In this research are used historical-stylistic, structural and functional, analytical, comparative, genre methods. Research results. Carolina Amanda Erika Maier-R&#246;ntgen was born in Landskrona, Sweden, where she received her first music lessons from her father. Then she studied at the Royal College of Music in Stockholm, where she mastered playing on the several instruments at once – violin, cello, piano, organ, as well as studied the music theory. She became the first woman received the title of “Musik Direktor” after successfully graduating from college. She continued her studies at the Leipzig Conservatory – in the composition under Carl Reineke and Ernst Friedrich Richter direction, in the violin – with Engelbert R&#246;ntgen (concertmaster of the Gewandhaus Orchestra, the father of her future husband J. R&#246;ntgen). She toured Europe a lot, firstly as a violinist, performing her own works and her husband’s works, alongside with world classics. After the birth of her two sons, she withdrew from active concert activities due to the deterioration of her health, but often participated in music salons, which she and her husband organized at home, and whose guests were J. Brahms, C. Schumann, E. Grieg with his wife, and A. Rubinstein. It is known that Amanda Maier performed violin sonatas by J. Brahms together with Clara Schumann. The main part of the composer’s creative work consists of chamber and instrumental works. She wrote the Sonata in B minor (1878); Six Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius R&#246;ntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891), Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. Sizable part of the works from this list is still unpublished. Some manuscripts are stored in the archives of the Stockholm State Library, scanned copies of some manuscripts and printed publications are freely available on the Petrucci music library website, but the location of the other musical scores by A. Maier is currently unknown to the author of this material; this is the question that requires a separate study. Due to the limited volume of the article, we will focus in detail on two opuses, which were published during the life of the composer, and which today have gained some popularity among performers around the world. These are the Sonata in B minor for Violin and Piano and the Six Pieces for Violin and Piano. Sonata in B minor is a classical three-part cycle. The first movement – lyricaldramatic sonata allegro (B minor), the second – Andantino – Allegretto, un poco vivace – Tempo I (G major) – combines lyrical and playful semantic functions, the third – Allegro molto vivace (B minor) is an active finale with a classical rondosonata structure. The Six Pieces for Violin and Piano rightly cannot be called the cycle, in the Schumann sense of this word, because there is no common literary program for all plays, intonation-thematic connections between this musical numbers, end-to-end thematic development that would permeate the entire opus. But this opus has the certain signs of cyclization and the common features to all plays, contributing to its unification: tonal plan, construction of the whole on the principle of contrast, genre, song and dance intonation, the leading role of the violin in the presentation of thematic material. Conclusions and research perspectives. Amanda Maier’s chamber work freely synthesizes the classical (Beethoven) and the romantic (Schubert, Mendelssohn, Schumann) traditions, which the composer, undoubtedly, learned through the Leipzig school. From there come the classical harmony, the orderliness of her thinking, clarity, conciseness, harmony of form, skill in ensemble writing, polyphonic ingenuity. There are also parallels with the music of J. Brahms. With the latter, A. Maier’s creativity correlates trough the ability to embody freely and effortlessly the subtle lyrical psychological content, being within the traditional forms, to feel natural within the tradition, without denying it and without trying to break it. The melodic outlines and rhythmic structures of some themes and certain techniques of textured presentation in the piano part also refer us to the works of the German composer. However, this is hardly a conscious reliance on the achievements of J. Brahms, because the creative process of the two musicians took place in parallel, and A. Maier’s Violin Sonata appeared even a little earlier than similar works by J. Brahms in this genre. Prospects for further research in this direction relate to the search for new information about A. Maier’s life and creativity and the detailed examination of her other works.
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YUTING, G. "FEATURES OF CONCERTMASTER TRAINING IN CHINESE UNIVERSITIES: THE PROBLEM STATEMENT." Научное мнение, no. 12 (December 29, 2024). https://doi.org/10.25807/22224378_2024_12_150.
