The role of thematic concerts in the class of general and specialized piano (original) (raw)

Background. Perception of the creative processes of the piano performance, pedagogy, and methodology, as well as their close connection to the adjacent creative performance fields, require new approaches to the individually oriented teaching and learning process. The new approaches apply directly to instructors of the department of general and specialized piano. Objectives. The objective of this research is the definition of the structure of thematic concerts. Such a structure should use the musical and verbal methods of presentation determining the main theme of a concert with an emphasis on the educational and informative components. Methods. The base of this research lies in the methodological works of piano pedagogy by A. Alekseyev, L. Ginzburg, G. Neuhaus, as well as research papers concentrated on the performance aspects of B. Asafyev, S. Beilin, M. Davydov, O. Markova, S. Feinberg V. Medushevsky, V. Moskalenko, S. Feinberg, and others. In addition, this research is grounded on the pedagogical methods, tools, and technics used by prominent musicians of the 19th and 20th Centuries in their classes. Their names include B. Berlin, J. Zak, K. Igumnov, F. Liszt, G. Neuhaus, V. Razumovskaya, N. Rubinstein, A. Rubinstein, A. Schnabel, and others. The substance of the subject of “General and Specialized Piano” assumes collaboration of students perusing different majors, and requires the instructor to have extensive knowledge of a supplementary repertoire. The objectiveness and neutrality (according to Artur Schnabel) of the piano sound becomes the key factor in replication of both instrumental and vocal timbres and the ability to perform compositions of various genres. It is quite complicated to list all thematic recitals, but a few are mentioned as follows: 1. Dedicated to the anniversary of a sole composer; 2. Devoted to a particular style or genre; 3. Concentrated on the works of a group of composers; 4. Covering various geographical areas or time periods; 5. Assembled using a gender selection of works; 6. Based on a theme of literature, fine art, architecture, or other art forms; 7. Based on philosophical themes. Each theme requires an instructor to obtain extensive knowledge of the repertoire, as well as mastering a deep understanding of students’ abilities, both technical and artistic. Attention to the connection between the literary foundation and context of the music is the basic requirement for the teacher organizing such a concert. We will exhibit the usage of audio and video archives and installations as an important instrument of music expression. Thematic concerts of prominent pianist Maria Yudina could be used as an excellent example for the department of general and specialized piano, specifically helpful to vocal arts students. M. Yudina persistently explored unknown vocal compositions. According to her study, unknown compositions of well-known vocal composers are the result of either: a) censorship fluctuations, or b) a low level of general culture of the majority of vocalists. In one of her presentations, she proposed the following varieties of concerts: a) landscape in vocal music: This variety could be dedicated to the seasons as well as elements of nature (sea, forest, steppe, tree blossom, and so on). It could also use time (portrayals of Dawn and Dusk on the tomb of Lorenzo de' Medici by Michelangelo), or geographical characteristics; b) literary genres and their reflections in vocal music; c) dedication to the great poets; d) comparison of a literary source and its interpretation in different vocal compositions. For thematic concerts, M. Yudina suggested using the heritage of the sole composers of various periods, different vocal schools, with emphasis on unknown compositions and folk music themes. This approach will allow understanding of the creative features and styles of various lands and eras. The main obligation of a teacher is a persistent up-to-date dialogue between the composer and the performer. It requires maintaining familiarity with the best new compositions. Working jointly with the modern Ukrainian composers allows the students to combine their learning process with the application of contemporary musical thought. This performing art is based on visualization of music notation into music forms and vice versa: musical images and emotions into music notation. In turn, musical images are based on deep knowledge of history, theater, literature, and other art forms. Conclusion. Summarizing the role of thematic concerts for the learning process, we have to emphasize their influence on the formation of artistic thought. The concerts also widen the knowledge of music theory, mastery of instruments, provide an experience to perform in a group, and add to students’ on-stage skills. The main goal of the piano teacher is to develop students’ understanding of the music and interpretation as a reflection of the complex human thought and spirituality. This understanding, in turn, is possible in conjunction with the high aesthetical and intellectual level of the students. Keywords: public concerts, repertoire, piano, pedagogical activity, ensemble game.