Interpretation of a musical work as a significant component of the professional activity of an accompanist

Khazeeva Irina Nailjevna PhD in Pedagogy Assistant Professor of the Department of Musical Education, Nizhnevartovsk State University 628615, Russia, Khmao-Yugra Autonomous Okrug, Nizhnevartovsk, Dzerzhinskiy str., 11 hazeeva_ira.@mail.ru Shvetsova Ol'ga Yuryevna PhD in Cultural Studies Associate Professor of the Department of Music Education, Nizhnevartovsk State University (NVSU) 628615, Russia, KhMAO-Yugra Autonomous Okrug, Nizhnevartovsk, Lenin str., 56 o.y.n.rus@yandex.ru Dmitriyev Vladislav Alekseyevich PhD in Pedagogy Professor of the Department of Music Education, Nizhnevartovsk State University (NVSU) 628615, Russia, KhMAO-Yugra Autonomous Okrug, Nizhnevartovsk, Lenin str., 56 dmitriev1802@mail.ru

Antipova Ulyana Aleksandrovna master's student, Federal State Budgetary Educational Institution Of Higher Education Nizhnevartovsk State University (NVSU) 628615, Russia, KhMAO-Yugra Autonomous Okrug, Nizhnevartovsk, Lenin str., 56 semenovauly1998@gmail.com

1. Introduction.At the present stage, interest in the interpretation of a musical work, the ability to embody the composer's idea through the prism of modern musical language and the level of understanding by a modern person of typical, long-established musical archetypes does not subside.

A good concertmaster, in addition to general musical talent, a fine ear for music, imagination, the ability to capture the figurative essence and form of the work, artistry, the ability to figuratively, inspiringly embody the author's idea in a concert performance, must have sociability, sensitivity, tact and pedagogy in expressing his opinion in matters of musical style, interpretation of the work, etc. It is important for the concertmaster to have the ability to arrange the student for joint activities, to make joint activities constructive.

Interpretation of a piece of music during the work of the concertmaster and the student is a complex algorithm, the result of which will be a successful competitive or concert performance.

Interpretation of a musical work, according to T.M. Matyushkova, necessarily contains a retrospective study of works of art (analysis of objective data about the work, the meaning and significance that are embodied in it) and a special spiritual activity of consciousness, where the interpreter's experience in communicating with art plays an essential role ^[1]. The performance interpretation, according to E.K. Mnatsakanyan, can be interpreted as the result of a special artistic activity of consciousness, which is defined as a kind of translation of the product of primary creativity not only into another system of language (sign-semantic), but also into another system of thinking ^{[2, p. 90]}.

So, the performance of a musical work is a translation from a sign-graphic language into a musical and verbal one. At the same time, additional descriptive and graphic means are involved: figurative and emotional characteristics, literary and poetic programs and other types of art.

Analyzing the problem of interpretation of a musical work, let us turn to the general philosophical definition of the concept of interpretation (from the Latin interpretatio – explanation, interpretation). In a broad sense, it is a fundamental operation of thinking, giving meaning to any manifestations of a person's spiritual activity that are objectified in a symbolic or sensory–visual form ^{[3, p. 220]}.

Interpretation, according to A.A. Piletskaya, is the basis of any communication process when it is necessary to interpret the intentions and actions of people, their words and gestures, works of fiction, music, art, sign systems ^{[4, p. 124]}. Therefore, interpretation covers various forms of perception of creative manifestations of a person, including activities in the field of musical art, when the main object of interpretation is a piece of music. The interpreter tries to reveal the content and expressive possibilities of a musical work, first comprehending the author's idea, and then creating his own interpretative version.

