Німецька віолончельна школа ХІХ ст.: виконавсько-педагогічні аспекти
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Дата
2014
Назва журналу
Номер ISSN
Назва тому
Видавець
СумДПУ імені А. С. Макаренка
Анотація
У статті розглядається процес становлення німецької віолончельної школи в ХІХ ст. Висвітлюється формування виконавсько-педагогічних традицій школи та їх поширення в європейському музичному просторі. Аналізується виконавська, педагогічна та композиторська діяльність видатних німецьких віолончелістів і надається історична оцінка результатів їх діяльності.
In this article a process of growing the German violoncello school of the XIX-th century is studied. Forming the performing and pedagogical traditions and their spreading in the European musical space are learned. The author analyzes performing, pedagogical and composing activity of the well-known German violoncellists and gives the historical estimation of the results of their work. By the second half of the XIX-th century the European instrumental art had the typical features of universal musical practice, which were expressed in the combination of composing and performing activity. Historically it caused a dependence of the level of instrumental playing and marked the specification of growing instrumental playing schools – violin, harpsichord, flute, violoncello. The idea «instrumental school» in its broad meaning signifies independently from the shape of artistic playing direction, cultural tradition based on the definite peculiarities of performing and pedagogical practice by means of which the generalization and inheriting playing experience (even without forming the theoretical platform) take place. In its narrow meaning this term characterizes a method of playing the definite instrument, when the practical experience is generalized and systematized in different «methodologies», classes, establishments. However, the problem of playing the bow instruments isn’t investigated in theoretical sources. The question of finding out the peculiarities of the development of the playing school, the methodology of teaching and connected with it playing school that had its reflection on the specification of the teaching are represented especially sharply in the violoncello art. Comparing with the XVIII-th century when the leading place in the European musical space was occupied by the Italian and French schools, the main achievement of the violoncello pedagogic of the XIX-th century belonged to the representatives of Germany. The perspectives of this scientific work which presents the most prominent representatives of the German violoncello school of the nineteenth century are the following: further study the representatives of the German school; study the representatives of violoncello schools in other countries; study the schools of other instrumental (piano, violin, flute).
In this article a process of growing the German violoncello school of the XIX-th century is studied. Forming the performing and pedagogical traditions and their spreading in the European musical space are learned. The author analyzes performing, pedagogical and composing activity of the well-known German violoncellists and gives the historical estimation of the results of their work. By the second half of the XIX-th century the European instrumental art had the typical features of universal musical practice, which were expressed in the combination of composing and performing activity. Historically it caused a dependence of the level of instrumental playing and marked the specification of growing instrumental playing schools – violin, harpsichord, flute, violoncello. The idea «instrumental school» in its broad meaning signifies independently from the shape of artistic playing direction, cultural tradition based on the definite peculiarities of performing and pedagogical practice by means of which the generalization and inheriting playing experience (even without forming the theoretical platform) take place. In its narrow meaning this term characterizes a method of playing the definite instrument, when the practical experience is generalized and systematized in different «methodologies», classes, establishments. However, the problem of playing the bow instruments isn’t investigated in theoretical sources. The question of finding out the peculiarities of the development of the playing school, the methodology of teaching and connected with it playing school that had its reflection on the specification of the teaching are represented especially sharply in the violoncello art. Comparing with the XVIII-th century when the leading place in the European musical space was occupied by the Italian and French schools, the main achievement of the violoncello pedagogic of the XIX-th century belonged to the representatives of Germany. The perspectives of this scientific work which presents the most prominent representatives of the German violoncello school of the nineteenth century are the following: further study the representatives of the German school; study the representatives of violoncello schools in other countries; study the schools of other instrumental (piano, violin, flute).
Опис
Ключові слова
німецька віолончельна школа, видатні німецькі віолончелісти, виконавсько-педагогічні традиції, європейський музичний простір, German violoncello school, prominent German cellist, performing and pedagogical traditions, European musical space
Бібліографічний опис
Зав’ялова, О. К. Німецька віолончельна школа ХІХ ст.: виконавсько-педагогічні аспекти [Текст] / О. К. Зав’ялова // Педагогічні науки: теорія, історія, інноваційні технології : науковий журнал / МОН України, Сумський держ. пед. ун-т ім. А. С. Макаренка ; [редкол.: А. А. Сбруєва, О. Є. Антонова, Дж. Бішоп та ін.]. – Суми : СумДПУ ім. А. С. Макаренка, 2014. – № 8 (42). – С. 9–22.