On the prospects of mastering polyphonic music of different eras: an experimental and practical study in the framework of performing training for students of pedagogical universities
In the practice of teaching and performing practice a particularly difficult section for a pianist is the study of polyphonic music, which requires not only the ability to perceive differentially and reproduce several sound lines combining with each other in the simultaneous development on the instrument, but also the ability to comprehend the logic of organization and the artistic-figurative meaning of polyphonic speech. Of great interest to both the researcher and the performer is polyphony not only of the Baroque era, but also polyphonic music of subsequent eras and styles. This article reveals the prospects of mastering polyphonic music of different eras by the example of experimental and practical research, the purpose of which is to test in practice the effectiveness of the developed complex methodology in the piano class of a pedagogical university. In the course of the preliminary research, the students showed little interest in the perception and study of the polyphony of classical composers, romantics, polyphony of Russian and modern music, as well as the inability to use unfamiliar material and doubts about the need to work with it in further professional activities. Thus, a didactic-oriented repertory model was developed, based on the targeted selection of specific polyphonic works of different epochs, presented in the form of a table. This allowed the students of the experimental group to conduct a comparative stylistic analysis in their own practical work and to achieve unconditional growth of musical and artistic mastery.