Performance Style as Comprehensive Artistic Method in the Field of Music

Authors

  • Vitalii ZAIETS Department of Bayan and Accordion, Ukrainian National Tchaikovsky Academy of Music, 1-3/11 of Arkhitektor Horodetskyi street, Kyiv, Ukraine, 01001. E-mail: zaetsa@ukr.net

DOI:

https://doi.org/10.24193/subbmusica.2023.2.21

Keywords:

style, individuality, thinking of musician-performer, performing arts, composer’s creativity.

Abstract

The possibility of a review of this topic consists in the disclosure of a specific performing and instrumental awareness of the notion of style, namely, in the methodological direction of this definition as factor of the intellectual and practical perspectives for the interpretation of musical pieces. The theme of the style is complex in understanding of the problems of musical and performing arts. It is not about the stylistic features of a particular personality of the composer or an era in which this personality worked and was spiritually raised, but more about the principles of their definition. Our attempts to understand the notion of performing style are intended to help define it as carrier of a specific artistic thinking, which is objectively shaped and technologically and conceptually functioning.

Author Biography

Vitalii ZAIETS, Department of Bayan and Accordion, Ukrainian National Tchaikovsky Academy of Music, 1-3/11 of Arkhitektor Horodetskyi street, Kyiv, Ukraine, 01001. E-mail: zaetsa@ukr.net

Vіtalіi ZAIETS (born on June 30th, 1973, Zvenygorodka, Cherkasy region) is a Ukrainian musician, art critic and pedagogue, member of the National Ukrainian Music Union, PhD in Arts. He graduated from the National Music Academy of Ukraine named after P. I. Tchaikovsky (1997) and has been a laureate of international competitions. Since 1998, a lecturer/academic at the National Music Academy of Ukraine named after P. I. Tchaikovsky. In parallel with his academic work, he continued performing as a bayanist soloist of the Ternopil and Vinnytsia Regional Philharmonic. He is the author of more than 20 educational programs and more than 60 professional publications. Member of the editorial board, editor and co-author of many scientific collections and publications, including: “Current issues of humanitarian sciences”; “Art criticism: challenges of the XXI century”; “Culture and arts in the educational process of modernity”; “Academic folk-instrumental art: traditions and modernity”; “The capital department of folk instruments as a methodological center of the genre”; and others.

References

Asafiev, Boris. Selected Works: 5 v. Moscow: SSSR Academy of Sciences, (Vols. 5), 1957, 388 p.

Davydov, Mykola. Theoretical foundations of formation of performance skills of an accordionist. Kyiv, Musical Ukraine, 2004, 240 p.

Dictionary of Foreign Words / [Edited by O. S. Melnychuk]. 2nd edition, Kyiv: Main Editorial Office of the Ukrainian Soviet Encyclopedia, 1985, 968 p.

Komurdzhi, Rustem. The problem of the correlation of musical style and performing interpretation. Scientific Forum: Philology, Art and Cultural Studies: Proceedings of the 2nd International Scientific and Practical Conference (Vols. 2). Moscow, Ed. “MTSNO”, p.p. 5-9.

Kudryashov, Andrei. Performing interpretation of a musical work in the historical and stylistic evolution. Candidate’s thesis, Moscow, 1994, 233 p.

Markova, Olena. Questions of the theory of performance: Materials for the theory of performance theory for masters and graduate students. Odessa: Astroprint, 2002, 128 p.

Sokol, Oleksandr. Performing remarks, image and musical style. Odessa: The Seaman, 2007, 276 p.

STUDIA UBB MUSICA, Volume 68 (LXVIII), No. 2, December 2023

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Published

2023-12-30

How to Cite

ZAIETS, V. (2023). Performance Style as Comprehensive Artistic Method in the Field of Music. Studia Universitatis Babeș-Bolyai Musica, 68(2), 287–295. https://doi.org/10.24193/subbmusica.2023.2.21

Issue

Volume 68, No. 2, December 2023

Section

Articles

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