SPECIFICITY OF WORK ON INTONATIONAL-SEMANTIC ORGANISATION OF PLAYING THE FLUTE WHEN MASTERING WORKS OF COMPOSERS OF THE SECOND HALF OF THE 20TH CENTURY AND EARLY 21ST CENTURY

Abstract

The article is devoted to the formation of professional performers’ skills to interpret works for the flute created during the second half of the 20th century and early 21st century, that is, related to the so-called “modern repertoire”. The author concentrates on the intonation-semantic organisation of performance when mastering works of this category and identifies two key problems: the distance of the style and language of the works from the classical-romantic “basis” formed in performers at the initial and secondary stages of training, as well as a huge variety of musical languages, each of which a performer needs to master. In conclusion, the author of the article proposes a project of his own methodological model that involves mastering of the art of composition by students as a means to learn the principles of modern compositional techniques and, consequently, musical languages and styles as deeply as possible, and thereby to obtain the “keys” to the correct intonation-semantic organisation of performance.