Репозитарій Національної академії керівних кадрів культури і мистецтв України

Творча спадщина Полікарпа Барановського у контексті проблем виконавства на струнно-смичкових інструментах

Творча спадщина Полікарпа Барановського у контексті проблем виконавства на струнно-смичкових інструментах

Овдійчук, Оксана Петрівна
URI: http://elib.nakkkim.edu.ua/handle/123456789/2359
Дата: 2019

Короткий опис(реферат):

Дисертацію присвячено вивченню теоретичного спадку П. Барановського (1897–1963) та визначенню засобів реалізації його ідей у виконавській практиці. Актуальність теми дослідження визначається, по-перше, введенням у науковий обіг основних положень теоретичних розробок українського вченого, і по-друге, пов’язанням його ідей та результатів досліджень з виконавською практикою. Основний напрямок дослідження визначено специфікою обраної теми: від аналізу теоретичного доробку дослідника до розгляду можливості практичного їх втілення, яке у свою чергу забезпечить чітке розуміння процесу звуковисотного інтонування у виконавській практиці і його контролю. Концепція дослідження ґрунтується на розумінні необхідності комплексного підходу до теоретичних ідей українського дослідника. Аналітична апробація його тез стосовно вільного мелодичного строю, розширення тонального рівня, дуалізму інтервалів, біологічної комми дала змогу виявити шляхи їх екстраполяції на виконавську практику. У процесі аналізу цих явищ доведено, що його дослідження дають змогу значно покращити та якісно переосмислити звуковисотну інтонацію виконавця, вплинути на якість ансамблевої гри, настроювання інструментів як з фіксованим, так і нефіксованим строєм.

Суть розробки, основні результати:

The dissertation is devoted to the study of the theoretical heritage of P. Baranovsky (1897–1963) and the determination of the means of realization his ideas in executive practice. The relevance of the research topic is determined, firstly, by introducing into the scientific circulation the main provisions of the theoretical developments of Ukrainian scientist, and secondly, linking his ideas and the research results with performing practice. The main direction of the research is determined by the specifics of the chosen topic: from the analysis of the theoretical heritage of the researcher to the consideration of the possibility of their practical implementation, which in turn will provide a clear understanding of the intonation process in performing practice and its control. The theoretical research concept is based on understanding of the need for an integrated approach to the theoretical ideas of Ukrainian researcher. Attention is focused on the theoretical developments related to the careful study and study of the sound-altitude features of sound as a component of the traditional palm-tone system. The specificity of the study lies in the fact that P. Baranovsky was engaged in the attributive qualities of sound and, accordingly, the context in which this sound works, only in conditions of its real intonation with instruments with an unstable system or voice. The scientist proved that the "traditional" European sound altitude system in the process of playing the instruments with an unfixed scale (and voice) is based on 22 degrees, completely erased the idea of enharmonism. The peculiarity of this system is the greater “freedom” and “variation”, that is why the author called it “a free melodic system”. Its characteristic feature is flexibility and elasticity, which are achieved due to the special principle of the interaction of degrees - stable (I, IV, V) and mobile (II, III, VI, VII). The first do not tend to acoustic modification, while the others change depending on the direction of deployment of the melodic vertical. P. Baranovsky defines this modification as “the expansion of the tonal level”. Another thesis that is basic for this study concerns the acoustic difference discovered by P. Baranovsky between the harmonious and melodic intervals of the same name. This feature, which is directly related to the specifics of the free melodic system, is determined by the researcher as a phenomenon of dualism of intervals. One of the most important theses of this theory is the provision on the tendency of large and increased intervals to expand and, conversely, small and reduced intervals to narrow in relation to their harmonious values. Another thesis that is basic for this study concerns the acoustic difference discovered by P. Baranovsky between the harmonious and melodic intervals of the same name. This feature, which is directly related to the specifics of the free melodic system, is determined by the researcher as a phenomenon of dualism of intervals. One of the most important theses of this theory is the provision on the tendency of large and increased intervals to expand and, conversely, small and reduced intervals to narrow in relation to their harmonious values. At the same time, he pointed to a certain objectivity of harmonic intervals (“synchronous intervals”) and an exceptional individuality of melodic (“sequential intervals”). The researcher makes the assumption that the acoustic value of the melodic interval will depend directly on whether it is built in the upward or downward direction of motion. In addition, P. Baranovsky points to a direct correlation of the variability of one or another melodic with the acoustic quality of stable and labile degrees. This feature relates to both harmonious and melodic intervals. Their individuality and difference, in turn, is determined by the psychophysical characteristics of the performer. This feature in the works of P. Baranovsky was called the biological comm. Namely this indicator becomes the main one in determining the phenomenon of dualism of intervals. The work of P. Baranovsky has not only purely scientific, but also practical significance. His studies in relation to the free melodic structure and the phenomenon of dualism of intervals can significantly improve and qualitatively rethink the performer’s sound-pitch intonation. The work suggests practical testing of some provisions of the theory of the researcher. The first of them concerns the acoustic difference between diatonic and chromatic halftones, which is a consequence of the specifics of free melodic stand. The second is directly related to the phenomenon of dualism of intervals. Considering the objective difference between harmonious and melodic intervals in the dissertation, a new view at tuning instruments with unfixed tuning is offered. In addition to the generally accepted work, non-standard - melodic is considered. The acoustic difference between the evenly temperamental and free melodic outfits puts special challenges for ensemble performers. The dissertation offers three methods that will help performers level this difference. In the work, these methods are defined as adaptation methods. The first is prompted by the composer’s practice itself, namely, the lack of duplication of labile degrees in the textured presentation. The second method of adaptation relates to the sphere of capabilities of the soloist who, if the labile degrees coincide, can independently level their acoustic difference by using the vibrato technique. The third method is associated with a special method of tuning the instrument with a fixed system. P. Baranovsky defined this setting as a variational setting. Generalized the main provisions of the scientific heritage of P. Baranovsky showed the possibility of their actualization. Analytical testing of his theses revealed the ways to extrapolate them into performing practice.

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