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O. Sydorenko

Types of dialogues in the chamber violin sonata in the aspect of musical thinking

The musical thinking is considered by the author of the article in terms of its communicative function and role in the practice of joint music-playing. The factors predetermining the musician’s penchant for ensemble performance are revealed. The thinking of ensemble artist is considered as a conscious rejection of the Solo function and internal readiness to unite creative efforts. The individual musicians performing style is studied in order to identify the specifics of thinking of ensemble musician. The problems in the interaction of musicians in a chamber ensemble are identified. They are caused by the differences of tools, performing schools and individual styles, as well as the inner world and individual features of the musicians thinking. Conformably the cooperation with musicians some scenic roles (as a soloist, leading the partner / orchestra and imposing his comprehension of musical work; ensemble musician, taking into account the opinions of partners and ready to compromise; and accompanist, who satisfying role of a slave) are considered. The two types of dialogue of ensemble musicians are offered in the communicative aspect of the musical thinking. They are «dialogue consensus» (such models as «together in public», «friendly conversation») and «dialogue counterpoint» (model «dramatic conflict»). A comparative analysis of two styles as applied to performing duets L. Oborin − D. Oistrakh and M. Argerich − G. Kremer is carried out.

Key words

chamber ensemble, violin sonata, thinking of ensemble musician, dialogue, performing style.