Belarusian Music in the Solfeggio University Course: Style Aspect
DOI:
https://doi.org/10.31318/2522-4190.2020.127.213878Keywords:
stylistic solfeggio, historical and stylistic process, Belarusian compositional work, musical language, texture, mode and harmonic developmentAbstract
The relevance of the study is dictated by the situation of modern music education, in which the stylistic approach is the most important vector in the teaching of theoretical disciplines. In their series solfeggio is no exception. This is a discipline that lays the foundation for knowledge about music, and equally deepens, strengthens and generalizes the auditory, intonational and analytical skills accumulated in the continuous process of forming a professional musician. Within the framework of the university solfeggio course, the style approach in conjunction with the national musical material is undoubtedly interesting and productive, contributing to a significant expansion of students' intonation and aural experience.
The purpose of the research is to identify the fundamental methodological principles of style solfeggio and their projection on the Belarusian composer's work, in connection with its integration into the university solfeggio course.
The scientific novelty of the research is reported:
- systematization of educational and methodical works on the issues of stylistic solfeggio, their analytical understanding and determination of the methodological principles underlying the construction of the university course;
- involvement in the context of stylistic solfeggio of national musical material, namely, the works of Belarusian composers of the past and present;
- a methodological characteristic of the most vivid musical samples of Belarusian music, which allows synchronizing the processes of a common historical and stylistic evolution with the peculiarities of the development of professional creativity of Belarusian composers.
The research methodology is based on the flexible interaction of general scientific methods (comparative method and deduction method) with methods of theoretical musicology (analysis of various aspects of the musical language). The productivity of their connection led to the significance of the results obtained, namely, the possibility and even the need for further introduction of national material into the academic discipline of solfeggio, up to the development of the concept of style course on national musical material.
The study is undoubtedly of practical value, first of all, for teachers of theoretical disciplines. It is another important and necessary step in updating the university course of solfeggio.
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