N.V. Pustovaya, analyzing the specifics of interpretative versions in various types of musical activity, identifies such types of interpretation as:

- editorial interpretation, the result of which is a version of the musical notation adapted to the new performance requirements;

- performing interpretation, which is embodied in the musical sound of a new "reading" of the work;

- a composer's interpretation characterized by musical processing of the artistic material of another work or its fragment;

- musicological interpretation (scientific and artistic), which is expressed in descriptions of music by means of verbal communication. Scientific interpretation is characterized by a tendency to accuracy, unambiguity of verbal or expressed by other non–musical languages characteristics, for artistic interpretation - figurative and possible semantic "blurring" of verbal meanings ^{[5, p. 431]}.

The problem of interpretation of a work is one of the key ones in musical performance, it affects the objective and subjective aspects of the degree of identification of the author's compositional intention and the degree of freedom of performing creativity. Some teachers and performing musicians insist that the performed work fully corresponds to the composer's idea, while others hold the opinion of the relative freedom of performing interpretation due to the specifics of musical art.

Analyzing and solving the problem of interpretation of a musical work, L.N. Romanenko ^[6] emphasized the issue of subjectivism of the performing process: each performer is an individual with a certain level of musical thinking, knowledge, his own experience of performing activities and his own understanding of the content of a musical work, aesthetic and stylistic patterns.

It is known that G.G. Neuhaus distinguished four types of performing interpretation:

- a game without any style or distortion of the composer's idea;

- the so-called "dead" execution, when the author's idea dies under the pressure of rules, doctrines, laws;

- "museum" interpretation, more similar to stylization;

- inspired performance, modern vision of the author's idea ^{[7, p. 69]}.

E.A. Shcherbakova, studying the interpretation of a musical work through the prism of a stylistic phenomenon, proves that:

- at all levels of performing interpretation, the principle of interaction between the composer and the performing style is preserved: the comprehension of the composer's style is combined with the formation of the performer's interpretative intent;

- decoding of the author's text is accompanied by the process of its actualization in the modern cultural space;

- the choice of expressive means and techniques is determined by the information embedded in the text of the work, with the personality of the performer and the corresponding cultural and historical context ^{[8, p. 159]}.

T.V. Khasyanova defined pedagogical conditions for the formation of skills and abilities of interpretation of musical works, which, according to the author, significantly optimize this process ^{[9, p. 79]}:

1. Providing students with knowledge of art history and pedagogy when learning works.

2. Comprehension of the artistic content of musical works, independent choice of artistic means of performing expressiveness, development of technical skill.

3. Step-by-step formation of interpretation skills in the direction from verbal interpretation to artistic and performing interpretation.

2. Methodology.2.1 The complex of psychological, pedagogical, professional qualities of the concertmaster

Concertmaster is a special vocation of a pianist. If we analyze the general features of the concertmaster's work, it should be noted that any other musical activity is unlikely to be able to compare with the concertmaster's art in its versatility and versatility.

The work of the concertmaster is characterized by the diversity of his activities: firstly, he must master the methods of musical pedagogy, namely: the method of comparison, verbal, visual-auditory, visual-visual, the method of thinking about music; secondly, be aware and be able to emotionally present versatile material;  thirdly, to be able to professionally perform the program repertoire and accompany a musical instrument; fourthly, to form the ability to various types of active musical and creative activity, fifthly, to know the specifics of work at all departments of the institution of additional education.

V.D. Arkhangelskaya points out that the professional complex of a qualified concertmaster includes ^{[10, p. 15]}:

- love for work, in particular for concertmaster performance;

- he should be a professional pianist;

- have a higher special education, without which it is impossible to professionally solve performing tasks;

- well-developed sense of partnership, empathy;

- psychological ability to be "second" after the soloist and become one with him during the performance of a piece of music;

- knowledge of the specifics of the vocal composition, vocal performance, breathing, agogics, nuances of the vocalist's voice;

- reaction speed when performing a piece of music;

- conductor's foresight and premonition;

- the ability to read various musical textures, highlighting the main thing, to see and distinguish "technical complexes (arpeggios, scales, etc.);

- general musical erudition, knowledge of a large number of musical compositions.

