ТO THE ISSUE OF FORMATION AND DEVELOPMENT OF DIRECT ARTISTIC TECHNIQUE

Abstract

Aim of the work – to explore the stages and features of the formation of a conductor's artistic conducting technique. The research methodology consists in the application of aesthetic-cultural, historical, musicological methods. The scientific novelty of the work consists in identifying specific features of the historical stages of development of conductor's manual technique on its way to semantic artistic quality. Conclusions. Despite the youth of the autonomous (special) status of musical performance, the origins of conducting technique go back to ancient times. The first stage (spontaneous-accent) of collective performance management embodies the noisy-accent type, but already here a certain technology of hand gestures of the leader-manager was emerging. The second (cheironomic) – the longest stage, being essentially far from modern conducting and interpreting art, nevertheless reveals some of its manual-gestural origins, some affinity of this type of musical management with modern sign language and the possibility of using elements of the latter in the conducting craft (from the era of the most ancient civilizations to the Middle Ages). The third stage (battutath), again illogically "noisy" – management by means of constant beating of the beat with a special tool and a conductor's symbol of its time – a battuta (15th – first half of the 18th century). The fourth (concertmaster) – control of the performance by playing an instrument – the piano, the violin (second half of the 18th – beginning of the 19th century). The fifth stage (composer, transitional) – control of the orchestra by composers when performing their own works: silence, a new convention of special gestures, which were undoubtedly supposed to convey romantic expression, a new performing expressiveness of the genius personality, the romantic hero, professionalization (second quarter of the 19th century). The sixth stage (interpretative-performing) – concert/opera method of conducting: the autonomous profession receives theoretical generalizations, a new sensual-interpretative and concert style (modern). The first four stages – not yet conducting in the modern sense, the last two – professionalperforming, actually conducting.