VIOLINING SONATES OF ARCANGELLO CORELLA IN THE MIRROR OF HIS PERSONALITY
Arcangelo Corelli was fortunate enough to live in an era when instrumental music and instrumental performing arts began to occupy a place that previously belonged completely to the opera. Composers…

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About the music of Edison Denisov
Edison Denisov is my favorite composer, that's why I decided to share my thoughts and my hearing with the work of this amazing Russian man, forced to experience all the…

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Performing analysis of "Symphonic Etudes" op.13 by R. Schumann
“Etudes in the orchestral character of Florestan and Eusebius” was the name of the cycle. However, the first edition, released in 1837, received the title Symphonic Etudes. There was also…

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The use of E. JACQUES DALCROSE system in teaching

“Prophet of rhythm”, “musical Pestalozzi” … These epithets are addressed to the Swiss teacher, composer Emil Jacques – Dalkroz, undeservedly, in my opinion, forgotten by our contemporaries. I want to remind you of this outstanding person and recommend his approach to learning to use.
Against the background of various schools and teachings of the XX century, the system of E. Jacques-Dalcroze stands out with a detailed study and a clear structure. The goal of the Dalcroze system is to educate musicians, educators, and, in general, diverse people.
The Dalcroze system forms the musicality of a person, and therefore has indisputable advantages for training professional musicians. But, which is very important, it is of great importance for the education of music lovers, both performers and listeners. Thanks to rhythmic and tonal training, the ability to listen and understand music is formed.
The essence of the system.
“Every movement requires space and time. A man, first of all, has his own body. His body is the simplest means of reproducing movement. The muscular apparatus is the original means of movement. The space in which the movement occurs, the time I during which this movement occurs; and the force necessary for movement is the starting point for the study of motion. These fundamentals become the criteria from the position of which movement should be considered when it rises to the height of art from the stage of immediate necessity. ”(C)
Movement becomes art through rhythm. Thus, the art of rhythmic movement arises. ”Rhythmic gymnastics aims to improve strength and mobility, muscle flexibility in time and space. The organization of spatial relationships develops a sense of plastic rhythm. By adjusting the ratio in time, a sense of musical rhythm develops. Both feelings mutually penetrate, interact. “(WITH)
The musical rhythm and the rhythm of the body are closely related. To achieve the goal you must:
1. That the muscles and nervous system are accustomed to reproducing any rhythmic movement.
2. That the hearing was able to correctly perceive music, giving an impetus to this movement.
The challenge is to be fluent in these two ways. There is an opinion that the initial repetitive exercises lead to automatism, and thereby destroy the individuality. I do not agree with this. “Automatism” should be understood as a habit of action, lack of effort. After all, only that pianist who achieves perfect automatism in his fingers can reveal his individuality in performance. He conquered his dependence on bodily imperfection.
Thus, the Dalcrosis system has three main parts:
1. Rhythmic gymnastics in the narrow sense of the word.
2. Development of hearing (solfeggio).
3.Musical plastic and improvisation.
Teaching is conducted in this way. So that these three areas complement each other.

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