Классическая сонатная форма: контекст современного музыкально-педагогического опыта

Abstract

Importance. The range of issues of fortepiano pedagogy related to the development of the classical sonata form in succession with the composing and performing experience of the pre-classical period is considered. The problem of mastering the modern musical and pedagogical experience in the field of studying the classical sonata form in the fortepiano classroom is solved. Materials and methods. The semiotic approach to the musical text is used as the main methodological principle, as well as historical and cultural commentary and reconstruction of the authentic environment in which the classical sonata form was created and developed. The expediency of using the “quasi-score of the performing concept” in pedagogical communication is shown. The justification of the introduced concept contains various examples of reading the urtext. The proposed methods can be widely used in the sequential process of mastering a large form in an instrumental classroom. Results and Discussion. A useful result of the proposed approach is a meaningful attitude to performance technique as a resource for generating variants of the correct author’s interpretation of a work of art. Despite the fact that the large form is an obligatory part of music pedagogy, practicing musicians face problems of formal and semantic perception of the text in the process of participating in the dialogue environment “teacher – student”, “composer – instrumentalist”. By analogy with the term quasi-scores used in the art criticism analysis of a large form, the concept of “quasi-score of the performing concept” is introduced, which allows to enrich pedagogical communication with a large volume of historical and cultural information tied to the artistic text of the work and the technology of its performance. Concrete examples of the mutual influence of the largest representatives of the composer and performing practice of the 18th century are given and interpreted. Conclusion. The idea of the need to develop the ability of an instrumentalist to understand, hear and reproduce in performing practice the constructs of the musical language generated in the syncretism of the compositional and performing practice of the epochs of Johann Kunau, the Bach family, Domenico Scarlatti, Georg Friedrich Handel, Joseph Haydn, Muzio Clementi, Wolfgang Amadeus Mozart, Ludwig van Beethoven is argued.