Scholarly record

“SINGING ON THE PIANO”: THE BASIC OF PERFORMING AND POSSIBILITIES OF TEACHING WITH THE USAGE OF THE TATAR FOLK SONGS’ ARRANGEMENTS

G. Batyrshina, L. Safiullina, E. Kovrikova, N. Nurgayanova

Abstract

Melodic interpretation of an instrument (the piano) is the main part of piano performance. One of the most important criteria of the quality of a pianist’s performance is an ability to show piano’s melodic potential, to convey the vocal expressiveness to the sound of a melodic “tapestry”. Many well-known concert pianists used exquisite piano cantilena, a piano “sang” in their performances, relaying a palette of nuances of vocal intonation using the means of pianistic sonority. The study and research of the subject of teaching the cantilena-like performance is predicated on the conceptual analysis of the theory of piano performance; as an example, a theory of the “piano intonation” (by Avgusta Malinkovskaya), the study of methodical and scientific sources, the usage of the scientific knowledge; the empirical method of observation, auditory performance and methodical analysis. A research shows that the musical and psychological basic of performing a cantilena is the performer’s internal “intonation” of the musical “tapestry” (or fabric of a piece of music). The sonoric realization of the cantilena performance is connected with articulation, sound forming, phrasing, timbre, musical dynamics, touché, the performing apparatus, pedaling, etc. The teaching to perform “cantilena-like” starts at the beginning of studying the piano, although mastering the technique of legato becomes quite difficult for a student. The unformed performer’s apparatus and underdeveloped auditory and motor skills of the beginners makes it hard to achieve a full-blown melodious performance. The necessity of having a finger connectivity of the notes in the melodic line often creates muscular clamping; and the striving for expressiveness through the means of dynamic forcing prevents smoothness and flexibility of melodic voice leading. In the teaching to perform “cantilena-like”, there are certain effective methods based on the piano arrangements of the Tatar folk songs. The proposed techniques allow to draw upon the vocal source as a foundation of the intonation and phrasing; also to learn legato “positionally”, within the song’s intonation or motif; and to actualize lyrical images of Tatar literature.

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DOI resolver: doi.org/10.5593/sgemsocial2017/34/S13.097

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