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зачастую, может претерпевать ряд корректировок со стороны заказчиков дизайна. Они же и решают, какая из представленных концепций будет дорабатываться, а какая так и останется не тронутой. Но в некоторых случаях, в зависимости от психологической составляющей общения дизайнера с клиентом, дизайнер может повлиять на конечное решение заказчика проекта. В итоге происходит презентация проекта заказчику с обоснованием концептуального решения и идей. Сюда же входит и оценка проделанной работы, критика.
Дизайнеру, тем более только начинающему свой профессиональный путь, не стоит пренебрегать аналитической частью и повторять ошибки неопытных дизайнеров. С самого начала вступления в профессию следует приучить себя к порядку и структурированию полученной информации, а также учиться ее находить. Поэтапная работа над проектом всегда будет эффективнее и быстрее.
УДК 7
ГРНТИ 18.41.51
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2. Быстрова Т.Ю. Вещь. Форма. Стиль: Введение в философию дизайна. Екатеринбург, 2001.
3. Гнутова О. В., Ажгихин С.Г. Особенности предпроектного анализа в дизайн-проектировании жилого интерьера. Сборник научных трудов. 2018. С. 38-43.
4. Джонс Дж. К. Методы проектирования. М., 1986.
5. Лаптев В. Типографика. Порядок и хаос. М., 2008.
6. Рунге В. Ф., Сеньковский В. В. Основы теории и методологии дизайна: Учебн. пособие. — М.: МЗ-Пресс, 2003.
7. Трубоба В.В., Ажгихин С.Г. Основные этапы проектирования среды / Дизайн и архитектура: синтез теории и практики. Сборник научных трудов. 2017. С. 475-479.
THE PIANIST'S WORK ON INTONATIVE COMPREHENSION AND EXPRESSION OF PHRASING
Kabdurakhmanova Luiza Bakhtiyorovna
Senior Lecturer of the Department of Special Piano, The State Conservatory of Uzbekistan,
Tashkent
ОСМЫСЛЕНИЕ ИНТОНАЦИИ И ФРАЗИРОВКИ В РАБОТЕ ПИАНИСТА НАД МУЗЫКАЛЬНЫМ ПРОИЗВЕДЕНИЕМ
Кабдурахманова Луиза Бахтиеровна
Старший преподаватель кафедры Специального фортепиано, Государственная консерватория Узбекистана,
г. Ташкент
ABSTRACT
The expressive performance is based on the principle of structural and semantic division of music. The phenomenon of musical intonation is very complex and is closely related to phenomena of a non-musical nature: speech intonation, psychology, physiology, acoustics, poetry. This relationship, presenting a certain difficulty, also provides great assistance in the study of the intonational nature of music.
АННОТАЦИЯ
В основе выразительного исполнения музыкального произведения лежит принцип структурно-смыслового членения музыки. Феномен музыкальной интонации очень сложен и тесно связан с явлениями внемузыкального характера: речевой интонацией, психологией, физиологией, акустикой, поэзией. Эта взаимосвязь, представляя определенную трудность, оказывает и большую помощь в изучении интонационной природы музыки.
Keywords: music, intonation, musical fabric, melody, work, pianist's work.
Ключевые слова: музыка, интонация, музыкальная ткань, мелодия, произведение, работа пианиста.
The concept of intonation is very complex and has not yet been established, since it has different meanings. Firstly, it is intonation in colloquial speech, meaning "a set of means of organizing sounding, oral speech" [3, p. 167]. Then intonation in singing or when playing instruments with a non-fixed pitch, when it implies purity or accuracy of sound production. And, finally, the third meaning of intonation, which plays a particularly large role in piano training, is the smallest
particle of musical thought, which "has an expressive meaning and consists of two or several consecutive sounds that are in certain interval, modal and rhythmic relationships" [ 2, c.316].
It is not accidental that the pianist's phrasing is addressed to questions of intonational meaningfulness. According to the founder of the theory of intonation B. Asafiev, the quality of intonation in music does not just play a huge role, it is essentially its meaning, its content
[1, p. 355]. And since the fate of a piece of music is in the hands of the performers, only they can return "life" to it, their desire to penetrate the holy of holies of music - into its intonation essence - is quite legitimate and justified.
First of all, the pianist's work on the intonational meaningfulness of phrasing begins with the division of the musical fabric into primary units and filling them with emotional content. The main means of organizing intonation cells is rhythm. If you change the rhythmic pattern in intonation, then its meaning will also change. For example, a fourth sounds like an exclamation only when its first sound is an off-beat. But rhythm is not conceivable outside the intonation structure of music. Therefore, B. Asafiev introduced a new term - "rhythmintonation", wishing to emphasize that "rhythm is not abstractness, but an intonation core", that "there is and cannot be a non-intonable rhythm in music."
