Музыкальный текст инструментальной музыки западноевропейского барокко в аналитическом осмыслении студентом-исполнителем вуза

Abstract

No matter how much we approach the urtext of Western European Baroque music reflecting the world picture contemporary to it and preserving the diversity of meanings, its semantic meanings shall never be exhausted. Having been generated by the “turning point” epoch which lasted for over a century as a peculiar document of the time, the urtext, undoubtedly, presents a complex task for the researching musicologist. However, an even more complex problem is presented by the adaptation of scholarly perceptions about the urtext for specialist performers who study in institutions of higher education. Being open for new methodological approaches, this type of musical text is in need of evaluation of its didactic potential, as well as of search for special approaches and means of artistic interaction of the performer with it. Pedagogical approaches must be oriented on a certain ideal model of the professional performer – the soloist, member of a music ensemble or pedagogue. Without awareness by the musician of the specificity of the content of the musical text, it is not possible to elaborate a personal attitude towards the authorial conception, which provides correctness, brilliance and originality of interpretation of the performed composition. The article indicates certain methodological approaches to analytical achievement by student performers of the early urtext of Western European baroque instrumental compositions approbated by the author. At their core lies the adaptation of scholarly research and pedagogical elaborations of the Laboratory of Musical Semantics. Keywords: urtext, instrumental music, Western European Baroque, intonational lexis, semantic organization of music, Laboratory of Musical Semantics.