Comprehension of the inner form of a musical work or the constitution of a new melos by means of a musical movement?

V. Rozin
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Abstract

The paper discusses an alternative: comprehension of the inner form of a musical work or the constitution of a new melos by means of musical movement. We are talking about a special genre of art, free dance, called "musical movement", and in its two important contexts - staging performances and teaching. The concept of internal form and the appeal to it by the teacher and the director of performances Aida Aylamazyan is analyzed. The author offers a different understanding of the inner form than Aylamazyan. The musical movement formally consists of two different beginnings of the perception of serious music and organized movement in a broad sense (poses, tensions, emotions, coordination of movements with other dancers); the first beginning was formed in recording and listening to music, the second is mastered in the classroom. Entry into a musical movement occurs if these two beginnings merge into one. The movements of the dancers should not contradict the music, not destroy its perception. In addition, they should set a new organization of music, namely one that meets the idea of the organizer of the dance. As a result, a new objectivity is formed - a musical intonation organized by the musical movement. The article offers a new look at the concept of the inner form of a musical work, as well as an understanding of the musical movement itself. The formulated alternative is allowed if we distinguish between two different types of work: teaching musical movement and staging new performances. As part of the training, an adequate understanding of music is important. An important role here is played by the interpretation of a piece of music, which is created on the basis of semiotic schemes. Equally important is the training of dancers of the musical movement, during which they form a new hearing and understanding of music. As a teacher, Aylamazyan relies on the concept of inner form, as a director, she must discover a new content of a musical work that can be revealed in a concert with the help of musical movement.
是理解音乐作品的内在形式,还是通过音乐乐章构成新的旋律?
本文讨论的是另一种选择:通过音乐运动理解音乐作品的内在形式或构成新的旋律。我们谈论的是一种特殊的艺术流派--自由舞蹈,被称为 "音乐运动",以及它的两个重要方面--表演和教学。本文分析了 "内部形式 "的概念,以及教师兼表演指导阿伊达-艾拉玛兹扬对这一概念的诉求。作者对内部形式的理解与艾拉玛兹扬不同。从形式上讲,音乐运动包括对严肃音乐和广义上的有组织运动(姿势、张力、情感、与其他舞者的动作协调)的感知的两个不同开端;第一个开端是在录制和聆听音乐时形成的,第二个开端是在课堂上掌握的。如果这两个开端合二为一,就可以进入音乐运动。舞者的动作不应与音乐相抵触,不应破坏音乐的感知。此外,他们还应该为音乐设定新的组织形式,即符合舞蹈组织者想法的组织形式。因此,形成了一种新的客观性--由音乐运动组织的音乐音调。文章对音乐作品内在形式的概念以及对音乐运动本身的理解提出了新的看法。如果我们将两种不同类型的工作区分开来:教授音乐乐章和进行新的表演,那么我们就能找到所制定的替代方案。作为培训的一部分,对音乐的充分理解非常重要。对音乐作品的诠释在其中发挥着重要作用,而诠释是在符号学方案的基础上进行的。同样重要的是对舞者进行音乐动作的训练,在此期间,他们对音乐形成新的听觉和理解。作为一名教师,艾拉玛兹扬依赖于内在形式的概念;作为一名导演,她必须发现音乐作品的新内容,并在音乐会上借助音乐动作展现出来。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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