Формування звукотворчої волі студента у процесі інструментальної підготовки

Abstract

У статті розглянуто педагогічні принципи К. Мартинсена. Здійснено аналіз його поглядів щодо індивідуальної фортепіанної техніки та методів навчання гри на фортепіано. Висвітлено головні аспекти педагогічних принципів К. Мартинсена, які ґрунтуються на концепції звукотворчої волі, комплексі вундеркінда.

В статье рассмотрены педагогические принципы К. Мартинсена. Осуществлен анализ его взглядов относительно индивидуальной фортепианной техники и методов учебы игры на фортепиано. Отражены главные аспекты педагогических принципов К. Мартинсена, которые основываются на концепции звукотворческой воли, комплексе вундеркинда.

The article describes K.Martynsen's pedagogical principles and the analysis of his view on individual piano technique and piano teaching methods. Article describes main aspect of K.Martynsen's pedagogical principles, which are based on pedagogical rationale as the basis of musical learning, sound imaging will and prodigy complex. His first work on the theory and techniques of piano was «Individual piano technique» (based on sound imaging will). It was published in 1930. The main idea of K.Martynsen's piano pedagogy is: true technique ever produced and cannot be produced separately and independently of artistic intentions of the artist, and always formed the basis of these intentions. Performance technique of two experienced artists necessarily different, but not because it is better or worse, but because it is different in nature, aesthetics, interpretation, art installations of both artists. K.Martynsen believed that technical training is directed from external to internal, should replace training focusing on internal to external. One of the leading mental strength, which generates a variety of manifestations piano (or other) technology, called by K.Martynsen as sound imaging will. K.Martynsen separate sound imaging will to six components: “tone-will”, “sound imaging will”, “linear will”, “rhythm will”, “will to form” and “forming the will”. The analysis of pedagogical principles for the development of K. Martynsen's individual piano technique proves that there is no single way to achieve regularity work of art, just as there is no single religion. For those, who want to survive and reproduce the artwork may be just the will to laws, just stick it returns itself. To strengthen this desire in the soul of the disciple – that is the highest principle of any art education. This teacher does not have presumed weakness, cowardice. The more the student learns to apply the laws of art, the more they will have to modify and differentiate his technique. Limitless in their ability to master the technique will help the student to the laws of art.