Influence of Timbral Sound Coloring on the Evolution of the Conductor's Gesture

Abstract

An overview of the professional aspects of conducting as a process of managing a performing team was carried out. The main directions of the development of the conductor's performance skills from the noisy type to the silent type are revealed. The dynamics of changes in the forms and methods of conducting have been traced while preserving the priority of gesturing as the main type of influence on the collective during the performance of a musical piece. It was found that the conductor controls not only the logic of the development of the musical material, but implements it by using a specific complex of real physical movements (gestures) organized in time. The essence of the conductor's orchestral thinking is analyzed, which is a synthesis of his logical and procedural thinking, which ensures the development of the timbre dramaturgy of the musical work. The dependence of the timbral coloring of sound on the involvement of various types of orchestral instruments in the reproduction of musical material is substantiated. It has been established that orchestration is the basis of the conductor's timbral thinking. Composers are divided (conditionally) into two main types of timbral thinking, where the first includes those for whom orchestration is a means of expressing musical thought (L. Beethoven, R. Wagner, P. Tchaikovsky, D. Shostakovich, and others), and the second includes those for whom orchestration is a means of expressing sophisticated imagery by creating an orchestral color and multi-colored sound (H. Berlioz, M. Rimskyi Korsakov, K. Debussy and others). It has been proven that: timbral coloring and the conductor's manual technique have a reciprocal relationship; The elements of the conductor's gesture reflect not only the metro-rhythmic structure, stroke realization, dynamic shades, emotional and figurative content of the musical work, but also reflect the quality of the new timbre, its modification and development; the timbre auditory imagination of the conductor develops in classes on orchestration (instrumentation) and in the process of conducting directly with the orchestra; the conductor's gesture, which is not supported by timbral feeling, leads to a formal gesticulation that does not reflect the emotional and figurative content of the musical work.