Understanding expressive intonation

Research on intonation has mainly sought for classifying and/or expressive explanations for performers’ strategies. In the field of music psychology and music perception, such explanations have been explored in terms of interval direction, size, or type; in the field of performance analysis, to which this article belongs, investigation on intonation has been not only scarce but also limited to short excerpts. In this context, this article explores Pau Casals’ intonational practice specific to his recording of Bach’s E flat major prelude for solo cello. To do so, on the basis of exact empirical measurements, it places such practice alongside the cellist’s conscious, theoretical recommendations apropos what he called “expressive” string intonation, showing that the interpretation of the latter should is not straightforward. It also proposes several reference points and tuning systems which could serve as models for Casals’ practice and looks for explanations beyond simple interval classification. In this manner, it ultimately proposes a structural function for intonation, in partnership with tempo and dynamics. Similarly, it understands Casals’ intonational practice not as a choice between but as a compromise for multiple options in tuning systems (mostly equal temperament and Pythagorean tuning), reference points (the fundamental note of the chord and the immediately preceding tone), the nature of the compositional materials (harmonic and melodic), and, most importantly, structure and expression.

INTERPRETATION PECULIARITIES OF THE CAPRICE GENRE IN F. MENDELSSOHN’S PIANO CREATIVITY

Statement of the problem. The centuries-old development of the genre of piano caprice (capriccio), which led to its flourishing in the work of romantic composers, is considered as an integral part of the genre system in Western European piano music. Insufficient study of Mendelssohn’s piano works, in particular caprices, determines the relevance of the research. The purpose of the article is to generalize stylistic qualities of the composer’s piano caprices in the context of genre evolution and their performance features. Analysis of research and publications. The genre of caprice is studied in the historical research of T. Livanova (1983), who equates the form of fantasy and capriccio-ricercare. V. Protopopov (1979) reveals the connection between fantasycapriccio and fugue in the early 17th century. K. Agisheva (2007) examines the historical aspects of the study of the capriccio genre. Modern Western European researchers, analyzing the genre of piano caprice, emphasize that its musical texture is filled with elements of vocal lyrics and mood swings (Lewandowski, 2017; Keym, 2009). At the same time, the issues of performance features remain unclear. Methods. Complex methodological approach applied in the article (historical, genre, structural-functional, performаnce research methods) allows us to trace the development of caprice from the Baroque era to Romanticism and conduct an intonational-dramatic analysis of Mendelssohn’s works in accordance with the following criteria: musical form (dramaturgy), textural presentation, thematic development, tempo-rhythmic characteristics, nature of thematism. Analysis of recent research and publications. Baroque caprice is a work of polyphonic composition and improvisational construction (J. S.Bach, G.F. Handel, I. Sweelink, J. Frescobaldi). In the era of Viennese Classicism, caprice was not very popular due to its improvisational, bizarre nature, contradicting to the aesthetic ideals of the time. The genre of piano caprice became widespread in the era of Romanticism in the works of F. Mendelssohn, whose distinguished style is marked by virtuosity, melody, grace, sentimentality, clarity of presentation. Among the works of F. Mendelssohn there are seven caprices for solo piano and with orchestra. The intonational-dramatic analysis of Mendelssohn’s piano caprices makes it possible to trace the main stylistic qualities of the genre and to reveal its performance features. Conclusions. The work outlines the stylistic traits of Mendelssohn’s piano caprices ассording to such parameters: – compositional structure of his piano caprices is a one-movement composition or a cyclic one, composed of two or three movements; – texture of the music is determined by polyphonic orchestral elements and broad cantilena themes; – thematic development is based on repetition, variability or variation; – tempo-rhythm is characterized by three-beat pulsation, syncopation of rhythm, sharp accentuation; – thematicism is determined by synthesis of lyrical and decisively acting images inherent in the style of Mendelssohn. Hence, the main task for the performer is clarity, expressive intonation of the melody in combination with a “pearl” light touch and energetic dynamic tempo rhythm.

VOICE AND SPEECH OF THE TEACHER AS A MEANS OF PEDAGOGICAL FASCINATION

The article examines vocal fascination as a phenomenon of pedagogical influence. The purpose of the article is to identify what techniques of voice fascination are necessary for a student-future teacher, how to master them in order to effectively use them in teaching and communicating with children in the classroom. The techniques of voice fascination necessary for a future teacher for effective use in teaching and communicating with children were revealed: expressive intonation, tempo, rhythm of speech, novelty effect, fascinating presentation of information, creating a holiday atmosphere, facial expressions, smile. On the example of the work of the "Theater of the Word KB Sargsyan" methods of voice and speech development in future teachers in the process of intoning a poetic text are revealed. The means of effective influence of the teacher's vocal fascination have been identified, which help to captivate, interest students in the learning process, and increase motivation.

