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, , , , ; , , , -;   . .   THE PROBLEM OF INTERPRETATION Music lives through interpretation. Between a musical work and the world stands the interpreter who brings the score to life by his performance. The relationship between the performing and the creative artist, however, has changed profoundly in the history of music and continues to do so. This situation in music, as compared with the other arts, is unique. Paintings in the gallery speak to the visitor without the help of mediator; this is true similarly of the works of sculpture and architecture. In reading poetry or prose, we act, as it were, as our own interpreters. But in music, the score of the St. Mathew Passion, as such, has meaning only to the intellect of the trained musician. The large mass of music-lovers, in order to hear masterworks, is dependent upon actual performance of them. Thus it becomes obvious that in music, in contrast to the other arts, the interpreter is of paramount importance a factor sine qua non (Lat. the necessary requirement). Our musical life has become more and more a cult of the interpreter. The present over-emphasis on the interpreters role is sharply contrasted with the disregard of it in former periods. The ecclesiastical spirit of the Middle Ages did not acknowledge interpretation in our modern sense, as individualized expression of the performer. The picture has gradually changed in the last four hundred years, so that the interpreter, who was formerly very much in the background, has now become the star of the performance. Small wonder, then, that the music world is disturbed by heated arguments over the rights and limits of interpretation. What are the interpreters rights? Where are these limits? Interpretation can be subjective and objective. The subjective approach reflects the interpreters individuality more than it does the world of the masterpiece- not only in details, but also in the delineation of the composition as a whole. In opposition to such a subjective reading stands the objective treatment, where the interpreters principal attitude is that if unconditional loyalty to the script. Setting aside his personal opinion and detaching himself from his individual feelings, the objective interpreter has but one goal in mind: to interpret the music in the way the author conceived it. Here the inevitable question arises as to whether the score could be interpreted literally or whether the performer should have carte blanche in general interpretation, o the ground that, besides the script of the score, its background must also be freely taken into consideration. Moreover, interpreters are all different human beings with different backgrounds, education, culture, artistic and human experiences. This problem of objectivity and subjectivity in musical interpretation is one of great complexity. Discussion activities I LEVEL OF DIFFICULTIES (GENERAL UNDERSTANDING) Answer the following questions on the text 1. What is the text about? 2. Did the role of an interpreter change in the course of time? 3. Is it different in comparison with other arts? 4. Has an interpreter his/her own rights and limitations? 5. What is interpretation in modern sense? 6. What kinds of interpretation do you know? II LEVEL OF DIFFICULTIES (DETAILED UNDERSTANDING) Answer the following questions on the text 1. Who can bring scores of musical compositions to life? 2. Why is a musical work dependent upon its actual performance? 3. What is the role of interpretation in music in comparison with other arts? 4. What was the role of an interpreter in the Middle Ages? 5. How has it changed in the last centuries? 6. Why is the musical world disturbed by heated arguments over the rights of a performer? 7. What is the difference between the subjective and objective approaches in music performance? PROBLEM FOR DISCUSSION Music for the public has always been dependent upon a performer. The role of an interpreter today often overshadows the composer himself. What do you think of this? Do you agree? If not, give your reasons.   THE ART OF CONDUCTING One of the first to recognize the artistic mission of the conductor was Felix Mendelssohn, who dedicated himself to an exact realization of the score he was conducting, through manipulation of the baton. There soon arrived, however, a great dissenter named Richard Wagner who declared that everything Mendessohn was doing was wrong and that a conductor should personalize the score he was conducting by coloring it with his own emotions and his own creative impulse. And so out of the clash of these two points of view the history of conducting was born; and there arose all those great names in conducting, as well as all the fights that go on about them right up to our own time. Mendelssohn fathered the elegant school, whereas Wagner inspired the passionate school of conducting. Actually both attitudes are necessary, and neither one is completely satisfactory without the other. The ideal modern conductor is a synthesis of the two attitudes, and this synthesis is rarely achieved. In fact, it is practically impossible. Almost any musician can be a conductor, even a pretty good one, but only a rare musician can be a great one. This is not only because it is so hard to achieve the Mendelssohn-Wagner combination, but also because the conductors work encompasses such a tremendous range. Unlike an instrumentalist or a singer, he has to play on an orchestra. His instrument is one hundred human instruments, each one a thorough musician, each with a will of his own, and he must cause them to play like one instrument with a single will. Therefore, he must have enormous authority, to say nothing of psychological insight in dealing with this large group and all this is just the beginning. He must be a master of the mechanics of conducting. He must have an inconceivable amount of knowledge. He must have a profound perception of the inner meanings of music, and must have uncanny powers of communication. But the conductor must not only make his orchestras play; he must make them want to play. He must exalt them; lift them, either through cajoling or demanding or raging. But however he does it, he must make them love the music as he loves it. I t is not so much imposing his will on them as a dictator; it is more like projecting his feelings around him so that they reach the last man in the second violin section. And when it happens when one hundred men share his feelings, exactly, simultaneously, responding as one to each rise and fall off the music then there is a human identity of feelings that has no equal elsewhere. It is the closest thing I know to love itself. On this current of love the conductor can communicate at the deepest level with his players and immediately with his audience. And perhaps the chief requirement of all is that a conductor be humble before the composer and that all his efforts must be in the service of the composers meaning-the music itself, which, after all, is the whole reason for the conductors existence. From: The Joy of Music by L. Bernstein Discussion activities I LEVEL OF DIFFICULTIES (GENERAL UNDERSTANDING) Answer the following questions on the text
  1. Who was the first to recognize the artistic mission of the conductor?
  2. History of conducting was born out of the clash of two points of view on it. What approach to conducting did Felix Mendelssohn represent?