In addition, the concertmaster's communication skills can be distinguished. Communication skills include the following skills, such as  as the ability to build a constructive dialogue, the ability to smooth out emerging problematic situations, the ability to use both verbal and non-verbal means (gesture, emotions, symbols, etc.) in the process of communication. E.A. Shcherbakova refers to the communicative skills of concertmasters: the ability to establish emotional contact, gain initiative in communication; the ability to manage their emotions; observation and switchability of attention ^{[8, p. 154]}.

The activity of the concertmaster covers both performing, pedagogical and organizational work, where music acts as a real, independent process. The work of an accompanist is unique and interesting, his role in the educational process is undoubtedly great, and perfect mastery of the professional skills of an accompanist increases the demand for a pianist in various fields of musical activity.

2.2. The algorithm of work on the interpretation of the concertmaster's work in the process of working with the student

 The ability to interpret a piece of music is a basic property of a musician's personality, which tests the performer for the ability to correctly and accurately present the work in accordance with the era of the work, the composer's style, his own vision of the musical work. This requires the performer to have deep knowledge in the field of the history of musical art, performance, stylistics, and, most importantly, musicality and artistic taste ^{[11, p.132]}. Problematic mastering of musical works involves several consecutive periods: general acquaintance with the work, its holistic coverage (the so-called pre-analytical synthesis); dismemberment based on the difficulties created, organization of a system of problematic situations, awareness of the structure and connections between them (analysis through synthesis); study of each problem separately, awareness of its significance in the musical development of the work, the formulation of cognitive tasks, the search for means and ways to solve them (various types of analysis); the unification of solved problems in the process of performing the realization of a musical work (synthesis based on detailed analysis) ^{[12, pp.141-142]}.

In the process of interpreting a musical work, there are four main stages: the emergence of an artistic idea, its formation, implementation, verification and evaluation.

The emergence of an artistic idea at the first stage of the interpretation of a musical work, according to R.M. Shamaeva, is the creation of a certain plan for the implementation of performing and creative tasks, finding certain guidelines for the interpretation of a work of art (the epoch, the key features of the composer's style and artistic direction, the specifics of the content and musical form) and solving performance and technical problems ^{[12, p. 71]}.

So, at this stage, there is a creation of its own performance model of the work.

The next stage of interpretation – the formation of an artistic idea – is mainly associated with the intellectual activity of the performer, since at this stage there is a musicological understanding of a musical work, the acquisition of knowledge of the era of music creation (socio-historical and aesthetic prerequisites), stylistic features, basic ideas, character, figurative content, principles of shaping, etc., that is, the active activity of the creative imaginations (figurative associations, analogies, appeal to other types of art).

At the stage of the embodiment and realization of an artistic idea, intensive work takes place at the instrument, during which the performer solves the tasks of performing (technical) embodiment of artistic ideas, selects expressive means, grinds sound details, works out complex fragments.

The last stage of the process of interpreting a musical work is a concert performance, where the realized idea is checked and evaluated, when the audience perceives the performance of the work, that is, its author's interpretation.

Creating a performing interpretation of a musical work, comprehending the author's idea and the emotional fullness of music, A.A. Semicheva believes, a musician often identifies the emotional content of an artistic image with his emotional experiences, therefore, the development of the emotional sphere of the individual takes place, the upbringing of his emotional culture ^{[13, p. 143]}. In addition, as L.N. Romanenko notes, interpreting a musical work, a musician-performer discovers for himself the specific features of the representation of emotions and their development, which are inherent in a certain author, historical epoch, style, genre, etc. The result of this is the enrichment of the musician's inner world, the development of emotional intelligence ^{[6, p. 43]}. So, the process of interpretation significantly deepens the emotional sphere of the personality.

