THEORETICAL PRINCIPLES OF MICROSTRUCTURAL PERFORMANCE INTONATION OF MELODY IN THE ASPECT OF IAMBIC PHRASATION
Olena Yaroshenko · Academic Notes Series Pedagogical Science · 2021
One of the most important features of the object under study is that intonation in the musical-historical context is a metaphorical concept, and even conditional, indefinite, when used in the work of a performer on an instrument with a fixed pitch. The conventionality of the concept of «intonation» is explained by the historical non-recognition of the existence of intonation for instruments with a fixed pitch. The notion of intonation was applied to instruments with a fixed pitch and assumed acoustic purity. The article considers the theoretical foundations of microstructural performance intonation of a melody in the perspective of the weight of iambic intonation as a factor in finding patterns of conscious nuance and compliance of the logic of performance intentions and actions to the microstructural logic of melodic lines. The article summarizes the experience and results of research on intonation theory; technical intonation formulas of embodiment of a musical text are given; the author's vision of the purpose of micro-intonation in musical formation is given. The development of the concept of iambic micro-intonation, the logic of thinking iambic phrases in determining the correct direction of work on a musical work and the freedom of the performing apparatus, in our opinion, deserves attention as an important stage in the development of performance nuance in the context of clear implementation of microstructural intonation. Detailing of linear microstructural intonation of melodies, direction of auditory-motor and intonation attention to the whole process is an important part in the work on a musical work, which is the direction of further research.