Тембродинамічний слух як один із найважливіших художньо‐образних та формотворчих засобів музичної виразності
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Дата
2022
Автори
Ма Цзє
Ma Tszie
Назва журналу
Номер ISSN
Назва тому
Видавець
СумДПУ імені А. С.Макаренка
Анотація
У статті розглядаються особливості тембродинамічного слуху музиканта. Проведено літературний аналіз наукових джерел з питань сутності та структури тембрового слуху. Виявлено співвідношення зазначеного слуху з виразним інтонуванням мелодійної лінії твору засобами звуковидобування на фортепіано, емоційною складовою твору. Наголошено на принципах формування тембрально‐динамічних особливостей техніки майбутніх вчителів музичного мистецтва. Визначено методи розвитку тембро‐динамічного слуху майбутніх учителів музичного мистецтва.
The article deals with the peculiarities of timbre hearing of the musician. A literary analysis of scientific sources on the essence and structure of timbre hearing was carried out. The ratio of the specified hearing with the expressive intonation of the melody line of the work by means ofsound production on the piano, an emotional component of the work was revealed. The principles of formation of timbre‐dynamic features of the technique of future music teachers are emphasized. Among them: the formation of a sensitive pianist carcass, a special touch of tactile and tactile sensations; freedom from muscle clamps, harmony and naturalness of the pianistic apparatus; the presence of a clear sound or standard of sound; development of auditory attention, ability to listen sensitively to the sound of the tool; the experience of musical and auditory ideas about the sound of different instruments; The perception of the sound phenomenon, which includes: direct sensorimotor sense of sound, subconscious image of perception, reproductive and productive imaginative representation, which allows to perform arbitrary creative operations with it and, finally, image‐concept, expressed by signs of verbal language. Methods of development of timbre‐dynamic hearing of future teachers of musical art are defined: mastering the techniques of sound production, different types of carcass; accumulation of luggage of musical and auditory timing impressions; activation of emotional sphere and artistic auditory imagination by attracting to to emotional experience with the help of associations, comparisons, comparisons; the use of the method of singing the melody line as a means of detecting the emotional characteristics of the timbre of the execution; playing a work with exaggerated nuance, specially accentuated "the smallest sound shades; formation of the desire for the implementation in the performing activity another orchestral tool.
The article deals with the peculiarities of timbre hearing of the musician. A literary analysis of scientific sources on the essence and structure of timbre hearing was carried out. The ratio of the specified hearing with the expressive intonation of the melody line of the work by means ofsound production on the piano, an emotional component of the work was revealed. The principles of formation of timbre‐dynamic features of the technique of future music teachers are emphasized. Among them: the formation of a sensitive pianist carcass, a special touch of tactile and tactile sensations; freedom from muscle clamps, harmony and naturalness of the pianistic apparatus; the presence of a clear sound or standard of sound; development of auditory attention, ability to listen sensitively to the sound of the tool; the experience of musical and auditory ideas about the sound of different instruments; The perception of the sound phenomenon, which includes: direct sensorimotor sense of sound, subconscious image of perception, reproductive and productive imaginative representation, which allows to perform arbitrary creative operations with it and, finally, image‐concept, expressed by signs of verbal language. Methods of development of timbre‐dynamic hearing of future teachers of musical art are defined: mastering the techniques of sound production, different types of carcass; accumulation of luggage of musical and auditory timing impressions; activation of emotional sphere and artistic auditory imagination by attracting to to emotional experience with the help of associations, comparisons, comparisons; the use of the method of singing the melody line as a means of detecting the emotional characteristics of the timbre of the execution; playing a work with exaggerated nuance, specially accentuated "the smallest sound shades; formation of the desire for the implementation in the performing activity another orchestral tool.
Опис
Ключові слова
музичний слух, тембродинамічний слух, фортепіано, вчитель музичного мистецтва, принципи, методи фрмування, musical hearing, timbreadic hearing, piano, music teacher, principles, methods of framing
Бібліографічний опис
Ма Цзє Тембродинамічний слух як один із найважливіших художньо‐образних та формотворчих засобів музичної виразності [Текст] / Ма Цзє // Педагогічні науки: теорія, історія, інноваційні технології : науковий журнал / МОН України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; [редкол.: А. А. Сбруєва, М. А. Бойченко, О. А. Біда та ін.]. – Суми : СумДПУ ім. А. С. Макаренка, 2022. – № 6 (120). – С. 176–186. – DOI: 10.24139/2312-5993/2022.06/176‐186