  3. What approach to conducting did Richard Wagner represent?
  4. What qualities must a great conductor possess?
  II LEVEL OF DIFFICULTIES (DETAILED UNDERSTANDING) Read the text once again. Answer the following questions on the text
  1. What distinguishes great conductors from mere time-beaters?
  2. How can a conductor persuade the members of the orchestra to accept his interpretation?
  3. Why cannot a modern orchestra of highly-trained professional musicians perform without a conductor?
  4. Why is the conductor necessary?
  5. What is the chief requirement to the conductor?
  PROBLEM FOR DISCUSSION Speak about the relationship between the conductor and the orchestra.   THE GOLDEN AGE IN ENGLAND The period from the defeat of the Spanish Armada (1588) to the death of James I (1625) represents one of Europes most brilliant golden ages. In less than forty years England gave the world Marlowe, Webster and Bacon, the prose of Sir Walter Raleigh, the scientific researches of Gilbert and Harvey and the music of Burd, Gibbons, Morley, Weelkes, Wilbye, Bull and Downland, all geniuses of the first rank, and a host of richly talented followers. Elizabethan civilization was the fruit of an exceptionally favourable political and social union. The year 1588, which saw the defeat of the Invincible Armada, ushered in an age inspired by a new sense of self-confidence and optimism. It was really from this moment that music and theatre began to spread their wings. In the theatre for which Shakespeare wrote, music held an important place and composers actively collaborated in plays, which they enriched with numerous ayres accompanied on the lute or viols. Unfortunately, owing to the essentially ephemeral nature of the occasion, much music is now lost. But perhaps one of the most remarkable features of the Elizabethan age was the popularity of music making. In a period when public concerts were still unknown, the abundance of musical publications is explained by the great demand for music be amateurs. Everyone sang madrigals, most sizeable households possessed a chest of viols, and the virginal, for which the keyboard composers poured out such flood of fine music, was still more popular the queen, herself a devoted virginalist, setting an example. As for the lute, such was its popularity that it was even to be found in barbers shops, so that the customers might pluck a few chords while awaiting their turn. Any young man unable to take his proper place in a vocal or instrumental consort became the laughing-stock of the society. If the people had opportunities to shave the joys of music, popular music also greatly inspired composers, and the intimate fusion of art music with popular and folk elements remains one of the imperishable charms of the music of this golden age. Excepting large choral and orchestral works, Elizabethan music embraces every style and genre. But it cannot offer us anything comparable to the large-scale splendor of the Venetians, the beauties of the keyboard and chamber music may be regarded as ample compensation. Religious music plays a definitely lesser role compared with the preceding period, even though it is represented by the masterpieces of Byrd and Gibbons, not to mention those of Morley, Weelkes, Tomkins and Peter Philips. Apart from Philips, Byrd was the only composer in England to write music for Latin texts. From: The Larousse Encyclopedia of Music Discussion activities I LEVEL OF DIFFICULTIES (GENERAL UNDERSTANDING) Answer the following questions on the text
  1. What period in the English music development is called Golden age
  2. Was Elizabethan civilization the fruit of an exceptionally favourable political and social union?
  3. What kinds of art developed quickly at that time?
  4. Was popular music widely used?
  5. Was the Queen a virginalist or a lute player?
  6. Was religious music more popular at that time in England?
  II LEVEL OF DIFFICULTIES (DETAILED UNDERSTANDING) Read the text once again. Answer the following questions on the text 1. Name the composers of the Golden age in England. 2. Why was this period in the English history marked by a new sense of self-confidence and optimism? 3. In what spheres did art develop most of all? 4. What instruments were widely used at that time? 5. What place did music occupy in the theatre for which Shakespeare wrote? 6. Were public concerts well -known? 7. Why could a young man become a laughing-stock? 8. What was one of the imperishable charms of the music of this golden age? 9. What styles and genres did the music of this period embrace?   PROBLEM FOR DISCUSSION Describe the distinguishing features of the Golden Age in England     2   - , , , -, - , - (, ); The plan of a lesson or a master class may include the following points:
  1. The epoch when the composition was created
  2. The stage in the creativity of the composer the author of the work.
  3. Characteristic features of the composers style of this period
  4. The genre of the composition
  5. Its duration and form
  6. Artistic image of the composition
  7. Sound picture and ways of sound production
  8. Articulation
  9. Pedaling (for pianists)
Questions included in the discussion of a master class 1) What composition are you going to speak about? 2) When was it written? 3) What period in the history of music was it? 4) What musical genres were developed at that time? 5) To what musical genre does this composition belong to? 6) Who composed this work? 7) At what stage of his creative activity was this work composed? 8) Was it dedicated to anybody? 9) What can you say about th


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