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The article reveals the features of the current state of concertmaster training in Chinese universities. The article analyses the cultural and historical origins of the problems of teaching concertmaster skills, examines the dynamics of attitudes to the designated type of activity, the formation of the “concertmaster class” discipline in universities of various types (conservatory, academy, pedagogical university). The evolution of the content of concertmaster training is revealed in terms of changing requirements for this activity. The circle of the most acute problems of theoretical training and stage practice of a pianist accompanying a solo or collective vocal performance is outlined. In conclusion, the prospects of pedagogy of music education in the field of concertmaster training in Chinese universities are outlined.
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Malashenko, Elizaveta. "ACCOMPANIST TRAINING IN WORKING WITH VOCALISTS ON FOREIGN REPERTOIRE." Musical Art and Education 4 (2023). http://dx.doi.org/10.31862/2309-1428-2023-11-4-119-133.
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The article deals with the professional competences and functions of an accompanist in the modern educational process. Some directions in the accompanist’s work are highlighted: Collaborative pianist, Accompanist, Coach, Maestro collaboratore, Chef de chant, pianist-répétiteur. The author describes the methodology of the accompanist’s work with vocalists which contributes to the efficiency of mastering the French repertoire. It is noted, the necessity of appearance of profile disciplines aimed at acquiring skills to work with foreign repertoire in modern educational courses for specialties “Vocal Art”, “Art of Musical Instrumental Performance (Concertmaster Piano Performance)”.
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Коган, Інна, та Олександр Матковський. "Теоретичні та методичні засади формування майстерності концертмейстера в сфері хореографічної діяльності". Педагогічні науки теорія історія інноваційні технології, 20 січня 2022, 74. https://doi.org/10.24139/2312-5993/2022.01/074-086.
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The investigation is directed to explain theoretical and methodological foundations of contemporary concertmaster’s skill formation in “Choreography” discipline in higher educational establishments. Criteria of pianist-concertmaster’s professional skills as to personal professional qualities improvement while choreography activity are analyzed. Professional competence, humanitarian orientation, technique, improvisation, creativity are among them. Correlation of the notions “talent” as a nature’s gift and “mastery” acquired by man while personal potential development and due to devotion in profession are concerned. The scale of estimation of concertmaster’s activity as a specialist is offered. At the modern stage of development there is a burning problem of a specialist’s professional skills improvement as socially active personality oriented to continuous self-development and self-improvement. Firstly, concertmaster must encompass high level of general theory, methodological and professional background, secondly, to carry out professional activity of high quality in the context of personality creative awareness. Introduction of special knowledge about basic components and specific character of concertmaster-pianist’s profession in choreography activity into study favours differential approach in solving problems connected with concertmaster’s mastery formation. Results of the study enable extending knowledge degree and increase understanding of concertmaster’s proficiency at choreography classes. In the course of systemic investigation of concertmaster’s activity as a pianist at choreography classes which successfully combine pedagogical, psychological, organizational and music mastery elements, the main idea is explicated with integrity and uniqueness of this phenomenon. Key words: proficiency, talent, personality’s potential, technical endowments, virtuosity, concertmaster’s activity, improvisational creativity, performance technique.
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Molchanova, Tetiana. "Departments of Chamber Ensemble and Concertmastering in Terms of Historical and Cultural Processes, Professional Intersections and Repertoire Policy." Collection of scientific works “Notes on Art Criticism”, no. 43 (September 3, 2023). http://dx.doi.org/10.32461/2226-2180.43.2023.286842.
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The purpose of the article. Based on a retrospective review of the formation of the art of collaborative performance and the creation of chamber ensemble and concertmaster departments, systematisation of the thesaurus of definitions used in defining the profession of musicians in these areas, and study and analysis of the curricula of chamber ensemble and concertmaster departments of music institutions of higher education in Ukraine, an attempt is made to clearly outline the professional guidelines of repertoire policy of each department. The research methodology consists in the use of the following methods: analytical – to analyse the historical roots of the formation of the art of collaborative performance, the emergence of such areas of specialisation as “chamber ensemble artist” and “pianist-concertmaster”, the introduction of differentiated training for these types of performance practice in music institutions of higher education, the characteristics of the synonymous vocabulary of these definitions; comparative – to compare certain parameters of training at these departments, outline common and distinctive features; axiological – to understand the importance of both professions and to define value guidelines in repertoire policy through the prism of the traditions of education and the purpose of musicians in these areas. Scientific novelty. For the first time in the history of Ukrainian musicology, an attempt is made to expand the understanding of the historical roots of the creation of the chamber ensemble and concertmaster departments based on the analysis of the formation of the art of collaborative performance; to clearly outline the direction of the repertory policy of each department by defining their professional guidelines. Conclusions. The analysis of the historical roots of the art of collaborative performance, the traditions of forming chamber ensemble and concertmaster departments, and the competent interpretation of the glossary of definitions used in defining the profession of musicians in these areas are important components of a clear understanding of the functioning of these units of pianists’ training, contributing to the logical differentiation of their performance repertoire. This makes it possible to actualise the issue of forming special competencies in pianists in the context of each typpe of their musical-pedagogical and performance training.
