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3. Ponomorev, P.G. Ugolovno-pravovihe problemih protivostoyaniya korrupcii. - M., 2011.
4. Sostoyanie i tendencii prestupnosti v Rossiyjskoyj Federacii: kriminologicheskiyj i ugolovno-pravovoyj spravochnik / pod obth. red. A.Ya. Sukhareva, S.I. Girjko. - M., 2007.
5. Sostoyanie prestupnosti v Sibirskom federaljnom okruge: analiticheskiyj obzor i prognoz / otv. red. D.D. Nevirko. - Krasnoyarsk, 2009.
Статья поступила в редакцию 31.01.12
УДК 755.522 (878)
Khazbulatov A.R. JEWELRY ON THE “GOLDEN MAN'S” COSTUME -MASTERPIECES OF WORLD SIGNIFICANCE. In «jewelry on the “golden man's” costume - Masterpieces of world significance» the materials telling about the discovery of the “Golden Man” from the Issyk barrow, opened in 1969, K. Akishev with a list of people involved in the excavation, and various exhibitions on the findings.
Issyk burial finds of preservation, which allowed to reproduce with a possible complete picture of the funeral rites, to reconstruct the exact format ceremonial headgear, clothing and footwear and the location of the system for them many ornaments on high technology manufacture of art objects and the number of gold objects found are unique.
Key words: conservation of cultural heritage, restoration, preservation, reconstruction, Saka art, animal style, Golden Man, Altyn Adam, mound Issyk, Kazakhstan.
А.Р. Хазбулатов, докторант PhD, магистр искусств, преподаватель каф. «Декоративно-прикладного искусства» Казахской Национальной Академии Искусств им. Т.Жургенова, г. Алматы,
E-mail: xazbulatov@mail.ru
ЮВЕЛИРНЫЕ УКРАШЕНИЯ НА КОСТЮМЕ «ЗОЛОТОГО ЧЕЛОВЕКА» -ШЕДЕВРЫ МИРОВОГО ЗНАЧЕНИЯ
В работе «Ювелирные украшения на костюме «Золотого человека» - шедевры мирового значения»
представлены материалы повествующие о находке «Золотого человека» из кургана Иссык, открытого в 1969 году К.А. Акишевым, с перечислением людей участвующих в раскопках и различных выставок, посвященных находкам. Иссыкские находки по сохранности захоронения, позволившей воспроизвести с возможной полнотой картину погребального обряда, реконструировать относительно точно форму парадного головного убора, одежды и обуви и систему расположения на них многочисленных украшений, по высокой технике изготовления предметов искусства и по количеству найденных золотых изделий являются уникальными.
Ключевые слова: сохранение культурного наследия, реставрация, консервация, реконструкция, сакское искусство, звериный стиль, Золотой человек, Алтын адам, курган Иссык, Казахстан.
The Scytho-Saka people's contribution to the Eurasia continent's history was very great. Under the latest data the Scythians have played their part in the ethnogenesis of the Slaves and the Saks, in the ethnogenesis of the Kazakhs, Kirghizes, and maybe of the Oguzes, Turkmens, Yakuts, Tadzhiks and Afghans. Saka components' importance in all ethnocultural processes that accompanied coming into being such states as Media, the Greek-Bactria Kingdom, was rather noticeable.
Scytho-Siberian “animal” style, in which the formation of a dominant role had played Saka tribes, became the most brilliant event in human art history. This style is characterized by depicting animals in certain canonical poses and by special methods of an artistic execution.
In this article we will turn to the history of a find from kurgan Issyk that has acquired a world-wide fame under the name of “Golden Man” or “Altyn Adam”. The Issyk Kurgan is a compact historical collection comprising jewelry art items (more than four thousand pieces of jewelry), a literary text (inscription on a silver cup), weapons, household articles, and fragments of clothes, head-dress and footwear [1, c. 5].
Issyk Saka “animal” styled art is a syncretic art; a fusion of two components, original and adopted. But within the art, as well as in many ancient arts of the other peoples, it is difficult to draw a clear-cut boundary between its components, as they are closely intertwined and flowed together. The Issyk art makes an impression of a completely formed, entire, and in contradistinction to Scythian art, a less eclectic art.
The great complex of brilliant specimens of Saka “animal” styled art from the Issyk kurgan is an undoubted contribution in world culture treasury.
