Диригентська майстерність у контексті сучасної педагогічної практики

Abstract

У статті досліджено проблематику диригентської майстерності, пов’язану із практичними навиками випускників вищих навчальних музичних закладів. Охарактеризовано форми роботи з представниками диригентської спеціальності, спрямовані на розв’язання практичних проблем майбутніх диригентів вокально-хорових колективів. Окреслено основні засади педагогічної діяльності. Висвітлено професійні особливості навчання диригентів у контексті потреб сучасного суспільства.

В статье исследована проблематика дирижерского мастерства, связанная с практическими навыками выпускников высших учебных музыкальных заведений. Охарактеризованы формы работы с представителями дирижерской специальности, направленные на решение практических проблем будущих дирижеров вокально-хоровых коллективов. Определены основные принципы педагогической деятельности. Освещены профессиональные особенности обучения дирижеров в контексте потребностей современного общества.

The activity of musical institutions in the 20th century, diverse in its specialization and national affiliation, is researched. This allows us to reveal the dramatic impact of these institutions on the establishment and development of the Ukrainian conducting art practice with the hereditary nature of acquisition of the European one. The activity of conductors in the institutions representing different performance genres and of a distinct national affiliation was concentrated in the three main fields: conducting, organization, and composing. It included establishing new music structures, producing various artistic events, and promoting the creation of educational centers with amateur groups, etc. The conductors of amateur groups usually were in various positions, such as artistic directors, directors and members of administration, composers, accompaniment pianists, solo singers, etc. The synthesis of these main areas of activity created a firm foundation for the musical art development and observation of traditions as well as constituted a specific feature of conducting performance. Repertoire priorities of musical institutions, groups, and culture-educational centers of Lviv in the 20th century, as well as the crucial role of conductors in their formation, ensured the intensive development of their artistic and performance levels. These priorities included performing masterpieces of world music classics alongside with fostering the creative work of separate national communities of Lviv. Special emphasis is placed on premieres in the musical-dramatic, symphonic, and choir genres. Fruitful international artistic contacts manifested that by performing pieces of Lviv composers the ground is set for maintaining the development of the art of conducting in the Ukrainian cultural-historical process, which is an integral part of the pan-European one. The problems of conducting art related to the professional activity of graduates of the tertiary education institutions are examined. The problems and forms of work with future conductors of vocal-choir ensembles are analyzed and the main priorities of pedagogical activity are determined. The issues of the specifics of vocal-choral intonation, development of auditory and vocal sensations, integral mastery of the score that leads to the convincing artistically meaningful sound of the work as well as the high professionalism of a concert conductor, are also emphasized. Balancing a whole set of these qualities allows you to comprehend a perfect performance level based on the expression of the timbre, sound volume, gradation of nuances, and their aggregate coordinated flexibility. This way, the key to success is based on the multifaceted, clearly meaningful and purposeful work that creates an intellectual artist, and not a mere professional artisan. The emphasis is on the necessity of mastering of a complete cycle of the specialized disciplines, which are of the great practical importance. At the same time, the necessity of mastering the bases of conducting activity by students of related specialties is understood. The special role of the conductor as an intermediary between the author of the work, the performer, and the listener is substantiated.