Актуальні питання роботи диригента з хоровим колективом

Abstract

У статті досліджено основні актуальні питання, що виникають у процесі професійної діяльності хорового диригента. Виявлено необхідність перегляду методологічних підходів з метою їх оновлення. Виокремлено такі ключові аспекти комунікативного процесу між диригентом та хоровим коллективом, як жести, міміка та мова тіла. Звернуто увагу на необхідності ретельного вивчення кожного виразного фактору твору з огляду на стильовий напрямок, до якого його можна віднести. Запропоновано використовувати такі інновації при підготовці артистів хору, як оволодіння різними вокальними манерами.

В статье исследованы основные актуальные вопросы, возникающие в процессе профессиональной деятельности хорового дирижера. Выявлена необходимость пересмотра методологических подходов с целью их обновления. Выделены следующие ключевые аспекты коммуникативного процесса между дирижером и хоровым коллективом, как жесты, мимика и язык тела. Обращено внимание на необходимость тщательного изучения каждого выразительного фактора произведения, учитывая стилевое направление, к которому его можно отнести. Предложено использовать такие инновации при подготовке артистов хора, как овладение различными вокальными манерами.

The article deals with the main topical issues that arise in the process of professional activity of the choir conductor. The necessity of revision of existing methodological approaches with the purpose of updating them is revealed. The management of the choir team is an extremely important process, which consists of several components of the component. There are purely psychological factors that are related to the interaction of the conductor and the choir collective. We have a technical aspect, which consists in transferring the plan of the conductor to performers with the help of visual communication. It is a fairly long process of studying the material and its improvement, which leads to the conductor’s interpretation of the work. The conductor in his professional activities must perform different roles. After all, during the rehearsal process, he acts as a teacher, in an effort to help study and skillfully perform musical material. However, he does not cease to be a leader. Leadership qualities can be both innate and acquired. An important aspect for a choir conductor is the knowledge of different approaches to leadership. In general, the leader must combine organizational functions, since often enough he must resolve conflicts, speak on behalf of the group he represents, take the initiative, organize his team. The following key aspects of the communicative process between the conductor and the choir team as gestures, facial expressions and body language are singled out. Gestures performed by the conductor, while managing the choir during the rehearsals and the ones that he uses at the concert, have certain common elements, but they are not identical. It is also implied that much depends on the context in which the work is performed and who takes conductive gestures. They are not absolute and of an intrinsic nature. An extremely important factor influencing the high level of conducting art is the creation of a version of a musical work that will be tangent to that which is appropriate for the day. This means not only the observance of tempo-rhythmic relationships, which can vary greatly, depending on the musical direction, but also the degree of performance freedom. One of the principles advocated in contemporary Western musical practice with the choir team is the ability to act in different styles and genres, and not only those that are usually taught in the Western classical tradition. This approach is only beginning to be outlined in modern domestic performance and is not yet systemic. As part of the traditional approach to work with the choir, it is anticipated that teachers teach the real practice of performing, which includes changes in the vocal style of different periods, ranging from renaissance to modern choral music. The attention is drawn to the need for careful study of each expressive factor of the work, taking into account the style direction to which it can be attributed. It is suggested to use such innovations in the preparation of chorus artists as mastering different vocal manners.