An interred man is considered to belong to Saka art of the fourth to second centuries B.C. On his clothes dwcor we will try to reveal semantic and artistic images of jewelry art. We will also try to reveal uniqueness of the find. The report has a scientific, art-history, historical and popularization significance.
In 1969-1970, archaeologists of the Academy of Sciences of the KazSSR excavated the Issyk kurgan with a rich burial of a notable warrior, leader of the nomad Saks inhabiting in the territory of modern
Kazakhstan 2200-2300 years ago. The burial showed what clothes the Saks leaders wore in that time.
In a two-year excavation of the Issyk kurgan, besides archaeologist K.A. Akishev who led the work, took part an archaeologist B.N. Nurmukhanbetov who conducted an archaeological supervision cutting off the mounds embankment with a bulldozer. Clearing an interred mans remains, a field conservation of some articles, drawing and a photofixation of the finds were executed by the engineering and technical workers: an engineer-restorer V.I. Sadomskov, painter T.V. Vorobjeva, photographer O.V. Medvedev, laboratory assistant A.S. Zagorodniy and practicing student A.K. Akishev.
The Issyk leader was interred in the rectangular timber chamber under the burial mound in a diameter of sixty meters and height of six meters. By its size the burial mound is attributed to the “royal” one; the scale of the mound conformed to the interred mans rank. The size of the burial mound is 8600 cubic meters. It is supposed that three or four thousand man days were needed for manual erecting of the mound. The chamber by its sides was strictly oriented toward the cardinal points of the world.
The interred man lay clothed in a ceremonial or ritual dress, sewed on by hundreds of gold plaques, at the northern wall, on his back, with his head to the west, on a spread raincoat. The man was dressed in a silk shirt over which was a short camisole imitating a protecting cataphract [2, c. 8]. The camisole was entirely sewed on with golden plaques, stamped in the form of a trefoil and a tigers head. The man was belted with a heavy composed belt consisting of cast plaques representing a fantasy horse-deer-gryphon and elks heads.
The “cataphract” was, most likely, symbolic; although the gold trefoil-shaped plaques had a bronze warp, they did not have protection purposes. Zoomorphic ornaments and solar gold served as a magic protection from any and all sides. The mans clothes showed his belonging to the Warriors-horsemen, among whom the ancient Indo-Iranians, including the Saks, elected their chieftains. On his head there was a high conic Kulah with a neck-flap covering his neck and with cheek-blades.
It was such arrow-shaped Cap-Kulahs that the noble Saks-tigraxauda (“the Saks with pointy hats”) wore, and what one can see on the stairs relief representations at Apadana in Persepolis [3, c. 57] The Issyk Kulah strikes by its complicated symbolic composition on the zoomorphic and other representations.
The chieftain was dressed in tight chamois trousers tucked into the heelless high-boots, covered by gold trefoilshaped plaques. On his right side along the sword-belt in the red wooden scabbard there was a chopping sword - a weapon for a horsed struggle. On his left side in the scabbard with plaques shaped as an agonizing elk and horse there was an iron dagger. The daggers pommel, covered with gold foil, was made in the form of two gryphons heads, and the blood groove - a nervure of the daggers blade - is inlaid with gold plates depicting various animals: serpents - on the blades edge, and further there are figures of tigers, goats, hares, wild boars, wolves, fallow-deer, foxes and camels decorated with inserts of cornelian, faience and spinel. The bottom of the daggers scabbard by means of embracing straps is additionally fixed to his hip in order that the weapon would not beat his legs when horses galloping and the dagger might be easy taken out of the scabbard.
It is the weapon types that allow dating the Issyk kurgan to the Saks time, the fourth-second centuries B.C.
[4, c. 35] The decoration of the scabbard reminds by something of Greek makhaira, looks like plaques decorating the scabbard of batros from the Greek-Bactrian temple in Takht-i Sangin (Tadzhikistan) [5, c. 68] The inlay of the blood grave reminds of the scabbards decoration cut out of ivory from the Yuezhi burials in Tillya Tepe (Afghanistan).
At the left shoulder of the interred man lay a baton shaped as a staff with a gold top and a lash wrapped with gold tape. At his head there was a leather handbag with a gilded bronze mirror and red ochre for ritual make-up. On his neck there was a three-spiraled tubular pendant with tips in the form of tigers heads; on the fingers of his right hand there were two rings, one with a smooth screen and another with a mans profile in the radiant wreath. Most likely it was an embodiment of a solar deitys motive, a kind of Ayestian Mithras.
