The Musical Adjustment of Intonation in Wind Instruments during Classicism

Abstract

This article considers the features of instrumental intonation in the era of Classicism. The importance of the work is determined by the fact that the author reveals the musical and rendering aspects characteristic of the period in question. The author employs the techniques of theoretical analysis of the ideological and aesthetic paradigm of the era, the orchestral works of various classical composers, and the methods of intonational expressiveness used by them. The article provides data on the stages of innovative changes in the construction of wind instruments and their practical application in the orchestra. The author demonstrates that wind instruments lag behind in the development of their intonational potential as compared to other orchestral instruments. The article lists a number of musical examples, demonstrating artistic interpretation in the orchestral intonation of wind instruments. The author illustrates the important role of musical rhetoric in musical intonation, its nature proceeding from the scholarly concepts of ancient philosophers and the practice of music rendering of the epoch in question. It is noted that as early as during the Baroque era, rhetoric was widespread, attracting the attention of theorists and composers who tried to scientifically substantiate its purpose and role in musical art. They significantly expanded the potential of intonation by allocating special musical tones that cause a number of affections. It is established that to give meaning to affections, composers used verbal characteristics for musical phrases, motifs, and melodic phrases. The article states the positivity of musical rhetoric as a means to promote the development of imagery and emotional intonation, which served as a basis for the theory of musical expressiveness, as well as the formation of solo performances.