Історичний розвиток ансамблевої гри групи флейт у складі симфонічного оркестру

Abstract

Аналізуються історичні особливості гри групи флейт у складі симфонічного оркестру, здатність солістів-інструменталістів бути виконавцями єдиної груп та єдиного цілого серед великого складу учасників симфонічного оркестру. Автори обґрунтовують доцільність розвитку музикантів-інструменталістів насамперед як оркестрантів, а потім уже як виконавців-солістів. Розглядається широка палітра дослідження музично-виконавського процесу від Нового часу до сьогодення. Здійснюється аналіз нових сучасних концепцій підготовки музикантів-інструменталістів у закладах вищої освіти. Європейський пошук нових форм характеризується пошуком об’єктивних закономірностей у музичній освіті минулих століть, ураховується сучасний запит на оркестрантів на європейському ринку праці.

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.