PRINCIPLES OF FORMATION OF GENRE-STYLE COMPETENCE OF FUTURE TEACHERS OF MUSIC AND CHOREOGRAPHY

Abstract

After the Second World War, Vienna became one of the centres of the historically oriented performance movement. Austrian musicians, inspired by the creative work of German artists of the first half of the twentieth century, demonstrated their own vision of authentic performance of early music. One of the most famous interpreters of baroque music in the second half of the twentieth and early twenty-first centuries was Nikolaus Harnoncourt, who founded the Concentus Musicus Vienna. In the early 1950s, the ensemble was at the stage of forming its own approach to early music and compiling its concert repertoire. N. Harnoncourt formed his own vision of performing baroque music on the basis of research into ancient music itself, studying the performance traditions of the time and ancient instruments.  Concentus Musicus Vienna, as a collective of like-minded people, became a receptacle for the embodiment of all of Harnoncourt's interpretive ideas.

The article analyses the cultural influences on the formation of N. Harnoncourt's concept of historically oriented performance, in particular the activities of F. Jode, W. Hansel, R. Hayden, and G. Leonhardt. The role of J. Martin in shaping the worldview and performance style of N. Harnoncourt and Concentus Musicus Vienna is determined.

The principles of selecting musicians in the Concentus Musicus Vienna, the peculiarities of forming the repertoire, the specifics of interpreting ancient music, and N. Harnoncourt's research activities are characterised. The musician considered music to be a principle of speech, which was directly reflected in his interpretations.

As a result of identifying the peculiarities of the creative activity of Concentus Musicus Vienna under the direction of N. Harnoncourt in the first twenty years of its existence, it was stated that the collective made revolutionary innovations in sound and musical style, which is entirely derived from the old music itself and the corresponding instruments. One of the great merits of Concentus Musicus Vienna was the revival of the music of forgotten Austrian artists, including Johann Heinrich Schmelzer, Johann Joseph Fuchs, Heinrich Ignaz von Biber, and others. The theoretical substantiation of the principles and approaches to the performance of early music has allowed for the creation of convincing interpretations of it. N. Harnoncourt's principled position in the interpretation of early music was to see a piece of music in the context of the peculiarities of all art forms of the time of its creation.

One of the achievements of the Concentus Musicus Vienna under the leadership of N. Harnoncourt was the formation of a new type of performer, who appears as a researcher, philosopher, art critic and virtuoso musician.   The focus on a person who, through his knowledge, professional skills and unconditional desire, found a new presentation of early music and formed an ensemble that followed him in every respect is a huge difference between Concentus Musicus Vienna and other ensembles. Concentus' way of performing early music was unprecedented and fundamentally newof genre-style correspondence involves the accumulation of genre-style practice by the student of education.