In the music pedagogy of recent decades, the concept of "artistic and pedagogical interpretation" of musical works associated with the artistic and creative activity of a musician-teacher has acquired significant importance. It is interpreted as a kind of integrated subjective interpretation of works of different types of art (literature, music, painting, etc.), which enriches the musical image and allows the interpreter to more fully reveal its content, stylistic features of the composer and performer, use various pedagogical techniques. Artistic and pedagogical interpretation, as A.A. Piletskaya points out, is a complex of various types of interpretations:

- musicology (immersion in the culture of a specific historical epoch, analysis of the specifics of performance and reproduction of musical material by representatives of different performing schools, trends, stylistic trends);

- artistic and figurative (disclosure of the semantic context of the work using explanatory material from various sources, orientation to a specific contingent of listeners);

- performing (generalization of the composer's idea in artistic and subjective performance, improvement of performing skills and skills of performing introspection);

- verbal-semantic (as a means of creating an emotional dramaturgical concept of a musical work based on the synthesis of musical and literary-poetic thoughts);

- visual-associative (interpretive parallels of music and painting, stylistic, genre units of works of art);

- acting, built on the basis of performing and acting skills, implemented in the form of an emotional and figurative design of an artistic and pedagogical interpretation at the time of performance in front of the audience ^{[4, p. 126]}.

In the course of solving learning tasks, the concertmaster uses different methods, but methods of stimulating the motivation of educational and cognitive activity of students are of particular importance. The pedagogical side requires the concertmaster to have a number of skills and knowledge in the field of performing arts. Such skills include:

- patience and pedagogical tact;

- techniques of ensemble performance;

- communication and the ability to talk about music from the professional and pedagogical side ^{[14, p.145]}.

Especially important in the emotional direction of the concertmaster's professional skill is the ability to find the right tone of accompaniment.

The concept of "finding the right tone" of performing a piece of music, conducting a conversation, has long been a place in art. This concept is associated with the emotional center of the creative process. To find the right tone for each student, T.E. Nikolaeva believes, is one of the most difficult tasks of preparing an accompanist in our time ^{[15, p. 260]}. Taking into account the method of K.S. Stanislavsky, applying it in pedagogical practice, it will be useful to use the "method of identification", that is, the synthesis of one's "I" with the image and thought of the musical work being performed. This technique involves not only a lot of preliminary work on a musical work, but also knowledge of the epoch, the history of creation, the artistic and ideological context and the "living" by the concertmaster of the artistic image of the work ^{[15, p. 261]}.

T.M. Matyushkova recommends immersing yourself in the ideological and figurative content of the work with the help of the basic "mechanisms" of any creative process: comparisons, comparisons, analysis, synthesis, abstraction and generalization. Therefore, the concertmaster needs to learn not to be afraid to determine what is important in works of art – beauty, figurative content ^[1]. The creative activity of the concertmaster is especially evident in performance. This activity of the concertmaster reveals many opportunities to identify their creative characteristics, develop independence, improve pedagogical experience and professional skills.

Tentative research actions play an important role in the process of solving performance tasks, which help to choose an interpretation that will correspond to the capabilities and professional experience of the performer. The concertmaster should know that in this case there are three types of mental actions: indicative, performing and control, which makes it possible to analyze the step-by-step formation of actions in working on a piece of music.

Indicative actions, according to T.V. Gladkova, arise in the process of familiarization with a piece of music, its primary perception and work on a musical text. The basis of this is a personal action plan as a prediction of the sound result and an idea of the necessary performing actions, historical and theoretical analysis, understanding of the basic laws of performance (style, genre, form). This makes it possible to designate the stages of work and refine the primary action plan during processing ^[16].

The task of the performer is to correctly determine the relationship of the work with its creator and take into account all the stylistic features in the process of working on it. Sometimes even mature masters – professional musicians – comprehend the artistic world of a musical work, mainly sensually and intuitively, although it is known that the subjective interpretation of the work often turns out to be inadequate to the composer's plan and can lead to the substitution of the ideological and figurative content of the work for the interpreter's perception.

Therefore, even a small piece of music should be based on a comprehensive study of it. This will allow you to delve into the figurative sphere, support the performer's interest in the work and, finally, understand the author's intention. To do this, we propose to conditionally divide the process of working on the work into four stages.