 Key words: chamber ensemble, concertmaster’s class, repertoire policy.
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Molchanova, Tetiana. "Model of the vocal coach professional training in the context of the following studies of the pianist-concertmaster." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2019, 6–16. http://dx.doi.org/10.33398/2310-0583.2019.45.6.16.
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Relevance of the study. The article analyzes the state of contemporary art culture with an emphasis on the modernization of special vocational education and the determination of the priority of a competent approach to the training of a competitive specialist. The concept of «vocal coach» is introduced. The conditions focused on updating the motivated direction of obtaining this profile in the context of continuity of the pianist-concertmaster’ training are revealed and substantiated. The content and methods of purposeful acquisition of immanent knowledge and skills of «vocal coach» are considered, which ensures the use of all resource possibilities of the learning process. The purpose of the article is to outline the algorithm of mastering the relevant knowledge and skills that are the basic concept of obtaining the specialty «vocal coach». Methodology. The methodology of system analysis was applied, which combined the following methods: analytical (thorough research of the process of preparing the musician of this profile in the scientific articles of world music literature on this specialty); comparative (for consideration of theoretical questions in order to determine the essence and structure of the specialty «vocal coach»); hermeneutical (in the interpretation of the concepts of the specialty «vocal coach» and a number of formulations that make it possible to differentiate the analysis of phenomena associated with this performative variety) and observational (observation and self-observation method) (own pedagogical analysis and experiment : analysis of the educational process in the classes of chamber classics (zespόł kameralny) of the music educational institutions of Poland (Wroclaw, Katowice, Częstochowa), the music department «Misgav High School» (Israel), the introduction of the masters of the Lviv Mykola Lysenko National Music Academy in the concertmaster class of the vocal coach course with the study of foreign languages (4 modules), the basics of vocal at the department of solo and chamber singing (due to pedagogical practice as a vocalist-beginner). Conclusions. The necessity of revising the directions of training for a pianist-concertmaster in Ukrainian high school musical institutions in the context of professional continuity of this musician has been stated. On the basis of the argumentation of the need to prepare vocal coach, an algorithm for acquiring the relevant knowledge and skills that are fundamental to this profile is determined. The concept of training vocal coach as a special course or a training course is offered. The introduction of the course is dictated by the urgent need to prepare a competitive specialist.
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Загреднюк, А. Е. "ПРАКТИЧЕСКИЕ АСПЕКТЫ РАБОТЫ НАД ОПЕРНОЙ ПАРТИЕЙ В КОНЦЕРТМЕЙСТЕРСКОМ КЛАССЕ (НА ПРИМЕРЕ «РИНАЛЬДО» Г. Ф. ГЕНДЕЛЯ)". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 4(58) (30 грудня 2020). https://doi.org/10.26086/nk.2020.58.4.006.
