Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities

Diana Stancheva

doi:doi:10.11648/j.ijla.s.2014020501.22

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Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities

Diana Stancheva

Published in International Journal of Literature and Arts (Volume 2, Issue 5-1)

Received: 26 August 2014 Accepted: 12 September 2014 Published: 16 October 2014

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Abstract

The study is oriented towards one of the most disputable, and least explored and clarified up to now issues in the methodology of teaching the accordion and in the theory of the performing art, namely - the position of the accordionist regarding the selection of means of expression, in his capacity of an interpreter of adapted (not original) pieces - of which consist the most part of the polyphonic works of the repertoire of the students from performance classes in the Universities. The focus is placed on the major and basic issue of performance of polyphonic music, related to the specifics of sound-forming and sound-shaping with the accordion, namely: how should the theme be outlined in a distinct manner, how should a certain motive be emphasized or how should a particular voice stand out in the polyphonic texture, provided the air-flow is being directed equally to all open resonator valves. Two opposite concepts of articulation are presented - both being incorporated in the practice of performance and teaching of the accordionists - the dispute between which still remains open. By analyzing the strengths and weaknesses of these concepts, an attempt is made to extend and deepen the knowledge towards finding an adequate solution to the problem of the solo interpretation of polyphonic transcription with the means of expression of the accordion. The issues described that are placed theoretically for the first time in Bulgaria provide guidelines for certain future more detailed and extensive research in the field of methodology of teaching the accordion and the accordion performance art.

Published in	International Journal of Literature and Arts (Volume 2, Issue 5-1) This article belongs to the Special Issue Musical Theory, Psychology and Pedagogy
DOI	10.11648/j.ijla.s.2014020501.22
Page(s)	70-76
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Accordion, Performance, Transcriptions, Polyphony, Methodology, Articulation

References

[1]	Al. Schweitzer, "Johann Sebastian Bach". Sofia.1981; Ал. Швайцер, „Й. С. Бах”. София. 1981
[2]	Fr. Lips, "The Art of Playing the Bayan". Moscow. 1985; Фр. Липс, „Искусство игры на баяне”. Москва. 1985
[3]	G. Galabov, "Methodology of Accordion Education". Sofia. 1990; Г. Гълъбов, „Методика на обучението по акордеон”. София. 1990
[4]	I. Braudo, "Articulation". Leningrad. 1973; И. Браудо, „Артикуляция”. Ленинград. 1973
[5]	K. Fileva, "Methodology of Piano Education". Plovdiv. 2011; К. Филева, „Методика на преподаване на пиано”. Пловдив. 2011
[6]	L. Barenboim, F. M. Blumenfeld, "Issues of the Art of Music Performance", vol.2. Msocow. 1958; Л. Баренбойм, Ф. М. Блуменфельд, „Вопросы музыкально-исполнительского искусства”, вып. 2. Москва. 1958
[7]	M. Druskin, "Johann Sebastian Bach". Moscow. 1982; М. Друскин, „Йоганн Себастъян Бах”. Москва. 1982
[8]	P. Gvozdev, "Principles of the Sound Forming of the Bayan and Its Sound Production". "Bayan and Bayan Perrformers". Moscow. 1970; П. Гвоздев, „Принципы образования звука на баяне и его извлечения”. Кн. „Баян и баянисты”. Москва. 1970
[9]	P. Marinov, "Articles on Accordion Education". Plovdiv. 1996; П. Маринов, „Очерци за обучението по акордеон”. Пловдив. 1996
[10]	R. Poterov, "Methodology of Accordion Education". Blagoevgrad. 1995; Р. Потеров, „Методика на обучението по акордеон”. Благоевград. 1995
[11]	S. Simeonova, "Johann Sebastian Bach. Inventions and Symphonies for Clavier. Specifics of the Performers' Approach". AKT Musik. Plovdiv. 1995; С. Симеонова, „Йохан Себастиан Бах. Инвенции и симфонии за клавир. Специфика на изпълнителския подход”. АКТ Musik. Пловдив. 1995
[12]	Ts. Andreeva, "Methodology of Clavier Education". Sofia. 1985; Ц. Андреева, „Методика на клавирното обучение”. София. 1985
[13]	Y. Akimov, "Certain Theoretical Issues in Playing the Bayan". Moscow. 1980; Ю. Акимов, „Некоторые проблемы теории исполнительства на баяне”. Москва. 1980

