STUDYING THE INSTRUCTIVE AND CONCERT ETUDES AS THE BASIS OF FORMING STUDENTS' TECHNICAL SKILLS IN THE PIANO CLASS
In order to solve the problem of the choice of the performing repertoire, which will help to improve the quality of the educational preparation of the applicants, the article reveals the main varieties of technical difficulties for musicians who are not pianists by profession. It is outlined the circle of instructional and concert etudes that can be useful in overcoming technical difficulties and forming an artistic vision of works in the piano class at different stages of study. It is developed systematization of the educational material. It is provided comments and recommendations on the appropriateness of the use of the studies of any composers under study in the pedagogical practice. Thus, it is identified the most suitable piano etudes for the initial stage of education of the educational recipients; it is made a comparative analysis of the K. Czerny’s and M. Clementi’s etudes; it is relevant composer-defined works for the transition from instructional to concert etudes.
It is analyzed and organized by types of piano technique the instructional etudes by K. Czerny, K. Leshkhorn, M. Moshkovsky, M. Clementi, J. Kramer, E. Zauer, V. Ziring, O. Gedike, R. Valashek, and concert etudes by F. List, F. Chopin, S. Rachmaninov.
Bordoniuk, V. I. (2008). Stylistyka symvolizmu v modyfikatsii fortepiannykh zhanriv preliudii ta etiudu v XIX – pochatku XX stolit. Odesa, 14.
Mykhailova, E. Yu. (2018). Europeanian piano school of the earyl nineteenth century: the establishment of pianistic traditions (up to the 200th edition of the «Gradus ad Parnassum» Mucio Clementi). Chasopys Natsionalnoi muzychnoi akademii Ukrainy imeni P. I. Chaikovskoho, 3 (40), 66–77.
Shypailo, Ya. (2011). Deiaki aspekty formuvannia pianistychnykh navychok muzykanta-pochatkivtsia na shliakhu do opanuvannia fortepiannym mystetstvom. Molod i rynok, 10 (81), 145–152.
Hultsova, D. P. (2016). Poetyka etiuda v konteksti zhanrovo-stylovoi spetsyfiky tvorchosti K. Sen-Sansa ta K. Debiussi. Mizhnarodnyi visnyk: kulturolohiia, filolohiia, muzykoznavstvo, II (7), 184–190.
Stepanova, O. Yu. (2018). Pianizm londonskoi ta videnskoi fortepiannykh shkil: komparatyvnyi analiz. Sumy, 224.
Gulcova D. P. (2016) «Transcendental Etudes» by Franz Liszt and Sergei Lyapunov in line with the philosophy and genre-style romanticism searches. Muzichne mistectvo i kultura, 23, 104–116.
Buase, A. (1964). Uroki Lista. Leningrad: Muzyka, 66.
Milshtein, Ia. I. (1967). Sovety Shopena pianistam. Moscow: Muzyka, 119.
Khentova, S. M. (1966). Vydaiuschiesia pianisty-pedagogi o fortepiannom iskusstve. Moscow, Leningrad: Muzyka, 315.
Muliar, P. M. (2009). Styl tvoru i vykonavskoi interpretatsii v aspekti vzaiemodii klasychnoho ta aklasychnoho u fortepiannomu mystetstvi. Odessa, 17.
👁 229 ⬇ 122
Copyright (c) 2020 Alexander Sklyarov
This work is licensed under a Creative Commons Attribution 4.0 International License.
Our journal abides by the Creative Commons CC BY copyright rights and permissions for open access journals.
Authors, who are published in this journal, agree to the following conditions:
1. The authors reserve the right to authorship of the work and pass the first publication right of this work to the journal under the terms of a Creative Commons CC BY, which allows others to freely distribute the published research with the obligatory reference to the authors of the original work and the first publication of the work in this journal.
2. The authors have the right to conclude separate supplement agreements that relate to non-exclusive work distribution in the form in which it has been published by the journal (for example, to upload the work to the online storage of the journal or publish it as part of a monograph), provided that the reference to the first publication of the work in this journal is included.