Виконавський аналіз музичного твору як необхідна складова інтерпретаторської діяльності
Executive analysis of musical works as a necessary component interpretative activities

Summary/Abstract: Drawing on the existing research in the field of interpretation, the author reveals the essence of the content analysis of a piece of music as a specific type of performing activity. The main stages of the creative activity of an artist-interpreter are described. The specificity of interpretative analysis of a musical piece is studied in comparison to musicological analysis. The article also considers the style factor in performing analysis as a component of interpretative activities. It is proved that in the disclosure of content of a musical piece and the formation of a performing image the performer’s perception of the individual style of the composer as a historical phenomenon is of great importance. The problem of text interpretation as rendering of a text has a special significance today as it received multi-faceted development in musicology. If a piece of music is the object of performing interpretation, its artistic content is the subject. The analysis of the artistic content of a musical piece is inseparable from studying of its form and the way of organization of the musical material. The awareness of the interaction of form and content is a necessary component in the creation of performing interpretation. It means that the analysis of a musical work is an obligatory stage of performing activity. At this stage, both conscious and unconscious processes take place, which rationally or intuitively accompany the interpreter’s activity. Being aware of the complexity and the need for versatile study of the stated the problem, the author aims, drawing on the existing research in this area, to reveal the essence of the content analysis of a piece of music as a specific type of performing activity. The performance of a musical piece and bringing its content to the audience in a way that is adequate to the composer’s intention requires the combination of two procedures – the analysis of musical content and form and interpretation itself. There is no doubt that the interpretation of a work of art beyond the understanding of the content is not possible. The understanding of the content of a musical piece takes place during its performing analysis – an important and necessary step in the process of artistic communication. As a result of such analysis, a performer comes to understanding the content of the music and creates a specific individual plan of interpretation, his own model of the future performance. Analysis of musical content leads to the realization of the concept of a musical piece – one of the biggest challenges a performer-interpreter can face. The procedure of analysing the contents of music as a part of the performing analysis also includes the style factor as it is at the intersection of composing and performing styles, where the performing interpretation is born. At the same time, the content of a piece of music is largely due to its genre affiliation. «Genre memory» (M. Bakhtin) captures not only its structural features but also specific content, which allows to call it «typified content» as one of the definitions of the genre (V. Zuckerman). On the line of genre and style affiliation the specifics of a particular piece of music arises, which becomes the object of performing analysis and interpretation. Therefore, from the point of view of specifics of the performing style, the structure of the content of a musical piece should be considered in light of genre and style content. The artistic content of music is revealed through musical imagery reflecting autonomous creative world of the artist. The purpose of performing interpretation is the following: by means of musical expression and specific performing methods to reveal the content of a musical piece, which is a social phenomenon only in the communication form. The existence of a piece of music is in its sound. In performing perception of content and form of a musical work we note the level of development of analytical and interpretive thinking of a musician, which is based on theoretical knowledge. Therefore, the disclosure of the content of a musical piece and the formation of the performing image an important role belongs to the performer’s feeling of the composer’s individual style as well as the style trend to which it belongs. Style is a historical phenomenon, which is determined by its epoch. Only discovering its laws and prototypes, considering the text and its implementation in the context, looking at the structure of the musical content to find rules and violations one can approach the disclosure of the essence of a musical image. This understanding arrives during the performing analysis.

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