Высокий контраст  Без изображений   Размер шрифта:
А А А

A. Serdyukov

Improvisation in academic musical performance

The article highlights the renewed interest in improvisation in modern music that violates the dominant long-period «scriptual» tradition – orientation solely on the interpretation of the unchanged written text. The new perspective of the modern audience preferences is considered in a historical review of the shifts in listeners’ priorities. Requirements to the mastery of the spontaneous text creation in the Baroque-Classicist era, as well as the combination of fantasy with masterly technique of the instrument performing in the era of Romanticism at the turn of the XIX–XXth centuries are characterized. The significant facts of inclusion of improvisation in the teaching process by Ant. Rubinstein, A. Goldenweiser, G. Ginsburg are given in the article. In conformity with the XXth century, the important place of improvisation in the concert and teaching activities by a number of outstanding musicians – L. Godowsky, V. Horowitz, D. Ziffra – is highlighted. The example of the increased performer’s interest in impro-visation during our days is conversion to the transcription genre of A. Volodos. The author also mentions the new direction, which is improvisation of classical repertoire in a pop style. The latter is represented by the names of pianist M. Mrvica, violinist D. Garrett, etc. There are some experiences of improvisation in academic styles (J. S. Bach, J. Brahms, A. Scriabin) by the jazz pianist E. Dzhangirov described in the article.

Key words

academic performing musical art, virtuosity, improvisation, piano transcription.

Login

Forgot your password?

Register