THE PHILOSOPHICAL-AESTHETIC ASPECTS OF THE CATEGORY OF CREATIVITY IN MUSIC AND PERFORMING ARTS
The theory of musical performance, and in particular of its individual branches, has not yet been fully established. This conclusion exists in musicology and still, despite the high level of…

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Types of Verdian Voices in La Traviata
Issues related to changes in vocal styles in the era of romanticism in musicology are not well developed, as they affect the highly specialized aspects of pedagogy of solo singing…

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Metronome (from a series of articles on the use of technical means when learning to play a musical instrument)
The idea of ​​a “musical chronometer” has been in the air since the beginning of the 19th century. Previously, composers indicated the nature of the work verbally, for example, “fun”,…

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Semantics of keys …

The process of establishing a certain emotional content for each key continued in the music of Viennese classics and covered almost their entire list in the music of romantics, both Western European and Russian.

And here the same thing is possible as the perception of music in color. The color ear was distinguished by very few composers (Rimsky-Korsakov, Scriabin, for example), but with some coincidences both in individual notes and tonalities, their perception was different. Continue reading

Musical memory and its development

In pedagogical practice, quite often questions arise related to the memorization of a musical work and its performance from memory. Some students have a tenacious, strong memory; others grasping “on the fly” remember the work inaccurately, superficially; the third is difficult to remember. In the process of working with some students, it is sometimes difficult to correct an incorrectly memorized phrase, fingering, and reception. Continue reading

Work on sound production in the cello class

It seems to the author of this article that the work on sound production on the cello is a complex large work of the teacher and student, consisting of many stages of the formation of ideas, feelings, skills and accumulated knowledge on this issue.
The sound production of a musician on an instrument, in particular, on a cello, is the musical “philosophy of the performer”. Continue reading

Fundamentals of Vocal Pedagogy Lecture Course - 3
Attempts to create a theory of solo singing have been undertaken repeatedly. Almost every vocal and methodical work of the XIX century claims to the level of theoretical generalization. “The…

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THE PHILOSOPHICAL-AESTHETIC ASPECTS OF THE CATEGORY OF CREATIVITY IN MUSIC AND PERFORMING ARTS
The theory of musical performance, and in particular of its individual branches, has not yet been fully established. This conclusion exists in musicology and still, despite the high level of…

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TEACH CHILDREN MUSIC!
I think that I will not be mistaken in saying that many parents of preschool children are thinking about how to develop a child, how to determine his abilities, what…

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Conductor Igor Blazhkov - about Stravinsky, about modern music, about Shostakovich and about himself
Mravinsky’s pupil Igor Blazhkov, who recently celebrated his eightieth birthday, is known to a whole generation of Soviet music lovers as one of the main propagandists of “new music” in…

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