Динамічні особливості фактурного мислення піаніста у пошуку інтонаційної виразності звукового образу

Abstract

У статті розкриті питання змісту виконавського мислення у площині фортепіанної фактури, спрямованого на пошук джерел інтонаційної виразності та динамічної цілісності звукового образу музичного твору. Зроблено спробу визначення інтрамузичних чинників інтонаційної виразності та внутрішньої динаміки музичної тканини на основі слухового аналізу фортепіанної фактури. Фактура розглянута у виконавському ракурсі як просторова модель звукового образу в клавіатурній проекції та мобільне фонічне середовище.

В статье раскрыты вопросы содержания исполнительского мышления в плоскости фортепианной фактуры, направленного на поиск источников интонационной выразительности и динамической целостности звукового образа музыкального произведения. Автором сделана попытка определения интрамузыкальных основ интонационной выразительности и внутренней динамики музыкальной ткани на основе слухового анализа фортепианной фактуры. Фактура рассматривается в исполнительском ракурсе как пространственная модель звукового образа в клавиатурной проекции и мобильная фоническая среда.

Issue related to the content of the performing’s thinking in the area of the piano texture which is aiming on the search of sources of intonation expressiveness and dynamic integrity of the sound image of a musical composition are investigated in the paper. The author has made an attempt to define the intra-music factors of the intonation expressiveness and internal dynamics of the texture of a musical composition on the base of the auditory analysis of the piano texture. The texture is considered under the performing’s angle as a spatial model of the sound image in its keyboard projection and the mobile phonic environment. It is emphasized that the investigation of the nature of the intonation expressiveness of the sound image of music is a base of the development of the performing’s thinking. The sources of the intonation expressiveness are found in the specific attention to the phonic features of the elements of the music texture, such as the phonically coloring of the supporting harmony as a dominant issue within a specific syntactic structure with the appearance of the phenomenon of the phonic synthesis of the elements of a textured stem in its “gravitation field”. The other elements of the music texture are inter-tone bonds which are resulted from the phonic quality of an interval in its harmonic form, and interval bonds in the developing of the melodic syntax; phonic micro-contrasts of the interval bonds are manifested as clear meaning of the expressed melody, etc. The image of the music texture as a spatial model of the sound (textured carcass), and, at the same time, as a dynamic integrity, a “hologram” of the textured space in the completeness of its phonic quality, dynamics of the force fields and semantic lines of the development is a subject support of the sound image. The capability to see and hear the live plastics of the linear development of the textured polyphonic with the simultaneous perception of the architectonics of the textured elements is a leading feature in the development of the player’s mastering. Analysis of the texture of the music composition on the base of the reduction of its tectonic layers to a harmonic basis of the music integrity (as per H. Schenker ) and structural analysis of the melodic lines (as per M. Aranovsky), which discover the vision of the intonation plastics of the textured horizontal is an effective means of the development of such capability. In accordance with the spatial specifics of the music texture, which is described in the system of coordinates as “vertical – horizontal –depth”, the logics of the performing’s analysis is developed from the syntactic organization of a melodic horizontal through the establishing rhythm-intonation inter-links between the textured layers (textured stem) to the transferring of timbre-dynamic ideas of sounding under the angle of the spatial perspective (depth of texture). The performing’s analysis of the music texture as a dynamic integrity requires the support on the factors which define the preservation of the integral vision. Dynamic intonation processes which are capable to manifest on different scale levels of the texture, are defined simultaneously by “gravitation” forces of metric and modal systems and micro-dynamic properties of a tone as a plastic element of the intonation texture, which are based on the zoning nature of the sound diapason (as per M. Garbuzov). Imaginary change of the sound diapason within a specific tone defines the inertia of its plastic transition in the next tone, and, beyond the contour of a motive, combines the tones in the united line leaving the illusion of the “cordless” motion “through the tones” (effect described by E. Kurt). This change serves as an active united force which provides the music phrase with the intonation integrity. This technique “erases” limits between its structural elements and opens the internal logics of the multi-vector intonation inter-links between them and the way to the panoramic review of the “timbral surface” of the sounding. Keeping the focus of attention on the phonic quality of the elements of the music texture, the vision of the structural logics of harmonic development and the feeling of its internal intonation dynamics are the basis of the performing’s thinking which is aimed on the achievement of the integrity and expression of the sound image. The author suggests that the carrying out the analysis of the piano music texture according to the defined semantic parameters is a basis of the development of the mastering of the piano performance in view of the direct relationship of its technical constituent from the depth of understanding of intra-music intonation processes.