Особливості роботи над поліфонією зі студентами факультету мистецтв (традиційні та інноваційні методи)

У статті розкрито значення поліфонії як професійної складової у навчальній діяльності студентів-піаністів вищих навчальних закладів. Виділено традиційні та інноваційні методи роботи викладачів-музикантів зі студентамипіаністами над поліфонічними творами. Розглянуто традиційні види поліфонії (підголоскова, контрастна, імітаційна) і прийоми роботи з ними. Окремим блоком висвітлено інноваційні методи роботи над поліфонією. До них відносяться: метод «вчення через навчання», і два варіанти роботи в трійках.

The article reveals the importance of polyphony as a professional component in the learning activity of the students-pianists
in higher education institutions. It is emphasized that the study of polyphonic music develops musical thinking, hearing, figurative
perception of the pianist. Polyphonic music raises a number of particularly difficult tasks for the pianist. He or she must
simultaneously conduct several melodic lines, several voices, informing each of them the characteristic key touch, the dynamic plan, phrasing and combining together these voices into a single whole. It is noted that the work on polyphonic plays activates the ability to think in large phrases, logically build fragments of work and bring them to the culmination.
Traditional and innovative methods of work of teachers with pianists on polyphonic works have been highlighted. The
traditional types of polyphony have been considered: supporting voice, contrast, imitation. Detailed methods of work with them have been described. Supporting voice polyphony is a simple polyphony that includes melody and less distinctive supporting voice.
Contrast polyphony is a two-voice dance plays written by the composers of the XVII-XVIII centuries. This polyphony is more
complicated than supporting voice polyphony. The main melody sounds in the upper voice, and the lower voice has its own
independent music line, although not very expressive. Imitation polyphony is more complicated, because in this polyphony, each
voice has greater autonomy and equality. Study two-voice texture in one hand, requires: well-thought-out touch notation; clear
dynamic differentiation; preliminary workout with two hands.
It is noted that traditional and innovative methods used in training are complementary and interacting phenomena.
A separate block highlights innovative methods of work on polyphony. These include: method of “studying through teaching”,
and two variants of work in triplets. The method of “studying through teaching” is conducted by students of the magistracy course during their assistant practice when they transfer their knowledge to junior students. The peculiarity of the method of work in triplets is that the work takes place without a musical instrument (the teacher can participate together with the students).