Хорове виконавство як предмет досліджень: основні концепції, позиції, підходи

Abstract

У статті розглянуто поширені в музикознавстві концепції у галузі теорії та історії хорового виконавства, здійснено аналіз і характеристику основних аспектів хорового виконавства. Наголошено, що в сучасній теорії хорового виконавства не вироблено спільного підходу до розуміння й систематизації хорового виконавства як цілісного явища, що існує як самостійна інтонаційна практика.

В статье рассмотрены распространенные в музыковедении концепции в области теории и истории хорового исполнительства, осуществлены анализ и характеристика основных аспектов хорового исполнительства. Отмечено, что в современной теории хорового исполнительства не выработано единого подхода к пониманию и систематизации хорового исполнительства как целостного явления, оно существует как самостоятельная интонационная практика.

This article dwells upon the common musicological concepts concerning the theory and history of choral performance. The analysis and description of the main aspects of choral performance are carried out. It is emphasized that the modern theory of choral performance has not developed a common approach to understanding and systematization of choral singing as an integral phenomenon that exists as an independent intonation practice. It is generally admitted that Ukrainian contemporary choral performance is an integral part of national culture. Its fundamental significance is determined by the traditions of the past, as well as by its full-blown flowering nowadays. The mindset formation and cultural identity of Ukrainians in general are related to choral performance and wider choral art. Unlike any other art form or genre choral art as a vivid manifestation of the spiritual essence of national phenomenon has participated in the formation of Ukrainian statesmanship in the political sense. Undoubtedly, choral performance turns out to be the vital environment of the rise of choral art. In a point of fact, choral performance is a secondary musical activity, which manifests itself in the form of artistic interpretation as the implementation of composer’s conception. Exponents affect the listener with the specific means of musical expression such as tempo-rhythmical, agogic, dynamic, intonational, timbre, articulatory means of sound. Specific means of choral performance include: synthetic character (connected with the word), the specificity of the instrument (vocal), collective principles and the conductor as an essential basis between the composer and the exponent (which affects the listener). Therefore, the classic triad “composer-exponent-listener” is transformed into “poet-composer-conductor-exponent-listener”. Conducting skills are divided into two levels of performance: director, choir (transference of the material by the conductor through the exponent). The exponent is the interpreter, as its implementation is guided by his own interpretation of the musical image and the presence of specific means of musical expression, which are necessary according to him. It is worthy to note that performance art exists as an independent creative practice, which is also a means of consolidation, restoration and improvement of human musical abilities and achievements. Performance as a process of implementation of composer’s intention set to the lyrics and the way of its transmission into sound form is the objective reality of a composition. So, the main function of performance art being the intonation practice is to convert the written discourse into oral. Despite the considerable body of musicological studies which reveal various aspects of choral performance – choral schools issues and traditions, the problems of conductor manual techniques, technical issues of vocal and choral intonation, psychological principles of the interaction between a conductor and choir members and others – none of the research involves the consideration of modern Ukrainian choral performance as an integral phenomenon that exists as an independent intonation practice and has an extensive internal structure, representing different forms of communication activity being sensitive to environmental changing factors. Taking into consideration the fact that the choir is a complex musical organism and its operation depends not only on the conductor, but also on the exponents, their practical and creative collaboration, there is a strong need of complex development of work-specific action communication skills of the choirmaster. Thus, the problems of choral performance lies in the following aspects: the classification and systematization of performing phenomena; performance as a phenomenon of style; performance as a kind of intonation; performance as artistic and creative activities; performance as a field of technical mastery forming. Choral Performance is considered by modern researchers, primarily as a specific kind of musical performance and a school.