Mithras cult originates from Central Asia and has taken shape among the east tribes (including the Saks) [6, c. 25] Mithras, as a god of alliance and agreements guarantor was likely worshiped by tribe unions chieftains. It is necessary to note that red color (the color of the Issyk chieftains clothes) and gold (an almost universal color in the ancient time) bore a solar symbolism, and among the Indo-Iranians they correlated the Warriors-kshatrians - the elite of the Nomad society in the military democracy epoch.
Gold likely had among the Saks an axiological meaning. When making gold things, various technologies were used: stamping, casting, hammering, engraving, soldering, inlaying with paste and semi-precious stones, painting, grain, cold gilding, polishing etc. Figure plaques were carved of gold foil and sewed or pasted on a red background (leather, felt) as applications. In the massive metal plaques there are accurate cuts. (Fig1.) Thus fabrics color played an inlaying role by underlining precious metals shades.
Among the Issyk representations prevail ones executed in low relief. With regard to them one can use the term “forced graphics.” Iconography details (ribs, strained muscles, eyes etc.) were represented by means of engraving and punch, by means of conventional signs (comma, brackets, slopes, points, S-shaped lines), as on the flattened reliefs and linear representations of Assyria and Achaemenid Iran. [7, c. 62]
In Issyk there were discovered gold decorations painted red and black. It is rather unusual and along with inlaid works it implies connections of the Issyk ornamentation with the art taste of the makers of the inlay and more later, polychromic style of the late centuries B.C., early centuries A.D., as well with China Art of Han epoch. It is interesting that cast things are also painted, for example the belt distributors on the dagger scabbards leash. The distributors are made in the form of a panther rolled up into a ball. With red paint are filled the cuts depicting fangs, eyes and claws of a beast.
When depicting animals, the Issyk masters in their works preferred expressive profile lines which they put to expressive ornamental deformation. In order to fill the specimen forms, animals were represented either as coiled up ones or were arranged in such a manner that their bodies took an S-shaped inflection (an axial symmetry composition). It is in such a manner that are represented “snapping” tigers and tigers-gryphon on the headdress; their bodies as if twisted and two parts of their bodies are balanced. An elk and horse, depicted on the dagger scabbards plaque, have wound and twisted cruppers. These peculiar representations, connecting with imitations typical of cylinder-stampings, the ancient Mesopotamia interpretation of a Felidae beast (lion) fighting a hero or deity, transfer an agonizing animal.
A compositional method of the axial symmetry, or method of the heraldic development, was favorable in the Zhetysu (Semirechje) and Mountain Altai Saks Art. The method developed in the application technique, which perfectly presented in Pazyryk Art. The method was used when solving art targets and caused breaches of ornament
Fig1. The massive metal plaques
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Fig 2. The “Golden Man”
characters naturality. It resulted in what is termed “stylization” in Saka Art.
In “Issyk” the sculpture in the round is represented by a miniature figurine of an argali, it wreathes the Kulah, as well as by combined protomai of horse-bird-goats, flying birds, eared gryphons heads on the daggers pommel and by a figure of a heron on the silver spoon.
Besides figures of a heron and argali the sculpture is entirely plated. Its bronze, wood or iron core is covered with a gold sheet. In mastery fashion is made inlaying of the dagger. Into its blood groove on the congruent composition principle there are fitted gold plates decorated with serpents, hares, foxes, wolves, tigers, wild boars, goats and saiga. Animals follow one after another, are represented in so-called “scratching” poses that drew the daggers dйcor close to the trans-Ural Sarmatians Art, who in their turn were affected by the South Siberian and Kazakhstan Nomads Art [8, с. 74]
A composition arrangement on the Issyk dйcor is ornamental. When decorating large surfaces (camisole, boots tops), was used the ornament-net principle. A rhythmical interchanging of a rapport-plaque and chamois red background was composed into an openwork pattern.
Ornaments decorating sleeves, edges of laps and collars of the camisole are composed into ring friezes representing a tigers head manifolded in portable symmetry.
Particularly complicated is the headdress dйcor. A high conic Kulah is ornamented along three vertical registers - ring friezes. The low frieze is a diadem plate with a vegetable ornament (petals and buds). Above it are sewed on figures of lions heads and tigers, Above this, a “gold mountains” frieze, and on the mountains, trees with birds on their tops. On every trees sides there are figures of mountain goats. On the friezes diametrical points are placed paired figures of winged tigers (right and left). On the level of the head back there is a representation of a tiger with a twisted body.
