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Download Article (PDF) Advances in Social Science, Education and Humanities Research, volume 284 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018) Peculiarities of G. Ginzburg’s Pedagogical Principles Formation in the Context of His Performing Work Rimma Ulyanova Glinka Nizhny Novgorod State Conservatoire Nizhniy Novgorod, Russia E-mail: [email protected] Abstract—The article reveals the problems in the sphere of of G. Ginzburg’s ideas and findings for highly qualified musical pedagogy and performance. Theoretical works in the professional musicians’ upbringing is evident nowadays. sphere of general and musical pedagogy and piano performance are presented. Research of G. Ginzburg’s To realize pedagogical principles successfully in performing art based on archive materials was carried out. performing arts and training of professional concert pianists Pedagogical principals of the outstanding pianist and teacher Ginzburg selected the most active and productive methods. of the XX century were analyzed. His performing and Interest to Ginzburg’s pedagogy in the context of the pedagogical writing was characterized to reveal specific pianist's performing work is not accidental. For any musician features of their formation which played an important role in a concert performance is the summary, the aim, the result of emergence of native musical pedagogy and performance. his activities. Besides the analysis of the state of art and pedagogical literature indicates that the research reveals the Keywords—pedagogical principals; performing art; teacher problems of a purely artistic nature which are often far from and musician; mastery; content the actual paradigms of modern music pedagogy. I. INTRODUCTION II. PEDAGOGICAL PRINCIPALS: DEFINITION, ANALYSIS, At the beginning of the XX century changes in the sphere METHODOLOGY of professional musical pedagogy and performance put some Pedagogical principals are based on pedagogical laws tasks concerning formation of the most effective pedagogical and regularities. Principals reflect phenomenon on the proper principals the urgency of which cause no doubt nowadays level and give answers to the questions of feasibility of too. Realization of professional activity contains two key actions in solution of pedagogical tasks. components closely correlated with each other — performing and pedagogical. Many well-known scientists were engaged in the problem of formation and study of pedagogical principles of These spheres of activity accompany every musician on General pedagogy. In their theoretical works they mostly all levels of educational process including secondary developed universal pedagogical methods and principles professional and higher education. In such case the problem applicable in various spheres and branches of pedagogical concerning peculiarities and specificity of pedagogical science. They are certain regulatory requirements and serve principals’ formation becomes most urgent. The article as criteria to improve the effectiveness of pedagogical reveals the most important and specific features of G. activities in musical performance too. Ginzburg’s pedagogical principals in the context of the carried-out analysis of his performing art. The principle can also act as the main condition, a system-forming factor for pedagogical theory development G. Ginzburg came into the history of native musical and transformation [1]. V. Andreyev’s definition: culture not only as an outstanding pianist and performer but ―Pedagogical principal is one of pedagogical categories as a teacher, professor of the Moscow conservatory, famous which is the main normative rule based on comprehension of musical and public figure, as the author of popular in his pedagogical objective laws and characterizes the most time concert transcriptions and developments, articles general strategy of solving a certain class of pedagogical devoted to the problems of native musical culture and tasks, serves as a system forming factor for pedagogical pedagogy organization and development. G. Ginzburg’s theory development and as a criterion of its constant creative work is a bright example of successful combination pedagogical practice perfection which serves its of pedagogical and performing ways of activity. effectiveness improvement‖ [2]. The analysis of active and versatile talented pianist’s Outstanding teachers-practitioners in musical personality in performance and pedagogy testifies to the fact performance in the 19~20 centuries developed the system of that in his teaching and training system of pianists and effective methods which later was transformed into performers the most optimal and effective pedagogical pedagogical theory. Among representatives of this trend principals were formed. The invaluable practical importance there are names of K. Igumnov, A. Goldenveiser, S. Copyright © 2019, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 829 Advances in Social Science, Education and Humanities Research, volume 284 Feinberg, G. Neuhaus, G. Ginzburg. Each of these programs. We have mentioned West composers of outstanding teachers – musicians realized himself both in modernism trend whose compositions Ginzburg did not play pedagogical and concert performing activity which and from the richest heritage of impressionists the artist influenced the specific peculiarities of pedagogical played very little. principals’ formation. Its analysis was given in their methodical and pedagogical research works. Characteristic repertoire limitations can be observed in Russian music. Ginzburg played almost all piano compositions by P. Tchaikovsky and M. Glinka, but piano III. GINZBURG’S PERFORMING ART: HISTORY AND compositions by S. Rachmaninov he played rather little. DEVELOPMENT There is not a single piano concert and only some preludes, There is no doubt that the essence of performing art is the sonata No.2, etudes-pictures (in ensembles — suites and 6 combination of an artistic idea and means which help pieces for piano duet op.II). listeners to understand it. Even not all famous performers are If we consider Ginzburg’s concert repertoire in its able to achieve harmony between the depth of content and dynamic, it is possible to notice the development from perfection of form (lack of intention depth or means of its romantic composers till W. Mozart, L. Beethoven, J. Haydn realization). But this is a special indicator of performing and Russian composers; from the most difficult peaks of mastery. Such coherence of aims and means of their piano repertoire (Don Giovanni, Figaro, piano-symphonic realization was typical of Ginzburg’s performance. compositions by Liszt) till ―Songs without words‖ by Let us have a look at one of the main aspects of the Mendelssohn, miniatures by P. Tchaikovsky and M. Glinka, pianist’s individuality as a definite indicator of his inventions by J. Bach. performing style — concert repertoire. There are There were attempts to define Ginzburg’s performing ―omnivorous‖ pianists and there are pianists who prefer style based on the repertoire in special articles and in ―instant works of composers of a certain epoch, a certain style. Some sketches‖ of reviews where Ginzburg was presented not in performers prefer musical compositions of a certain the light of stylistic tendencies but rather in the glow of character or genre. There are performers preferring Chopin, composers’ style. Despite historically transitory nature of Liszt, Bach, Skriabin and so on. Classification of performers these reviews and their ―attachment‖ to a certain concert according to their repertoire preferences surely gives some program, they are of undoubted interest because they show grounds to match a pianist with a performing style. But these the relationship between the style of the performer and the grounds are not enough because the evolution of an artistic style of interpreted by him works. personality inevitably causes corresponding changes of repertoire preferences. That’s why Ginzburg’s repertoire The question of interpretation is crucial for the performer policy must be considered in a constant and rather dynamic and the work he performs. Interpretation of a musical work development during forty years of his artistic activity. has a relatively independent special artistic value. Performance cannot be fully described and formalized by a Was Ginzburg an omnivorous pianist? At first sight, composer, interaction of the work, the performer and the almost unlimited range and stylistic variety of his repertoire public is carried out during the performance itself, giving allow to answer the question positively. There is practically birth to qualitatively new characteristics of its original no aspect in the history of the world piano art in which content. Besides, interpretation of a work always exists in a Ginzburg’s performing art was not always realized on the specific socio-historical context and depends on the nature, highest level of artistic mastery and deep reflection of worldview of the performer, on the prevailing in the given stylistic peculiarities of every stylistic category. In his youth moment system of aesthetic tastes and views, on technical Ginzburg was internationally recognized as a performer of F. capabilities of the performance, and finally, on the level of Chopin’s compositions and later won the title of one of the aesthetic development of the public. best performers of F. Liszt. Virtuoso and romantic manner
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