ЯМБІЧНЕ МІКРОСТРУКТУРНЕ ІНТОНУВАННЯ МЕЛОДІЇ В СИСТЕМІ ВИКОНАВСЬКОЇ АКТИВНОСТІ

Abstract

In the following article it is substantiated the actuality of the issue of performing activity by means of microstructural intoning of a melody, techniques and methods of developing of musical thinking skills and improving of the technical level of a performer through the use of iambic phrasing of the music language. The article reveals the authors understanding of the active performing intoning by means of microstructural syntactical units of iambic art, which are proposed in the form of existing formulas of technical embodiment of a musical text and promote the development of musical thinking logic, the process of forming of technical excellence and performing activity in total. The article generalizes the experience and the results of a performing activity research on the basis of microstructural intoning of a melody by means of iambic phrases: the intoning components were described- microstructural formulas of technical embodiment of a musical text in the context of the temporal and fretted respect; the explanation of practical methods of using iambic microstructural intoning was provided by means of specific samples of intonation patterns in the matching of opposite intoning points; some performing thinking theses were singled out under condition of iambic intoning in microstructural units of the music language; a conclusion was made as for the importance of the iambic intonation considering the points of fretted and functional coupling-non-coupling of the intonation and time distribution; a parallel was drawn between technical intonation-phonetic formulas in the scale of integrity of a musical work and the phase sequence of a composition in general (according to B. Asafyev), which corresponds to the highest time-scale level of music form perception (compositional). Conclusions were drawn as for the realization of the constructive micro-intoning and thinking by means of iambic phrasing as well as pedagogically managed process of bringing to a state of matching the psychophysiological readiness of a performer with disengagement of free motion, what as a consequence has a positive impact on a technical development of a musician and a motivation orientation on art practice in total.