The composition is heraldic. The combination, say more exactly, construction of separate rapports (regularity), reminds of developments of West Asia cylinder-stampings, where are widely presented life-tree and honed animals motives. [9, с. 89] Although the regular adjustment in sources may be connected with ornaments on the ceramics of Kazakhstan tribes of the Bronze Age (Andronov, Alakul, Begazy-Dandybayev cultures), they, probably, when constructing the Issyk composition with landscape, imitated West Asia (Assyrian, Achaemenid) forms. The mass occurrence in the Art of the early Nomads of South Siberia, and from them in the Art of the China peoples of the period of Wei, the Kingdoms of Chu, Qin and early Han, of “landscape” representations, prototypes of the popular in China (Daoshi) painting Shan Shui (“mountain-water”)motive, is dated back to the second-first centuries B.C.
The Issyk combination on the headdress finds its latest correspondences among the Sarmatians crowns, Saka-Yuezhi dynasty states of Central Asia; Bactria, Khoresm, Parthia, in Sasanian Iran emblematics.
Most impressive are the parallels with crowns of the kings of Silla and Kaija states (Korea of fifth-sixth centuries A.D.) [10, с. 102], natives of Manchuria and Altai, and particularly, to the last details, with attires of the early Kushans from the burials, discovered in the town of Tillya-Tepe in Afghanistan [11, с. 70] The ruling Kushan family, most likely, was Saka by origin.
Possession of a sacred gold, as Herodotus said, was privilege of Scythian kings. The similar data one may also receive from many other sources concerning both the Indo-European and non Indo-European peoples. So the not quite original epithet “gold” used for characterizing the person, interred under the Issyk kurgan, is appeared to be quite pertinent. In Ramayana by the name “Golden Man” is called the solar hero Kama, in Ossetia Nart saga, the solar Sozyryko, and in Kirgiz Manas, Semetei. Gold clothes of Saka chieftains and priests symbolized an acquisition of power from the Sun.
Библиографический список
The complex of scientific information, obtained when analyzing the find, proves a high level of a socio-economical development, culture and art in the ancient Nomads societies of Kazakhstan. Their contribution to world civilization was doubtless. The Issyk find is a discovery having importance for world history. For Kazakhstan it is similar to importance of Tutankhamens treasure for Egypt.
After completion of the excavation in 1970-1973 was carried out, a careful laboratory processing, reconstruction and conservation of metal, ceramic and wood articles; a spectral analysis of the metals composition, graphic and photo, documenting each item separately. In the same years was carried out a great scale of scientific and technical work on reconstruction of the “Golden Man's” representative dress. As a result of the exact fixation of each objects situational position on the interred mans remains during the excavation, were reconstructed form and size of his clothes, headdress and footwear. Under materials from Issyk as well as from Scythian kurgans in Russia and Ukraine, with involving data from antique and Achaemenid written sources on the European and Asian Scythians, was reconstructed a complicated system of a primary disposal of numerous gold decorations on the “kings uniform.”
Saka mans full-length sculptural portrait in a ceremonial dress, with a long dagger and sword-akinak on his belt has become a final result of the work. Afterwards it is this model that has acquired a world-wide fame under the name of “Golden Man.”(Fig 2.)
Beginning from 1974 (in this year he was for the first time exhibited at the International Exhibition in Leipzig), the “Golden Man” has triumphantly travelled all over the world continents. Japan, India, Turkey, South Korea; in America, the cities of Washington, Los Angeles and Denver; in Africa, Egypt and Syria; in Europe, Germany, France, Sweden, Denmark and others. In all countries where the “Golden Man” was exhibited, at all international, scientific and trade exhibitions, the technological level of performing the reconstruction of the costume and ornaments copies were greatly appreciated by experts; archaeologists, restorers and art historians.
As scientific achievement, the “Golden Man” has also obtained the same high professional appreciation in his homeland. The “Golden Man” has become a symbol of the Republic of Kazakhstan. But scientific studying the “Golden Man's” costume as well reconstruction of his anthropological exterior remains an actual theme.
The Issyk kurgan has devoted to it several books and dozens of scientific articles in various languages. It was included in the textbooks and composed works of “History of Eurasia and Central Asia” and “Archaeology and Art.” Up to now however, a historical and analytical, archaeology-culturological, art-history, linguistical studying of this find have been conducted and will be continued.
