Phenomenon of Choral Sonority in the Context of Intonation Theory as a Component of the University Training of the Musician-Pedagogue

• Main Authors: Aleksander B. Kritskiy, Boris D. Kritskiy
• Format: Article
• Language: Russian
• Published: Moscow Pedagogical State University, Federal State Budgetary Educational Institution of Higher Education 2020-06-01
• Series: Музыкальное искусство и образование
• Subjects: vocal-choral performance; intonation theory of music; music text; interpretation of musical text; choral sonority; audio matter; vocal sound design; phonic form; musical education; choir conductor; artistic/music image; style; liturgical singing; artistic space
• Online Access: http://musart-edu.ru/wp-content/uploads/2020/07/2020-2-54.pdf

The article was written based on the results of a theoretical study by Boris Dmitrievich Kritskiy, my father, who proposed to introduce scientific terms “musical phonics” into the spheres of musicology, pedagogy of music education and performing arts. In his view, “musical phonics” should be considered as a field of scientific and methodical research of audio (instrumental, vocal-choral) design of the process of music performed. And the audio embodiment of the musical text as a relatively independent phenomenon in a broad interpretation is a phonic form. Vocal design of choral sound is a necessary structural component of the performance. From the point of view of intonation theory of music, choral sonority – singing, vocal-choral materialization of the score – is a specially interpreted text. The audio quality is seen as a problem of vocal choral performance in the preparation of a future teacher-musician/choirmaster. There is a belief about the need for future teachers-musicians to understand the methods of constructing the audio matter of music. The methods transform the musical text in accordance with the form, logic of the development of the figurative and artistic meaning of the work and are aimed at the education of the audio culture among the choral collective. Work on the creation of a phonic form involves establishing intonation links between the performed work and the methods of its mastery. The leading role in its crystallization is played by a meaningful plan of music, which allows us to speak about it as a historical category, defined by genre-stylistic features of performed works. Built according to the laws of beauty and at the same time reflecting the spirit of its time, the era in which the performer creates, it reveals the changes that characterize the culture of vocal and choral performance. The performed composition, included in the context of broad cultural and life relations, is saturated with a new meaning. As an example, the phonic form in orthodox liturgical singing is considered.