Формування навичок свідомого інтонування через практику настроювання клавішних інструментів у історичних системах темперацій: педагогічний досвід Польщі
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Дата
2013
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Анотація
У статті представлено проект, основною метою якого є вдосконаленя інтонаційних навичок у представників струнносмичкових і духових інструментів за допомогою вправляння в настроюванні клавесину. Висвітлюється польсько-український вимір співпраці – презентація та майстеркурси в межах фестивалю «Майстерня барокової музики» (Львів, 2013). Ідея проекту передбачає напрацювання засобів і способів дій, що уможливлюють подальше врахування такого типу вправ у навчальній дисципліні «Формування слуху». Стаття містить також практичі вказівки стосовно реалізації основних історичних темперацій.
The improving the skills of music students in the field of intonation practice by means of transmitting practical knowledge of intonation and tuning systems is the aim of the research project undertook by the Department of Harpsichord and Early Performance Practice of the Academy of Music in Katowice. The students usually try to solve their intonation problems in a rather intuitive way and are usually persuaded that this is the only way to do it. This is rather ineffective. As the present programmes of musical education in Poland (in terms of music theory) don’t include information on basic acoustical phenomena it is almost impossible for most of the students to approach the problem consciously. The main idea of the research project is to find some possibilities of inclusion of that practical knowlegde in the sphere of ear-training and music theory taught in Polish music schools. The workshops organized within the project were focused on conscious work of tuning harpsichord. Thereafter chamber music was played and discussed in terms of musical tuning. The results seemed very promising – the pupils began to try to seek for different solutions; the communication between the instructors and students also improved because of more precise definitions now common for both. The students, very often expecting a «dry lecture», were astonished that they were given access to harpsichord and possibility of experiencing the tuning process themselves. At the certain stage time has come to try it out in another scene. The sopilka – a kind of Ukrainian chromatic recorder with a certain intonation flexibility (and possibility of doing ensemble work) promised an interesting insight; and so it was! The article brings also «receipts» of how to tune several (more popular) historical temperaments such as quarter-comma meantone, Kirnberger III, Valotti-Young and Neidthard «für die grosse Stadt». The author considers understanding of principle of the meantone temperament the first necessary step to form conscious intonation of ensemble music from both the 17th as well the 1st half of the 18th century. The importance of the above mentioned system is shown on the example of a famous 17-th century concerto «Chromatica» by Adam Jarzębski. The author’s experience of the intonation practice of the «A Capella Leopolis» choir is also included in the article.
The improving the skills of music students in the field of intonation practice by means of transmitting practical knowledge of intonation and tuning systems is the aim of the research project undertook by the Department of Harpsichord and Early Performance Practice of the Academy of Music in Katowice. The students usually try to solve their intonation problems in a rather intuitive way and are usually persuaded that this is the only way to do it. This is rather ineffective. As the present programmes of musical education in Poland (in terms of music theory) don’t include information on basic acoustical phenomena it is almost impossible for most of the students to approach the problem consciously. The main idea of the research project is to find some possibilities of inclusion of that practical knowlegde in the sphere of ear-training and music theory taught in Polish music schools. The workshops organized within the project were focused on conscious work of tuning harpsichord. Thereafter chamber music was played and discussed in terms of musical tuning. The results seemed very promising – the pupils began to try to seek for different solutions; the communication between the instructors and students also improved because of more precise definitions now common for both. The students, very often expecting a «dry lecture», were astonished that they were given access to harpsichord and possibility of experiencing the tuning process themselves. At the certain stage time has come to try it out in another scene. The sopilka – a kind of Ukrainian chromatic recorder with a certain intonation flexibility (and possibility of doing ensemble work) promised an interesting insight; and so it was! The article brings also «receipts» of how to tune several (more popular) historical temperaments such as quarter-comma meantone, Kirnberger III, Valotti-Young and Neidthard «für die grosse Stadt». The author considers understanding of principle of the meantone temperament the first necessary step to form conscious intonation of ensemble music from both the 17th as well the 1st half of the 18th century. The importance of the above mentioned system is shown on the example of a famous 17-th century concerto «Chromatica» by Adam Jarzębski. The author’s experience of the intonation practice of the «A Capella Leopolis» choir is also included in the article.
Опис
Ключові слова
інтервал, інтонування, сольфеджіо, стрій, мезотонічний, темперація, формування слуху, interval, intonation, solfeggio, operation, Mattoni, temperament, formation of hearing
Бібліографічний опис
Топоровський, М. Формування навичок свідомого інтонування через практику настроювання клавішних інструментів у історичних системах темперацій: педагогічний досвід Польщі [Текст] / М. Топоровський // Актуальні питання мистецької освіти та виховання : збірник наукових праць / Міністерство освіти і науки України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; редкол.: Г. Ю. Ніколаї, О. В. Єременко, А. Єремус-Левандовська [та ін.]. – Суми : ВВП «Мрія», 2013. – Вип. 2 (2). – С. 196–215.