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Music and Time

Annotation
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Contradictions of Authentic and Possibilites of Activation in the Educational Process
N.M. Smirnova

This article explores authentic performance as an object. The concepts of musical and performing texts of harpsichord art are analyzed. Subject of study: the boundaries of the text space and freedom of expression of the will of the performer. As a methodology, an integrated approach is used, which allows making generalizations about baroque keyboard music, personifying individual means of expression. Plays by F. Couperin and JF Rameau are used as material. Conclusions. The objective and subjective completeness of the notation depends on the rules of historical time, the characteristics of performing practice. The contradictions of authenticity lie in the dual nature of harpsichord texts, in the impossibility of "accurate" and adequate reproduction, in the need to combine the principle of historicism and individual originality. In the educational process, it is important to form the ability of performers to navigate the problematic fi eld of modern musicology and musical pedagogy, for which it is necessary to provide a competent and stylistically adequate approach to the musical text and a competent response, provided with free handling of theoretical knowledge and practical skills.
Keywords: harpsichord, musical notation, performing practice, Couperin, Rameau, contradictions, interpretation, decoding.


DOI: 10.25791/music.6.2023.1224

Pp. 24-28.

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