Features of interpretation of baroque music in bayan performance

Abstract

The purpose of the article is to prove that knowledge of aesthetically beautiful and performance conformities to the law of style of baroque is no less important than the intuitional feeling of maintenance of music. To define that only integrating own emotional, rational, motive capabilities, bayan-players will be able to attain brightly original interpretations of the music of epoch of baroque. Also, a task to probe appeared in our article, what methods, forms, and performance expressive facilities, bayan-players need to be used for a valuable transmission vividly value to the maintenance of work in the style of baroque. The methodology consists of the application of such methods, comparative, chronologic, historical-cultural, objective-historic, creative-activity, typological, and system. The scientific novelty consists of that, to probe, what methods, forms, and performance expressive facilities, bayan-players need to be used for a valuable transmission vividly value to the maintenance of work in the style of baroque. It is proved that the specifics of sound formation and peculiarities of musical dramaturgy on the keyboard instruments of the baroque - harpsichord and organ, in the music of the XVII – the first half of the XII centuries, were dominated by the principles of dynamic terraces and equality. The detailed analysis of scores of Y.S Baсh, A. Vivaldi, G.F. Hеndel, A. Korelli, G.F. Teleman. Conclusions. Knowledge of aesthetically beautiful and performance conformities to the law of style of baroque is no less important than the intuitional feeling of maintenance of music. Only integrating own emotional, rational, motive capabilities, bayan-players will be able to attain brightly original interpretations of the music of the epoch of baroque. Also, it is discovered as a result of the analysis, that for a valuable transmission vividly value to maintenance of work, his dramaturgy, and form, it is necessary to use performance expressive facilities (the tempo of subway rhythm, dynamics, articulation) bayan-players in a complex.