Музыкальная форма и её освещение в школьных учебниках по музыкальной литературе

Abstract

Familiarization with musical form – a capacious and multiple valued phenomenon – is connected with the initial stage of educating a musician. An important role in this process is carried out by textbooks. An encompassing perception of musical form, the basic types of structures in classical and romantic music and their individual features is taught to a pupil of children’s music schools in music literature classes. In the article certain features of expounding on the subject of “musical form” for schoolchildren are elaborated by the example of four textbooks for the first year of study of this subject (written by Andrei Frolov, Maria Shornikova, Yanina Ostrovskaya & Liudmila Frolova, Zoya Osovitskaya & Anna Kazarinova). The content of the corresponding sections is variable. The list of the spanned examples is more compact in the book by Osovitskaya and Kazarinova (it is defined by the resources of Tchaikovsky’s “Children’s Album”). The subject is unfolded to the fullest extent in the textbooks of Ostrovskaya, Frolova and Shornikova: here almost all the classical-romantic forms are demonstrated, as are some of the baroque forms (the fugue and the suite). In their descriptions of the musical constructions, the authors maintain different perspectives. Osovitskaya and Kazarinova are concentrated on an integral analysis of the “Children’s Album” and its constituent pieces; at the same time Frolov combines the theoretical and practical approaches in comprehension of form, giving recommendations for the compositions. Shornikova makes systematical use of interdisciplinary analogies; Ostrovskaya and Frolova give intense attention to the structural particularities of each of the examined constructions. The correlation of the principles of study of musical forms present in school textbooks allows us to choose the most optimal of them. The article comes up with the conclusion that the use of the descriptive manner upon the first discussion of form is insufficient, since in this case the connection between the content and the constructive sides of the musical structures is not accentuated. The inaccuracies allowed by the authors in their characterizations of a number of forms testify of the necessity of reviewing such types of tutorial editions. Keywords: study of musical form, textbooks of musical literature for children’s music schools for the first year of study, Yanina Ostrovskaya, Liudmila Frolova, Zoya Osovitskaya, Anna Kazarinova, Andrei Frolov, Maria Shornikova.