It is hard to overestimate a scientific historical and cultural importance of the Issyk complex of finds. In consequence of the excavation of the Issyk kurgan was acquired a lot of valuable information for various branches of humanitarian sciences; ancient history, history of material and spiritual culture, history of fine and applied arts, and history of literature and language of the ancient peoples of Kazakhstan. Analysis of and summarizing of the information change some traditional views and hypotheses, give opportunity to newly estimate the level of socio-economical relations and culture and art of ancient society.
Issyk finds are unique of their burial s preservation that has allowed to restore as full as possible the funeral ceremonys portrait, to rather precisely reconstruct the shape of the ceremonial headdress, clothes and footwear, as well as the system of arranging the numerous decorations thereon of a high level of production of art articles and of the number of gold articles found.
The fine art works from the Issyk kurgan represent one of the brilliant pages in world art history.
1. Акишев, А.К. Костюм «Золотого человека» и проблема катафрактария. - «Вооружение и военная история племен Сибири и Центральной Азии». - Новосибирск, 1980.
2. Акишев, К.А. Курган Иссык. Искусство саков Казахстана. - М., 1977.
3. Root, M.C. Sculptures and Sculptors at Persepolis. - The British Ist of Persian studies. - L., 1983.
4. Черников, С.С. Загадка Золотого кургана. - М., 1965.
5. Литвинский, Б.А. Тахти Сангин - каменное городище. Археологические работы в Таджикистане / Б.А. Литвинский, И.Р Пичикян. -
Душанбе, 1985.
6. Акишев, А.К. Сакский митраизм - религия народов Центральной Азии. Постановка проблемы // Тамыр. - 2000. - № 2.
7. Barnett, R.D. Assirische Palastreliefs. - Prague, 1960.
8. Мошкова, М.Г. Памятники прохоровской культуры. - М., 1963.
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9. Porada, E. Mesopotamian Art in Cylinder Seals of the Pierpont Morgan. - N.Y., 1947.
10. Kim Chewon The Art of Korea. - London, 1961.
11. Sarianidi, V. Die Kunst des Alten Afganistan. - Leipzig, 1986.
Bibliography
1. Kommentariyj k Ugolovnomu kodeksu Rossiyjskoyj Federacii / pod red. Yu.I. Skuratova, V.M. Lebedeva. - M., 1996.
2. Volzhenkin, B.V. Korrupciya. - SPb., 1998.
3. Ponomorev, P.G. Ugolovno-pravovihe problemih protivostoyaniya korrupcii. - M., 2011.
4. Sostoyanie i tendencii prestupnosti v Rossiyjskoyj Federacii: kriminologicheskiyj i ugolovno-pravovoyj spravochnik / pod obth. red. A.Ya. Sukhareva, S.I. Girjko. - M., 2007.
5. Sostoyanie prestupnosti v Sibirskom federaljnom okruge: analiticheskiyj obzor i prognoz / otv. red. D.D. Nevirko. - Krasnoyarsk, 2009.
Статья поступила в редакцию 31.01.12
УДК: 781.65: 786.2
Taraeva G.R. THE MUSICAL-SPEECH SYSTEMS AS AN OBJECT IN THE THEORY OF MUSICAL MEANING. The article considers the possibility of creating the foundation of musical meaning s theory in musical speech. The author describes intonational signs: colors of sounds, moves, dynamics and articulation in aspects of the sense. The article offers to study the transformations this expressions by the records of the same musical piece.
Key words: musical-speech systems, theory of musical meaning, intonation in musical performance.
Г.Р. Тараева, канд. искусствоведения, проф., зав. каф. инновационной педагогики Ростовской государственной консерватории им. С.В. Рахманинова, г. Ростов, Е-mail: taragr@mail.ru
МУЗЫКАЛЬНО-РЕЧЕВЫЕ СИСТЕМЫ КАК ОБЪЕКТ ТЕОРИИ МУЗЫКАЛЬНОЙ СЕМАНТИКИ
Статья рассматривает возможность создания основ теории музыкальной семантики в музыкальной речи. Автор описывает знаки музыкальной интонации: краску, темп, динамику, артикуляцию в смысловых аспектах. В статье предлагается исследовать трансформации этих средств на материале аудио записей одного музыкального произведения.
Ключевые слова: музыкально-речевые системы, музыкальная семантика, интонация в исполнении.