¡Entonemos del revés!: algunas estrategias para mejorar la entonación emocional de los alumnos de ELE / Let’s modulate our voice inside out!: some strategies to practice the emotional intonation with Spanish as a foreign language students

En este artículo se propone una secuencia de actividades basada en algunas ideas del Método verbo-tonal (Guberina/Murillo, 2008; Padilla, 2018) la cual consta de cinco actividades, secuenciadas en percepción-producción/consciente-inconsciente (Padilla, 2015), para practicar la entonación expresiva. El elemento motivador que se emplea a lo largo de la secuencia didáctica es la película Del revés. En esta secuencia de actividades perseguimos dos objetivos: contrastar la entonación neutra con la emotiva y practicar la entonación neutra y emotiva en enunciados declarativos. Para ello, haremos una contrastación de los valores emotivos con los neutros, trabajando las seis emociones básicas: alegría, miedo, asco, enfado, tristeza y sorpresa. Palabras clave: verbo-tonal, actividades, entonación, expresiva, emociones This article aims to develop a sequence of five activities based on some of the ideas of the verbo-tonal method (Guberina/Murillo, 2008; Padilla, 2018). They are classified as different processes in order to practice the expressive intonation: perception and production in a conscious and unconscious way (Padilla, 2015). The primary motivation is the movie- Inside out. This sequence of activities has two objectives: contrasting the neutral intonation with the emotional intonation and practicing the neutral and emotional intonation when using declarative statements. To do so, this sequence of activities will contrast the neutral values with the emotional ones by working with the six basic emotions: happiness, fear, disgust, anger, sadness and surprise. Key words: verbo-tonal, activities, intonation, expressive, emotions

¡Entonemos del revés!: algunas estrategias para mejorar la entonación emocional de los alumnos de ELE / Let’s modulate our voice inside out!: some strategies to practice the emotional intonation with Spanish as a foreign language students

En este artículo se propone una secuencia de actividades basada en algunas ideas del Método verbo-tonal (Guberina/Murillo, 2008; Padilla, 2018) la cual consta de cinco actividades, secuenciadas en percepción-producción/consciente-inconsciente (Padilla, 2015), para practicar la entonación expresiva. El elemento motivador que se emplea a lo largo de la secuencia didáctica es la película Del revés. En esta secuencia de actividades perseguimos dos objetivos: contrastar la entonación neutra con la emotiva y practicar la entonación neutra y emotiva en enunciados declarativos. Para ello, haremos una contrastación de los valores emotivos con los neutros, trabajando las seis emociones básicas: alegría, miedo, asco, enfado, tristeza y sorpresa. Palabras clave: verbo-tonal, actividades, entonación, expresiva, emociones This article aims to develop a sequence of five activities based on some of the ideas of the verbo-tonal method (Guberina/Murillo, 2008; Padilla, 2018). They are classified as different processes in order to practice the expressive intonation: perception and production in a conscious and unconscious way (Padilla, 2015). The primary motivation is the movie- Inside out. This sequence of activities has two objectives: contrasting the neutral intonation with the emotional intonation and practicing the neutral and emotional intonation when using declarative statements. To do so, this sequence of activities will contrast the neutral values with the emotional ones by working with the six basic emotions: happiness, fear, disgust, anger, sadness and surprise. Key words: verbo-tonal, activities, intonation, expressive, emotions

The Colour Strings Method for the Young Violinist

Violinist Rebekah Ann Brown is director of the Columbus School of Music and the Violin School of Bloomington, Indiana. At Indiana University, she specializes in violin pedagogy. She conducts psychoacoustic research in measurements of expressive intonation by recording artists and performs comparative studies of holistic philosophies. She has studied Colour Strings in this country and in London and has a Suzuki certificate from Matsumoto, Japan. Brown has taught in private studios, public schools, and universities and has been a musical director of youth symphonies. Her expertise is sought in clinics and seminars and by artists-in-residence who are working with students and teachers. She uses both orchestral literature and American fiddle music with students for developing technique. She has also cataloged an extensive list of twentieth-century music for technical studies at all levels of proficiency.