All these statements prove that work on intonational meaningfulness is inseparable from the rhythmic pulsation of a musical piece, in which the rhythm is perceived not as a monotonous alternation of strong and weak beats, but as natural breathing in the development of music. Moreover, first of all, this must be remembered in virtuoso works, such as etudes, in which the dependence of rhythmic pulsation on the intonation structure becomes especially important. By the way, the reason for the rhythmic instability of the student, which teachers sometimes too hastily rank as natural defects, most often lies in the mechanical alienation of rhythm as an independent element of music.
Pianists know how vague a performance that is devoid of intonation points can be. The connection between music and words in the issue of the correct placement of semantic accents is especially great. This has long been noticed by both teachers and performers, who used the method of substituting words with the same stress to find exact intonation points of support in music. L. Beethoven did this. According to A. Schindler, he loved to sing along with the melody words that helped him to combine sounds into meaningful motives with precise logical accents.
But despite the fact that this technique is not new, in our time it is very popular in teaching practice. That is why now they start learning with song material. The lyrics help to dismember the melody into meaningful details with clear anchor points that are suggested by accents in the lyrics.G. Kogan advised to include transcriptions in the pianist's repertoire as often as possible throughout the training. Since, in his opinion, it is this genre of piano music that helps in the work on the intelligible pronunciation of the musical text. From the book by G. Neuhaus "On the Art of Piano Playing" we learn that he often used this technique in teaching practice, coming up with "magic" words that helped performers pronounce complex sound combinations, finding the right gravitational points in them.
Speaking about accents in intonations, it is necessary to emphasize that they have only semantic meaning, but by no means dynamic. In this regard, it is possible to recommend to teachers: in cases where the student does not understand the logic of the structure of the motive and does not know how to determine the
semantic accents, do not put an emphasis on the notes. It is better to use an arrow to indicate the direction of the development of music. This will even visually help to determine the purpose of the movement without disturbing its smoothness and evenness. Thus, each intonation has its own culmination point, which unites the rest of the sounds around it.
These semantic accents, of course, differ from each other in their strength and significance. Conventionally, we can say that they also relate to the main culmination, as each intonational particle to the whole work. If the music develops, then the logical accents gradually acquire great tension, in the moments of the decay of the music they should gradually calm down. From what has been said it is clear that semantic accents, as it were, create an independent melodic line that unites the melody at a higher level. In practice, this voice is called "hidden polyphony". In piano performance, he plays a huge role, as it gives the melody "relief" and "volume". Music is guided by consciousness and is intelligent activity. To truly hear music means to comprehend its intonational meaning, to experience it as an expression of some content. Inner ear is the main condition for creative musical thinking.
Ability to mentally voice the musical text -that is, as if "to hear with your eyes." The skill of "pre-hearing", intonation of the music "in itself" is required before playback. Pianists often come across latent polyphony, but not always pay attention to it. The importance of the hidden voice in piano music is great, and its role in virtuoso works is especially significant, since the definition of reference points in them - the milestones - helps the pianist to distribute his forces, avoid overload, therefore, it is easy to overcome technical difficulties.
The problem of percussion and low-impact sounds in music is extremely interesting, but poorly studied, requires independent and deep research.
I would like to note that the semantic accents are directly dependent on the metro-rhythmic structure of the work, on its style, as well as the genre and nationality of the music. But the performer plays an especially important role in their arrangement, without whose subjective attitude the intonation of the sounding phenomenon of music is generally inconceivable. Intonation is not only a unit of semantic division of music, organized by rhythm and logical accent. Intonation is "at the same time breathing, muscle tension, heartbeat. And this beat is included in the hidden meaning of the music. " Therefore, work on the intonational meaningfulness of phrasing cannot be imagined without the expressive function of the melody.
Melos - a word of Greek origin, means singing, song, melody. Asafiev called the melody "the soul of music" [1, p. 357], considering that it is "the main element of music, the essence of which is comprehended in the intonation of successive tones, interlocking with each other and moving in a horizontal direction ..." But how to achieve that was the intonation of the melody on the piano close to the intonation of singers in terms of the meaningfulness of the sound of each interval? This question is very important for pianists, and its comprehension is of great interest.
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According to the laws of acoustics, it is well known that higher sounds also have a higher vibration frequency, and, therefore, more effort is required to achieve them, which creates tension in the vocal cords of singers. Thus, the vocalists very well feel the fullness of each interval, as if sensing their musical sound distance. For the pianist, extracting different intervals is not too difficult, so they often do not pay attention to their performance.
