Твори для дітей Анастасії Комлікової

Abstract

The urgency of the problem. The professional development of musicians begins in childhood. The repertoire plays an important role in the development of interest in the playing, including the piano. While professional pianists can evaluate the repertoire from the standpoint of technical complexity, artistic and aesthetic expressiveness, virtuosity and even the prestige of performance, for children the basic selection criteria are artistic and figurative characteristics of the musical composition. Therefore, it is appropriate to consider what trends can be traced in the creation of a repertoire for children. This can be analyzed on the example of musical compositions by modern Ukrainian composer Anastasiia Komlikova. The purpose of the article. The purpose of the article is to analyze musical compositions for children by Ukrainian composer Anastasia Komlikova. Achieving the goal involves studying the specifics of Komlikova's authorial approach, outlining the specifics of children's repertoire, including piano and the criteria that must be put forward to achieve the best results in the education of young pianists. The scientific methodology is to apply a comparative method, which concerns the assessment of the value of Komlikova's musical compositions for children, in the context of previous artistic practice. The analytical approach is used to highlight the key features of A. Komlikova's musical compositions. The results of the study are to highlight the features of works for children by Anastasiia Komlikova, who seeks to carry out systematic musical and aesthetic training of children, starting from preschool age and continuing during the direct mastery of the skill of playing a musical instrument. Conclusions. Anastasiia Komlikova is a composer of the new generation, the main vector of her work is to provide a repertoire of young performers. The main goal of the composer is a systematic work, which would be implemented with the youngest children, where the general musical and aesthetic education would prevail, which was then replaced by direct playing the piano or vocal class. Appeal to bright images, the widespread use of the software is the leading feature of Komlikova's musical compositions. In her piano cycle, the composer uses bright program names, imitating the traditions laid down in foreign and domestic musical practice. The specificity of the musical language of Komlikova's musical compositions is the synthesis of elements of academic, jazz and folk music, which allow acquainting children with different areas of musical culture. The composer also pays attention to the development of skills to perform various technical difficulties ‑ rhythmic, intonation, fricative.