Author:
Abstract
The article is devoted to the problems of the comparative interpretology in the aspect of the systematic presentation of the results of scientific cognition by the performer of his/her professional activity. The method of the comparative analysis is widely represented in the modern process of scientific understanding and constitutes the prospect of studying the theoretical problems of interpretology. The structure of the comparative analysis reflects the hierarchy of musical performance as the art of interpretation: from a composer's text and a musical composition as an object of performing interpretation to performing text and performing dramaturgy, on the basis of which the idea of a performing style is born. This hierarchy proves that for the performer the comparative analysis is a method, direction and mechanism for researching artefacts of piano art. As a consequence, the comparative method of analysing performing dramaturgy is not only the result of the interaction of several approaches, but also the final stage of the performing analysis of a musical composition. The developed method of the comparative analysis from the point of view of the performer as a subject of scientific activity is aimed at a stage-by-stage comprehension and scientific description of the fundamental differences in the performing dramaturgy of the same composition in different performing versions of outstanding pianists. Comparing them from the point of view of the artistic result (artefact) makes it possible for the musician to come closer to uncovering the secrets of the composer's creativity and to develop his/her own performing interpretation of the selected composition.
Keywords
Abstract
The article is devoted to the problems of the comparative interpretology in the aspect of the systematic presentation of the results of scientific cognition by the performer of his/her professional activity. The method of the comparative analysis is widely represented in the modern process of scientific understanding and constitutes the prospect of studying the theoretical problems of interpretology. The structure of the comparative analysis reflects the hierarchy of musical performance as the art of interpretation: from a composer's text and a musical composition as an object of performing interpretation to performing text and performing dramaturgy, on the basis of which the idea of a performing style is born. This hierarchy proves that for the performer the comparative analysis is a method, direction and mechanism for researching artefacts of piano art. As a consequence, the comparative method of analysing performing dramaturgy is not only the result of the interaction of several approaches, but also the final stage of the performing analysis of a musical composition. The developed method of the comparative analysis from the point of view of the performer as a subject of scientific activity is aimed at a stage-by-stage comprehension and scientific description of the fundamental differences in the performing dramaturgy of the same composition in different performing versions of outstanding pianists. Comparing them from the point of view of the artistic result (artefact) makes it possible for the musician to come closer to uncovering the secrets of the composer's creativity and to develop his/her own performing interpretation of the selected composition.