Full textAbstract:
К важнейшим профессиональным навыкам, которыми должен обладать концертмейстер, относится умение работать с оперными клавирами и исполнять их в полном объеме. Пианист, владеющий данной способностью на высоком качественном уровне, как правило, широко востребован певцами, участниками разнообразных сценических постановок. Целенаправленная подготовка оперных концертмейстеров, требующая значительных временных затрат, обычно происходит уже вне рамок учебного процесса музыкальных вузов. В результате пианист, впервые сталкиваясь с необходимостью работать над оперной партией с профессиональным певцом, часто не обладает должным комплексом исполнительских навыков. В настоящей статье на примере оперы Г. Ф. Генделя «Ринальдо» автор, на основании собственного практического опыта, раскрывает основные проблемы, связанные с подготовкой оперной партии в концертмейстерском классе. Статья включает в себя краткую историю создания оперы, обзор ее наиболее известных изданий, различных сценических постановок, а также анализ отдельных композиционных приемов и исполнительских трудностей, связанных с музыкальной характеристикой главного героя — Ринальдо. Отталкиваясь от исторически сложившихся традиций исполнения барочной музыки, автор статьи предлагает практические рекомендации для концертмейстеров, работающих над оперными партиями. Особое внимание в этой связи он уделяет специфике работы с партитурой и клавиром, совершенствованию артикуляции, правильной передаче темпа и характера звучания, а также важнейшим особенностям исполнения арий и речитативов secco. One of the most important professional skills that a concertmaster should possess is the ability to work with opera claviers and perform them in full. A pianist who possesses this ability at a high quality level is usually widely in demand by singers, participants of various stage productions. Purposeful training of opera concertmasters, which requires considerable time, usually takes place outside the framework of the educational process of music universities. As a result, the pianist, when faced with the need to work on an opera part with a professional singer for the fist time, often does not have the proper set of performing skills. In this article, using the example of G. F. Handel's opera «Rinaldo», the author, on the basis of his own practical experience, reveals the main problems associated with the preparation of the opera part in the concertmaster class. The article includes a brief history of the opera's creation, a review of its most famous publications, various stage productions, as well as an analysis of individual compositional techniques and performing diffilties associated with the musical characterization of the main character — Rinaldo. Starting from the historical traditions of performing baroque music, the author of the article offrs practical recom mendations for concertmasters working on opera parts. In this regard, he pays special attention to the specifis of working with the score and clavier, improving articulation, correct transmission of tempo and character of sound, as well as the most important features of the performance of arias and recitatives of secco.
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Frait, Oksana. "Song-Writing Style of Bohdan Yanivskyi: Inspirations, Intentions and Text Eminence." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 3 (October 25, 2023). http://dx.doi.org/10.32461/2226-3209.3.2023.289841.
Full textAbstract:
The purpose of the article is to outline the style of songs written by B.-Yu. Yanivskyi for his collection “Vyshneva Vikhola” (“Cherry Snowstorm”) for solo and duet performance considering their inspirations, intentions, and means of musical-and-verbal interaction through the optics of the category of the “eminent text” (according to H.-G. Gadamer), as well the socio-cultural terms of the époque. The methods of the studies are based on the integration of the philosophic and art-studies approaches which help to highlight the eminent characteristics of the samples of the composer’s pop-song creativity. System-analytical, intermediate, typological methods of music-poetry studies of the song components in dialogue and, sometimes, polylogue interactions of music, poetry, and borrowed theatre techniques have been applied. Methods of generalisation and reflection enabled the author to trace the inspirations and intentions of B.-Yu. Yanivskyi’s appeals to entertaining music in the time of the Soviet Union. The scientific novelty of the research lies in an attempt of the contextual and intermediate analysis of the songs of the “Vyshneva Vikhola” collection, as the eminent texts. Conclusions. B. Yu. Yanivskyi’s professionalism of a composer, pianist, and concertmaster contributed to the creation of the artistically perfect samples of the pop-song genre. Vocal and piano parts make the suggestive potential of the poetic background more distinct and, at the same time, enrich them in an intermediate and eminent ways. Inspirations of B.-Yu. Yanivskyi’s song-writing style-formation were the national and local musical folklore, Galician traditions of song-entertaining genres and types of music-making, which absorbed the elements of song-and-dance art of other countries, along with preserving their unique features. Composer’s intentions were to popularise the entertainment songs of that time and to prove, that Ukrainian pop-song can be self-sufficient, that it can preserve the national identity at the same time organically reinterpreting the best of the Western heritage. Pop-music semiosis of B.-Yu. Yanivskyi embrace a wide range of intonation-rhythmic, harmonic, and textural marks of various genesis, which altogether make up the unique style of the author.
 Keywords: composer B.-Yu. Yanivskyi, pop-song genre, intermediality, eminent text, song, duet, piano part.