THE SPECIFICS OF MASTERING THE “TRADITIONAL” AND “NEW” FLUTE IN THE SPECIALTY CLASS (BASED ON THE WORKS BY S. PROKOFIEV AND S. GUBAIDULINA)

Abstract

The article examines the ways to develop the expressive capabilities of the flute in the music of Russian composers of the 20th century and the specifics of mastering some of them in the specialty class. The practice of playing wind instruments in the 20th century has changed significantly. First of all, new performing techniques appeared and established. Those techniques were tested by composers mainly in solo compositions. For a considerable time, timbre served a subordinate function, being closely associated with melody and especially with harmony. In addition, the changes also affected the pedagogical principles of teaching flute. This was largely facilitated by the new views of composers on the instrument. In this regard, the author considered the works of S. Prokofiev as a representative of the traditional attitude towards the flute and S. Gubaidulina, a composer who was looking for new, experimental ways to develop performance on the flute. In addition, the author specifies the most significant techniques for mastering the artistic, expressive and technical features of the works considered by flute students in the specialty class.