ON THE SUBJECT MATTER OF THE ART OF INTERPRETATION IN THE CLASS OF “CONDUCTING”

Abstract

The article reveals problems associated with the establishment of the elements of the subject of a conductor’s interpretation. They are represented by the idea, the idea, the emotional and sensual “reading”, the style, the performing traditions, the form and content of the musical work. The main factors that determine the development of the art of interpretation in the class of “Conducting” are identified. The corresponding methodological task facing the students is indicated. Its solution provided for the use of both educational and various cultural and educational forms of work: listening to concert programs, attending master classes, lecture courses, participating in competitions, festivals, studying scientific and methodological literature, demonstration Internet resources, and orchestral content. A working definition of the concept of “the art of interpreting a conductor” is given. The emphasis is placed on the fact that interpretation is always a personal “reading” of the conductor, a conceptual vision of the performing process in the aggregate unity of the technical and artistic-figurative, logical-semantic and emotional-sensory, rational and irrational, reproductive and productive, traditional and innovative, conscious and intuitive, objective and subjective, end-to-end action and detailed view, as well as the form and content of a musical work. The author reveals the levels of realization of the idea of embodying the artistic and figurative content of the composition in the conductor’s interpretive art: melodic-harmonic, polyphonic, tempo-metric, tempo-rhythmic, articulation-stroke, texture-tembral, logical-dynamic, intonation-acoustic, compositional-communicative, genre-stylistic, collective-group. The study of the phenomenon under study is carried out within the framework of a personality-oriented approach.