The auhtentic performing strategy and its modern transformations.
The aim. The present article is devoted to studying the experience of actualiz-ing the concept of the «communicative strategy» in the aspect of performing mu-sic of the baroque and classicism periods. The problem of the performing interpre-tation has been presented in terms of performing strategies chosen by musicians. The purposeof the article is to analyze the changes that concern the authentic performing strategy during the 20–21st centuries. The research methodology. The areas of using the concept of the «commu-nicative strategy» are connected with cognitive linguistics and sociology (Ye. Klu-yev) and pedagogics (A. Pligin). The development of the communicative strategy concept in the system of musicology can be found in the studies by the author of this article of different years. We can also point out the development of the notion of the «textual strategy» by N. Myatieva, who developed this linguistic term in the field of musical interpretation, offered the separation (in relation to texts of different eras) of the concepts of «a zone of a composer’s competence», «a zone of a performing competence» and structured the types of textual strategies (old, classical-romantic, and modern ones). Actually, the authentic performing strategy has been studied on the basis of research conducted by A. Dolmetsch, N. Harnon-court, V. Landovskaya, O. Lubimov, P. Badura-Skoda, M. Bilson, Jose Bowen, Anner Bylsma. Thus, the author uses the methods of the humanities, sociology and interpretation science. The results. In the concept of the «strategy» the author sees an important fea-ture of the contemporary creative process: owing to special communicative mech-anisms, the Person who interprets is capable of changing the field of meanings that is appearing in the «text-creation» system. From these positions within the frame-work of the present article we shall consider one of the varieties of the performing strategies –the authentic one. The authentic (historically informed) performance is a branch of musical art that is quite widespread and based on the positions of the historically correct way of interpretation. The attention is focused on the principles of forming the actual performing strategy in the compositions by A. Dolmetsch, V. Landovskaya, P. Badura-Skoda, N. So, in the first half of the 20th century the authentic performing strategy was characterized by the following parameters: from the point of view of the instruments the first attempts to copy old instruments appeared, then there was aconstant search for original instruments and studies of the height of pitch, tem-perament, etc.; from the point of view of the expressiveness means there was a selection of strokes, the types of articulation were mastered, the tempo and dynamics principles were correlated; from the point of view of the performing skills: musicians acquired the skills to decipher the digital bass, to adjust the composition of ensembles, to choose the number of performers, the ability to improvise and correctly decipher the ornamentationwas included into the list of obligatory skills. In the second half of the 20th century in the works by such musicians as G. Leonhard, F. Bruggen, the Kuijken brothers, F. Herreweghe, J. E. Gardiner, K. Hogwood and many others there was a slightly different approach to the in-terpretation of the compositions of the 17–18th centuries, and this approach was expressed in the desire to more accurately read urtext, further purge the originals from editorial layers (strokes, dynamic instructions, melismatics, etc.), reproduce the lost fragments and details of the existing urtext. The ways of transformation of the originally formed strategy in the last third of the 20th century, which are concluded in the processes of the synthesis of authentic and academic traditions, have also been revealed. The conclusions. The performing strategy is a kind of communicative strat-egy aimed at organizing the acoustic (sound) form of a musical composition, which is modal in its nature (variable components of the performing process – tempo-rhythm, articulation and dynamic scale, agogy, sometimes textual presenta-tion). The notion of the «authentic performing strategy» is offered, and the system of its principles is being formulated. The novelty. The notion of the «communicative strategy» is the basic concept and cognitive mechanism of the interpretative theory of musical communication. Its semantic volume unites into a single system therelations subjects and their value orientation in the joint creativity. Homo interpretatus is not only the subject of the performance, but also the sign image of a person of the Newest time culture and, accordingly, the mode of its perception. The notion of the «performing strat-egy» (in this case – in the aspect of the authentic performance) serves to develop and refine the concept.Harnoncourt, A. Bylsma, A. Staier.The prospect of the further research of the present topicis the develop-ment of the «performing strategy» notion in projections to communicative situa-tions in different historical epochs and styles.