The first stage involves working on the ideological and imaginative content, identifying complex fragments. Understanding the basic meaning of the musical text of the work. This work is carried out by three sides of the educational process: the teacher, the concertmaster and the student. After working through the musical text, the concertmaster, the teacher and the student come to the same conclusion – a common understanding of the ideological and figurative content of the musical work.

At this stage, there is a search for special features of the expressiveness of the work, an analysis of the work, which helps to determine the connections between the figurative meaning of the work and its structure, means. This analysis includes:

- clarification of the content, ideological and figurative concept of the work;

- definition of expressive means of musical language that contribute to the formation of the semantic content of the work, its intonation and thematic specificity;

The work begins with familiarizing the performer with the following concepts, such as "text", "image", "grammatical interpretation", which will prepare him for setting the goal to be achieved. This stage includes familiarization with the text on the basis of anticipation, that is, intuitive "grasping", "premonition", "initial understanding" of the whole and making a judgment.

Anticipation is carried out by playing the text on the instrument or by mentally reading and presenting the content of the work. It should be noted that listening to the work in the recording contributes to the traditional interpretation of the work, copying, obtaining knowledge in a ready-made form.

Upon familiarization, the performer should also turn to the analysis of the structure of the work, which will allow to penetrate into the inner content, to find musical-auditory representations (musical image). It should be noted that the main structural element of a musical work is a melody, as a cell of the intonation content of the text, which is able to embody thoughts, plays an important role in determining its character. Other main elements include those changes that radically change the melody. These are: metrorhythm, tempo, fret. Auxiliary means include other means of musical expression of the text, enriching musical and auditory representations: harmony, dynamics, composition, texture, etc. When creating a musical and artistic image in parts and in whole, performers should rely on the work of representation and abstract-logical thinking. At the same time, it is important that the musician does not depend on his own bias, which arises under the influence of the environment, upbringing or involuntary thoughts. This will not allow us to deviate from the logic of the development of the image of the work, inadequate to its reading.

At this stage, the foundation of communication between the participants of the educational and creative process is emerging, namely:

- communicative abilities (communicative function, speech culture);

- communicative competence (semantic integrity, correspondence to the topic, disclosure of the ideological and figurative content of the work);

- a set of skills to quickly and adequately navigate in the conditions of communication, the ability to find appropriate means of transmitting the content of communication;

- communication skills (dialogic, unique communication, awareness, responsibility, aesthetics).

At the second stage of work on a musical composition, knowledge of composers is involved: the style of writing, the epoch, the main creative features of a particular composer, etc.

For a more coordinated and fast work at this stage, the teacher initially gives homework to the student – the study of the composer's creativity and the era in which this piece of music was written. Also, the concertmaster, having refreshed his memory of the composer's work, is involved in joint work with the teacher and the student. After the work done, the relationships between the participants of the creative process are strengthened, which contributes to the improvement of the concertmaster's communication skills, namely: responsibility, aesthetics, effectiveness, dialogicality, awareness of actions.

When analyzing a work, it is important to find out the circumstances that prompted the creation of this text, to study the historical situation in which the author lived, the peculiarities of upbringing and the level of his education. In addition, the study of the composer's biographical data will allow you to create an idea of the nature of his personal experiences, individual typological features and dominant emotional orientation. After all, cognizing reality from all sides, the author absorbs all its diversity, including the value orientations of society, which, changing in a certain way, are reflected in his works, passing through the personal life position, the individual originality of the composer's personality.

After the work done in the first two stages, we move on to performing activities. This is the third stage of work on the work.

At this stage, it means the joint work of the teacher, the student and the concertmaster, taking into account all the points passed (the ideological and figurative content of the work, acquaintance with the composer's interpretation of the work, etc.)

After a general understanding of the musical composition has been achieved by all sides of the creative process, we move on to the performance interpretation.

It also discusses in detail the specifics of playing different musical instruments, performing techniques, dynamic shades, complex musical fragments, fingering, means of musical expression, agogics, tempo remarks, etc.

