Динаміка виконавської форми як предмет інтонаційного аналізу музичного твору: методичний аспект

Abstract

У статті розглянуто сутність, змістові особливості та прийоми інтонаційного аналізу, зорієнтованого на виявлення інтрамузичних джерел динаміки руху виконавської форми музичного твору як форми-становлення. Особливості динамічних уявлень інтонаційної форми визначаються як у ракурсі звукоінтонаційної тканини (фонічне середовище фактури, інтонаційний рельєф музичного синтаксису та динамічна композиція форми), так і на рівні інтонаційно мислимого метроритму. Провідними прийомами інтонаційного аналізу виокремлено інтонаційне ускладнення фактури, її гармонічну редукцію та переструктурування як варіювання клавіатурних моделей звукового образу.

В статье рассматривается сущность, особенности содержания и приёмы интонационного анализа, ориентированного на исследование интрамузыкальных основ динамики движения исполнительской формы музыкального произведения как формы-становления. Особенности динамических представлений интонационной формы определяются как в ракурсе звукоинтонационной ткани (фоническая среда фактуры, интонационный рельеф музыкального синтаксиса, динамическая композиция формы), так и на уровне интонационно мыслимого метроритма. В качестве ведущих приёмов интонационного анализа выделены интонационное усложнение фактуры, её гармоническая редукция и переструктурирование как варьирование клавиатурных моделей звукового образа.

The building of skills of the intonational analysis of music is an important task of the development the performing skills of students. This analysis opens the clear vision of the intonational profile of the sound framework and the dynamic of the development of sound lines as the basis of the creation of the music form. Depending on the angle of the view onto the intonation form of the music and on the focus on its various scale levels, we can talk about certain moduses of expression of the music intonation: from syntactic and semantic structures in the context of musical language and, accordingly, intonational expressiveness of the musical statement (articulation, motivational intonating, phrasing etc.) to the dynamics of the fundamental energetic processes, which simultaneously create the perception of the integrity of intonational framework of the music (intonational plasticity) and its waving development in time as the formation which falls under the internal logic of self-organization of the music entity. Intonational plasticity of the sound framework opens in its melodical vision, which is based on the intuition of the inter-tonal connections. Plastic dynamics of inter-tonal connections works not only towards the melodic line but also towards the full texture of the music in its multi-vector dimensions – horizontal, trans-gradient, at close or long distances, etc. Listening of its phonic features as the timber infilling of a certain melodic tone is a characteristic feature for achieving the homogeneity and harmony of the music texture. “The surface of the harmony framework” (А. Halm) is the phenomenon which could not be fixed by the musical scores, and which should appear as the result of the reading by the intonational hearing, and it reflects the fundamental processes, which are functioning in accordance with the natural gravitational pattern of the mode-harmonic development. Harmonic feeling of the melodic tone in the melodic structure or textural vertical is an important condition of the expressiveness of the performing form, because that’s the harmonic texture arises as a peculiar plastic form of the musical entity in which the tones as the texture elements become capable of the self-organization in the processes of musical shaping. Intonational analysis of the musical composition is the means of the identification of intra-musical factors of the plastic, expressive and logical by its composition musical form. This approach which is focused on the sources of the internal dynamic performing form of the music facilitates the intonational thinking in different aspects of the sound texture arising from the phonic environment with the aggravated feeling of the inter-tonal connections; the musical syntax, which arises as an intonational relief of the sound texture (area of the articulation and micro-intonation); the form composition of the contours of dynamical waves of the intonational movement. Intonational “refraction” of the metro-rhythm as the peculiar gravitational system in which the network of metrical essential points is set by the logic of the mode-harmonical attractions, becomes the important factor of the plasticity, dynamics and integrity of the performing form of the music. Intonational complication of the musical texture which promotes the infilling of the “voids” during the transfer of the musical scores into the live sound; its harmonical reduction resulting in the manifestation of the dynamic profile of the musical texture and restructuring of the texture, variation of its keyboard models, which opens the intonational relief of the sounding, etc., are the leading methods of the intonational analysis.