ACCOMPANIST AS INTERPRETER AND PEDAGOGUE IN THE STRUCTURE OF THE MUSICAL PERFORMANCE PROCESS

Abstract

The aim of this study is the theoretical conceptualization and functional differentiation of the definitions “concertmaster” and “accompanist” within the context of contemporary musicology, performance practice, and music pedagogy, in particular the identification of the specific nature of concertmaster activity as a complex artistic and pedagogical phenomenon that extends beyond a purely accompanying function. The achievement of this goal involves the application of a comprehensive methodological approach that combines a historical-musicological analysis aimed at tracing the evolution of the respective professional roles from the Baroque practice of basso continuo to modern concertmastership; a functional-typological method that enables the identification of differences in the structure of professional responsibilities and levels of artistic accountability; an interpretative-analytical approach focused on understanding the role of the concertmaster in the process of musical meaning-making; as well as an interdisciplinary perspective that incorporates pedagogical, psychological, and communicative aspects of ensemble performance. The scientific novelty of the research lies in the clarification and systematization of the conceptual framework related to the definitions “concertmaster” and “accompanist,” in substantiating their nonidentity based on functional, historical, and performance analysis, and in revealing concertmastership as an independent type of professional activity that integrates performance, pedagogical, and interpretative functions and forms a specific type of musical thinking characteristic of contemporary musical culture. Conclusions. Summarizing the results of the study, it should be emphasized that the problem of functional differentiation between the definitions “concertmaster” and “accompanist” has not only terminological but also profound theoretical and practical significance. The analysis demonstrates that despite a partial overlap of their semantic fields, these concepts are not identical and reflect different levels of professional activity within the system of musical performance. Their use as synonyms, which is still common both in scholarly literature and in professional practice, prevents an adequate understanding of the specificity of concertmaster activity and reduces the precision of musicological discourse. The historical approach has made it possible to trace the evolution of the respective functionsfrom the Baroque maestro al cembalo through the rehearsal practices of the 19th century to the modern concertmaster as a universal specialist. This evolution indicates a gradual expansion of professional content: from accompaniment to comprehensive participation in interpretative, pedagogical, and communicative processes. In this context, the definition “accompanist” primarily reflects the function of musical support, whereas “concertmaster” denotes a significantly broader spectrum of professional tasks related to the organization of ensemble performance and the formation of the artistic outcome.