Музыкально-речевые системы как объект теории музыкальной семантики
В исследованиях музыкальной семантики в отечественной и зарубежной литературе объектом наблюдений является музыкальная лексика - устойчивые звукокомплексы, образующие значения, Разного рода обороты, превращающиеся благодаря многократным повторам в семантические формулы, смысловые клише, собственно, и позволяют систему музыкальных средств называть языком. Б. Асафьев именовал их метафорически «интонациями», подчеркивая интонационную природу музыки. Но музыкантская традиция определения выразительного, осмысленного исполнения музыки как интонирования образует противоречивую тавтологию: понятийно сближаются музыкально-языковая фигура и способ ее выразительного «произнесения», воплощения в звучании. Если буквально следовать асафьевской концепции, получается, что исполнитель в реальном звучании текста произведения «интонирует» «интонационные знаки».
Метафорический оттенок понятия «музыкальной интонации» рождает терминологические противоречия, но проблема не в этом: звучащая музыка не становится объектом для научного наблюдения нормативов этой специфической «музыкально-речевой» стихии, системы ее семантик. Между тем исполнение как интонационное воплощение произведения обнаруживает свою системную сущность в сопоставлении норм на разных этапах развития исполнительской культуры. Описанию генеральных подходов к фортепианно-исполнительскому интонированию посвящена глубокая и подробная монография А. Малинковской [1]. Однако проблемный характер отношения современной теории музыкального исполнительства к семантической природе «знаков» исполнительского интонирования очевиден.
Пристальный интерес к исполнительской интерпретации характеризует достаточно обширную методическую литературу. В значительной части ее можно увидеть явно выраженную теоретическую ориентацию - можно, например, назвать труды И. Гофмана, А. Кокто, К. Мартинсена, С. Фейнберга, Г. Цыпина, Л. Гинзбурга, С. Савшинского, А. Гольденвейзера, М. Готсдине-ра и многих других. Широко эта сфера представлена также в жанрах рецензий, отзывов, интервью, воспоминаний, мемуаров и разного рода записок. Учитывая рамки настоящей статьи и ее ограниченный объем, обзор этой литературы, необходимый, в частности, для представления о динамике традиций в практической педагогике, здесь приходится опустить. В данном случае вопрос стоит гораздо уже и конкретнее: семантика исполнительских средств (при всей кажущейся субъективности, эмоциональ-
ной спонтанности звуковой реализации) может быть рассмотрена как системный объект, потому что требования к исполнению музыки складываются в обществе, управляются конкретными (хотя и нелегко обнаруживаемыми) механизмами, отражают существенные для культуры явления и процессы.
Особенности нового объекта для научного описания - значений, смыслов, содержания исполнительских средств и приемов - особенно наглядно проступают в сопоставлении. Сравнение звуковых реализаций одного произведения различными артистами помогает обнаружить и сформулировать такие явления, как исполнительская индивидуальность, исполнительский стиль, школа, историко-культурная традиция. Исполнительские средства - особые интонационные «знаки», которые при всей свободе, спонтанности и затрудненности вербальных характеристик образуют определенного рода систему. Здесь не имеются в виду такие исполнительские средства, как изменения авторского текста в импровизации, аранжировке, транскрипции, расшифровке барочно-классической орнаментики. Система интонационных знаков - не просто совокупность приемов работы со звуком, она обусловлена историко-культурными условиями музицирования - социально-психологическими функциями музыки, ритуалами и обычаями, инструментарием, системой жанров, нормами сочинения и восприятия и многими факторами. Только имея в виду весь сложный историко-культурный контекст возникновения и формирования музыкально-интонационной семантики, можно пытаться сформулировать ее теоретические основания.
К интонационным средствам относятся фактически все стороны звука в аспекте его «акустико-физического» образования: краска, темп, динамика, артикуляция. Они описаны в теоретической литературе, но эта литература находится несколько в стороне от практических музыкантов-исполнителей - может быть, в частности, и потому что она дидактически не адаптирована, не фигурирует в процессе обучения музыкантов. Анализ исполнения опирается, преимущественно, на эмпирические системы дидактических представлений и достижений. Туше, штрихи, филировка (способы и приемы звукоизвлечения), динамические рельефы в мелодике или балансы в многоголосной фактуре, темпы и агогика в воспроизведении метро-ритма составляют наиболее развитую сферу оценок, рекомендаций и требований. Основной задачей теории исполнительства оказывается поиск ответа на вопрос: как воплощать (или воплощен) текст письменной традиции с его малочисленными и нечеткими пометками композитора в нотной записи. Конечно, теоретичес-
