Content of musical-intonation speech in the performance of works by future music teachers

Abstract

The article reveals the content of the nature of musical-intonation speech as a scientific-theoretical problem, which is presented from different scientific positions. The study of intonation in musical-instrumental performance is an important aspect from the point of view of the history of this problem and forms the basis for understanding important issues that arise in the process of reproducing the composer’s creative musical idea. The scientific essence of the concept of “intonation” and its connections with other categories – “intoning”, “sound management”, “musical speech”, “musical-intonation speech” – are considered.

The content of musical-intonation speech is presented, which has its own specific semantic features: music as a sound art has its material basis, the substrate of musical forms. The researchers singled out two main origins of musical art – movement and word, which come from ancient Greek philosophy, two independent types of musical constructions: rhythmopeia (motor intonation) and melopeia (speech intonation). The shared character of the sound nature with the human motor essence and the affinity of musical and speech intonation are revealed; it is realized that intonation is the carrier of musical content and relates it to intonation in speech, which indicates their common origin. The difference between intonation in verbal language and music is revealed, which consists in the fact that when speaking, the main semantic load falls on the word, and intonation plays a supporting role, and in music, intonation is assigned a leading role; musical-intonation speech is presented in the sense of the pitch organization of musical tones, “intoning” that exists in music in unity with other characteristics of sound, a specific manner of musical expression (articulation, musical intonation, loudness, mode, rhythm).

The meaning of “musical-intonation speech” is represented by the following essence – it is the integrated quality of musical thought development (small and detailed), which is revealed in the unity and various comparisons of morphological, syntactic and lexical elements.