Особенности формирования и подъема отечественного скрипичного педагогического искусства от Л. Ауэра до Ю. Янкелевича

Abstract

The work is devoted to the development and rise of national pedagogical violin art of the period from L. Auer to Y. Yankelevich. The works of violin teachers themselves and their contemporaries of the 20th century (L. Auer, V. Grigoriev, L. Mordkovich, A. Yampolsky, Y. Yankelevich) and the latest research in the history of violin art and pedagogy are considered as scientific sources (I. Lezhnev, A. Misharin, A. Nurgayanov, E. Safonov, T. Sukhanov). Despite the sufficient consecration of various issues of the national violin school in the literature, the relevance of this topic is determined by the need to highlight the factors of the rise of the national violin school in general and to determine the characteristic methodic directions and pedagogical trends of the specified historical period in particular. The principles indicated by L. Auer, aimed at the devel-opment of an individual performing manner, and the interpretational direction in violin perfor-mance are developed and supplemented by his followers, among whom the activity of A. Yam-polsky was of fundamental importance. The development of a system of music education due to a well-built policy of the state and the activities of individuals and organizations, the mutual influ-ence of the tandem “composer – performer” also contributed to the growth of interest in the violin art. It is concluded that the close continuity of pedagogical, methodic and performing principles, combined with innovative teaching methods, led to the flourishing of the violin school, which was supported by state and close interaction between performers and composers.