UDC 378.02: 372.878
DOI: 10.36871/hon.202301084
Authors
Tatiana P. Varlamova,
Russian State Specialized Academy of Arts, Moscow, 121165, Russian Federation
Abstract
The article deals with the processes of musical thinking in the context of the performer’s interpretative activity. It is the performer’s interpretation that is the intermediary between the author’s recording and the listener. Each interpretation is based on an idea with its semantic, intellectual and emotional nuances. Since the performer’s values, views, motor associations can change throughout the creative work, some levels of interpretation remain unchanged, for example, the parameters of the composer’s competence zone. The types of musical thinking and operational mechanisms that determine the performer’s interpretative activity are responsible for the diversity. The article analyzes the relationship between emotional-figurative and intellectual components of musical thinking. It is emphasized that the art of interpretation is the consequence of the performer’s creative activity. The sign of the development of creative thinking is the ability to carry out the plan of future interpretation at all stages of learning. In creating one’s own interpretation of the content of a musical work, a significant part is determined by the performer’s imagination, perception and personal attitude to the artistic text. In working on the character of a piece, often not clearly defined by the author’s intention, appropriate performance tasks are drawn up, which determine the choice of artistic colors and playing techniques. The process of creating a performer’s interpretation and the desire to reveal the musical image of the work as fully as possible involves a comprehensive study of the composer’s work, identifying traditions and such stages in the process of reading the author’s text as analysis, differentiation and synthesis.
Keywords
musical thinking, interpretation, musician, performer, imagination, perception, image