While "from the intonation point of view, each interval is achieved or perceived by the ear, and the melody, in essence, is the identification of intervals" [1, p. 219], which means understanding their size, elasticity, tension, fullness, which is so clear and close to the singers. Therefore, in order to get closer to "vocal" intonation, pianists must cultivate in themselves this feeling of the "weight" of the intervals, that is, the difficulty or ease of achieving them.
Overcoming the internal conjugation of tones, their interconnection, and creates that fullness, which is the main source of expressiveness and meaningfulness when intoning music on the piano. This is why the interval can be considered the primary expressive form. Asafiev called it "the simplest", but at the same time "the most important element of music" [1, p. 219]. Upbringing from childhood the skills of expressive comprehension of intervals, awareness of their fullness is a task of paramount importance in piano pedagogy. Thus, the expressiveness of the melodic line depends on the pattern of its movement. If it represents a volume of ascent up the steps, then such a melody is most often associated with a gradual increase in tension.
Downward movement, on the contrary, rather leads to relaxation, tranquility. Jumps play an especially important role in the development of a melody if they appear in a smoothly moving melody. In music, semantic sharpening appears, which requires a lot of attention and emotional stress from the performer. But these questions, connected with the feeling of the tension of each interval, should in no way be simplified and equated with small dynamic changes in the melody, such as crescendo or diminuendo. The melodic nature of intonation should be preserved not only in the lyrical melody, but also in the chord texture, and in the accompanying voices, as well as in technical passages, given their subordinate meaning.
Due to the richness of intonation resources, Chopin's technique is called "melodic", and harmony, starting from Mozart, is called "intonational-melodic" [1, p. 244]. The pianist's task is not to impoverish music and other composers in this respect, even if these are instructive studies or pieces for beginners. It must be remembered that an expressively played melody will not sound unless it is accompanied by precisely intoned accompaniment. That is why in teaching practice it is so often necessary to pay attention to the second plan.
The character of intonation is greatly influenced by its timbre coloration. Asafiev, for example, wrote that the charm of Chopin's music lies in his brilliant knowledge of the "instrumentation" of the piano. And if we take away from Chopin's melody its "timbre atmosphere" [1, p. 330], it will wither like a flower without air.
At the end of the nineteenth century, timbre as an expressive element became predominant in the music of the Impressionists. Their timbre ingenuity, colorful variety and richness, according to Asafiev, "the language of timbres" [1, p. 330], have opened a new inexhaustible source of intonational expressiveness in piano music. Questions related to "timbre-intonation" [1, p. 330] are very interesting. Staged for the first time in the works of Asafiev, they are successfully developing in our time. Moreover, their circle is not closed by the search for only a color palette in piano performance.
In conclusion, it should be emphasized that work on the intonational meaningfulness of phrasing is not limited to work on its details, as it might seem at first glance. On the contrary, a thorough analysis of each semantic unit of music as a result becomes the main condition for its synthesis. No matter how paradoxical it sounds, it is precisely the intonational dismemberment of the musical fabric that not only does not contribute to its destruction, but becomes the main condition for its unification. This feature of musical intonation lies in the fact that by dismembering, we find the main idea of a musical work, concentrated in intonation-symbols, the repeated repetition of which unites the entire form into a single whole. The same intonations are found in the works of various composers, uniting them into whole schools or trends.
This feature is the basis of B. Asafiev's theory of the existence of an "intonation dictionary" [1, p. 357], which, in his opinion, having absorbed all the intonations characteristic of each epoch, seems to feed them the music of composers. The emergence of new intonations due to changes in the surrounding reality is the reason for the emergence of a new style.
Thus, work on the intonational meaningfulness and expressiveness of phrasing encompasses a number of aspects, starting with the fragmentation of the musical fabric into the simplest meaningful particles, organized by rhythm, semantic accent, melodic pattern, timbre coloring and filled with internal tension, and ending with the unification of all these elements into a single whole ... It should become the basis, the primary source of all other types of pianist's work, as it can help him not only in overcoming technical difficulties, but also in revealing the idea, content and style of a musical work.
REFERENCES
1. Asafiev B. Musical form as a process. L., 1963. —376 p.
2. Great Soviet Encyclopedia. Second ed., V. 18, 620 p.
3. Bulanin L. Phonetics of the modern Russian language. M., 1970. — 206 p.
4. Goldenweiser A. Advice of a teacher-pianist. -In the book: The pianists tell. M.: Soviet composer, 1979. —224 p.
5. Kachura V. The pianist's work on the intonational meaningfulness and expressiveness of phrasing. - In collection: Questions of the theory of music and performance at the present stage. T., 1983 .-- 128 p.
