交响乐团长笛组合奏的历史发展

E. Golovashych, I. Tsebriy
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摘要

分析了交响乐团长笛组演奏的历史特点,以及独奏家和器乐演奏家在交响乐团庞大的成员组成中作为单个组和单个整体表演者的能力。作者论证了器乐音乐家首先发展为管弦乐演奏者,然后发展为独奏演奏者的适宜性。研究的目的和任务:分析作为交响乐团一部分的笛组合奏的历史发展。本研究的任务是对这一问题的出版物进行分析,并选择在交响乐团中演奏一组长笛的必要组成部分。研究方法:研究方法由传统与现代权宜之比、从个体到广义(概括原则)、从抽象到具体的上升构成。研究成果:对新世纪至今的音乐表演过程进行了广泛的研究分析。对现代高等院校器乐音乐家培养的新理念进行了分析。欧洲人对新形式的探索,其特点是在过去几个世纪的音乐教育中寻找客观规律,同时考虑到欧洲劳动力市场对管弦乐队演奏者的现代需求。讨论。在管弦乐演奏者的训练中,什么应该放在第一位——个人课程还是团队训练。结论。因此,通过对交响乐团长笛组合奏历史发展的分析,我们可以得出以下结论:在古典主义和浪漫主义风格的统治时期,形成了对交响乐团长笛组艺术家所必需的组成部分的理解:一是纯粹的垂直和水平音准的组成部分;作为交响乐团的一部分,在长笛组的合奏中感受到所有参与者的动态平衡;笛子组音色融合和不同音域的完整发声的组成部分;在笛子组中演奏笔触时的成分理解;长笛:作为交响乐团一部分的一组长笛合奏中富有表现力和生动乐句的组成部分;节奏感:合奏中节奏感的组成部分;交响乐队里一群长笛手对风格的集体理解的组成部分。所有这些组成部分的统一将使一组长笛发出一个和谐的声音。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
HISTORICAL DEVELOPMENT OF THE ENSEMBLE PLAYING OF THE FLUTE GROUP IN A SYMPHONY ORCHESTRA
The historical features of the playing of the flute group in the symphony orchestra, the ability of soloists-instrumentalists to be performers of a single group and a single whole among the large composition of members of the symphony orchestra are analyzed. The authors substantiate the expediency of the development of instrumental musicians first of all as orchestra players, and then as solo performers. The aim and the tasks: to analyze the historical development of the ensemble playing of the flute group as part of the symphony orchestra. The tasks of the research are the analysis of publications on this issue and the selection of the necessary components for playing a group of flutes in a symphony orchestra.Research methods: the research methodology consists of the ratio of traditional and modern expedient, ascent from individual to generalized (generalizing principle) from abstract to concrete. Research results: a wide range of research on the musical performance process from the New Age to the present is analyzed. Analysis of new modern concepts of training of instrumental musicians in institutions of higher education is carried out. The European search for new forms is characterized by the search for objective regularities in music education of past centuries, taking into account the modern demand for orchestra players on the European labor market. Discussion. What should come first in the training of an orchestra playerindividual classes or his training in a team. Conclusion. Thus, the analysis of the historical development of the ensemble playing of the flute group in the symphony orchestra allowed us to draw the following conclusions: during the reign of the classicism and romantic styles, an understanding of the necessary components for a symphony orchestra artist in the flute group was formed: a the component of pure vertical and horizontal intonation; a the component to feel the dynamic balance of all participants in the ensemble playing of the flute group as part of the symphony orchestra; a component of the timbre fusion of the flute group and full sounding in different registers; a component understanding in performing strokes in groups of flutes; a component of expressiveness and vivid phrasing of the ensemble playing of a group of flutes as part of a symphony orchestra; a component of metrorhythmic feeling in ensemble playing; a component of the collective understanding of style by a group of flautists in a symphony orchestra. All these components in their unity will allow the group of flutes to sound as a single harmonious whole.
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