At this stage, we ask leading questions by type:

- In this fragment, what is the best way to put down dynamic shades?

- Which fingering is more convenient in this piece of music?

- Which strokes will more accurately depict the musical image?

- What game techniques do we use in this work?

- Does your play reveal the ideological and figurative content of the work?

The fourth stage is the result of the work of the participants of the educational and creative process, the coordinated work of the concertmaster and the student on stage.

Here, behind the scenes before the performance, the concertmaster must support the student, since the teacher may not always be nearby. Each student perceives his appearance on the stage differently, everyone has different stage excitement. And here the communicative skills and skills of the concertmaster are most clearly manifested, since each student requires a different approach in connection with the peculiarities of the manifestation of mental reactions to the upcoming performance. We can use a conversation on a distant topic or a conversation on a work, setting the student up for a positive game. At this stage, the level of communication between the student and the concertmaster is manifested.

3. Results.Understanding the significance of the role of the concertmaster in the process of working on the interpretation of a musical work, understanding the structure of professionally significant qualities of the concertmaster and especially his communicative skills and abilities makes the rehearsal process and, as a result, the process of concert performance much more effective, vivid and convincing.

Therefore, the identified and tested algorithm of the concertmaster's work with the performer, especially with students, with the strengthening of the role of communication between the concertmaster and the performer, can become a means of achieving certain results.

 Table 1

4. Discussion.

Since the importance and role of the concertmaster in performing activities is very high, attention is constantly paid to this problem. The works of famous concert pianists, famous teachers consider the structure of the concertmaster's activity, his professional skills and qualities, which are generally defined as following the soloist, existence on stage in a single emotional and sensual tempo.   The evolution of ideas about the specialty and the formation of directions of concertmaster activity is characterized by E.I. Kubantseva, E.K. Mnatsakanyan, A.V. Nikolakhina, T.E. Nikolaeva, etc. The analysis of the specifics of communicative abilities among representatives of creative specialties was carried out by G.G. Matveeva, O.I. Muravyeva, L.A. Patrikeeva, etc.

The complex of psychological and pedagogical, professional qualities and communicative abilities of the concertmaster is presented in the studies of I.A. Ivanova, E.P. Kondakova, T.M. Matyushkova, etc.

Despite the extensive methodological literature devoted to the activities of the concertmaster, in our study we touched upon the problem of the concertmaster's participation in the realization of the composer's idea, in strengthening the importance of the concertmaster's communicative skills and skills in working on the interpretation of the work, especially with young performers or students. Establishing contact between performers, understanding, trust in the concertmaster as a like-minded person on stage only contributes to successful concert activities

5. Conclusion.Musical performance is a rather complex creative process that has its own unique features.

The problem of creative interpretation stimulates the development of a number of professional and personal qualities in a musician, such as artistic and imaginative thinking, possession of means of musical expression, musical erudition. And the possession of various techniques and experience of performing activities will allow the musician to deeply and fully reveal the author's idea of the performed work.

The proposed algorithm provided for a four-step approach to work on the interpretation of the work.  At each stage, the concertmasters had to show such skills as working with additional sources of information, the ability to compare, analyze and generalize, and draw conclusions. Each of the stages provided for a certain communicative activity of the concertmasters. The systematic use of the proposed algorithm over the interpretation of the work has a positive effect on increasing the level of communicative abilities of concertmasters.

Artistic and pedagogical interpretation of a musical work allows you to organize effective artistic and pedagogical communication, as well as organically combine the emotional, intellectual, technological (performing) capabilities of a teacher, an accompanist and a student during joint work on a musical work, that is, in the process of its interpretation.

Thus, the analysis of scientific research on the interpretation of a musical work allowed us to come to the conclusion that it is advisable to use artistic and pedagogical interpretation as an integral pedagogical process aimed at the development of professionally significant qualities of an accompanist in the training of concertmasters.

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