Yevhen Savchuk’s Individual Performing Style: organization of the process of conducting interpretation
Relevance of the study. The individuality of the musician-performer, his performing style were studied both in theoretical and practical aspects. Theoretical musicology vipracyuvalo holistic theory of musical style, a separate kind of which should be considered an individual performing style of musician. The main provisions of the theory of musical style are stated in the works. B. Asafi ev, N. Gorugo, V. Medushevskaya, N. Mikhailov Is. Nazaykinsky, S. Skrebkova, Would. Jaworski and others. Deepening and concretization of the ideas of these scientists is contained in the works of A. Katrich, I. Kohanik, V. Moskalenko, S. Tishka, A. Sokol, etc. The individual performing style of the conductor-choirmaster along with the specifi cs of the conductor’s interpretation is an important part of the modern performing art, which today needs a deep theoretical understanding and systematization. Recently, there is a trend of scientifi c study of practical issues of the performing industry, including the specifi cs of the conductor. Although the study of this issue concerns to a greater extent symphonic conducting. That is why the appeal to the work of the outstanding Ukrainian choral conductor – Evgeny Gerasimovich Savchuk has great scientifi c value. The study of the phenomenon of individual performing style in the conditions of choral performance is impossible without understanding the outstanding phenomena of this fi eld of art. Creativity of the national honored academic chapel of Ukraine “Dumka” and its conductors refers to such phenomena. This is the oldest team of the country with a strong tradition and a strong creative potential became a real standard Patriotic choir performance. The chapel “Dumka” was and is an artistic environment in which a large number of chorus conductors, such as N., grew up and became stronger. Gorodovenko, A. Soroka, P. Muravsky, N. Buckwheat Is. Savchuk. Their performing heritage is of great interest to musicology, particularly in terms of interpretation and individual performing style. Main objective(s) of the study). Based on this, the purpose of the study is the theoretical understanding of the performance processes in the fi eld of choral art. In particular: a) the study of the specifi cs of the conductor’s interpretation of E. Savchuk in work with the choir; b) a detailed analysis of the stages of the conductor’s interpretation: independent, rehearsal, concert; C) understanding of The individual performing style of E. Savchuk in the context of worldview, repertoire, artistic priorities Maestro. Methodology. Various methods have been used. Inductive-research is built from concrete to General. Some characteristics of the conductor’s work lead to a generalized representation of his individual performing style. The method of analysis and synthesis used in the analysis of literature, unpublished sources. The comparative method is used to compare different stages of the process of conducting interpretation. How the study was done. The study has a number of scientifi c results and conclusions. In particular: a) analyzed the stages of the process of the conductor’s interpretation of E. Savchuk in working with the choral team (independent, rehearsal, concert); b) established the relationship between the stages of the conductor’s interpretation with the stages of creation, correction and implementation of individual-collective performance concept of the work; C) investigated the work of outstanding contemporary choral conductor E. Savchuk in the context of the specifi cs of his performing style. Results and conclusions. The research is of great scientifi c and cultural importance: 1) expands the boundaries of choral art as a phenomenon; 2) deepens and structures scientifi c knowledge in a specifi c sphere – choral performance; 3) paves the way to theoretical understanding of important cultural phenomena in the sphere of Ukrainian choral art. The practical signifi cance of this study lies in the possibility of using its provisions in subsequent courses of higher education: choral studies, choral literature, the history of Ukrainian music, the history of music of the twentieth century. A thorough analysis of the performing versions of a number of choral works will contribute to a deeper, conscious interpretation of their conductors – both in working with the team and in class work with students. The experience and peculiarities of the interpretation activity of the Dumka Capella conductors described in the study will help the conductor to find his own performing style.