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Diana Stancheva. (2014). Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities. International Journal of Literature and Arts, 2(5-1), 70-76. https://doi.org/10.11648/j.ijla.s.2014020501.22

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Diana Stancheva. Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities. Int. J. Lit. Arts 2014, 2(5-1), 70-76. doi: 10.11648/j.ijla.s.2014020501.22

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AMA Style

Diana Stancheva. Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities. Int J Lit Arts. 2014;2(5-1):70-76. doi: 10.11648/j.ijla.s.2014020501.22

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@article{10.11648/j.ijla.s.2014020501.22,
  author = {Diana Stancheva},
  title = {Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities},
  journal = {International Journal of Literature and Arts},
  volume = {2},
  number = {5-1},
  pages = {70-76},
  doi = {10.11648/j.ijla.s.2014020501.22},
  url = {https://doi.org/10.11648/j.ijla.s.2014020501.22},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.s.2014020501.22},
  abstract = {The study is oriented towards one of the most disputable, and least explored and clarified up to now issues in the methodology of teaching the accordion and in the theory of the performing art, namely - the position of the accordionist regarding the selection of means of expression, in his capacity of an interpreter of adapted (not original) pieces - of which consist the most part of the polyphonic works of the repertoire of the students from performance classes in the Universities. The focus is placed on the major and basic issue of performance of polyphonic music, related to the specifics of sound-forming and sound-shaping with the accordion, namely: how should the theme be outlined in a distinct manner, how should a certain motive be emphasized or how should a particular voice stand out in the polyphonic texture, provided the air-flow is being directed equally to all open resonator valves. Two opposite concepts of articulation are presented - both being incorporated in the practice of performance and teaching of the accordionists - the dispute between which still remains open. By analyzing the strengths and weaknesses of these concepts, an attempt is made to extend and deepen the knowledge towards finding an adequate solution to the problem of the solo interpretation of polyphonic transcription with the means of expression of the accordion. The issues described that are placed theoretically for the first time in Bulgaria provide guidelines for certain future more detailed and extensive research in the field of methodology of teaching the accordion and the accordion performance art.},
 year = {2014}
}

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TY  - JOUR
T1  - Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities
AU  - Diana Stancheva
Y1  - 2014/10/16
PY  - 2014
N1  - https://doi.org/10.11648/j.ijla.s.2014020501.22
DO  - 10.11648/j.ijla.s.2014020501.22
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 70
EP  - 76
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.s.2014020501.22
AB  - The study is oriented towards one of the most disputable, and least explored and clarified up to now issues in the methodology of teaching the accordion and in the theory of the performing art, namely - the position of the accordionist regarding the selection of means of expression, in his capacity of an interpreter of adapted (not original) pieces - of which consist the most part of the polyphonic works of the repertoire of the students from performance classes in the Universities. The focus is placed on the major and basic issue of performance of polyphonic music, related to the specifics of sound-forming and sound-shaping with the accordion, namely: how should the theme be outlined in a distinct manner, how should a certain motive be emphasized or how should a particular voice stand out in the polyphonic texture, provided the air-flow is being directed equally to all open resonator valves. Two opposite concepts of articulation are presented - both being incorporated in the practice of performance and teaching of the accordionists - the dispute between which still remains open. By analyzing the strengths and weaknesses of these concepts, an attempt is made to extend and deepen the knowledge towards finding an adequate solution to the problem of the solo interpretation of polyphonic transcription with the means of expression of the accordion. The issues described that are placed theoretically for the first time in Bulgaria provide guidelines for certain future more detailed and extensive research in the field of methodology of teaching the accordion and the accordion performance art.
VL  - 2
IS  - 5-1
ER  -

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Author Information

Diana Stancheva

Department of Music, Plovdiv University “P. Hilendarsky”, Plovdiv, Bulgaria

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Plain Text BibTeX RIS

APA Style

Diana Stancheva. (2014). Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities. International Journal of Literature and Arts, 2(5-1), 70-76. https://doi.org/10.11648/j.ijla.s.2014020501.22

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ACS Style

Diana Stancheva. Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities. Int. J. Lit. Arts 2014, 2(5-1), 70-76. doi: 10.11648/j.ijla.s.2014020501.22

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AMA Style

Diana Stancheva. Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities. Int J Lit Arts. 2014;2(5-1):70-76. doi: 10.11648/j.ijla.s.2014020501.22

Copy | Download

@article{10.11648/j.ijla.s.2014020501.22,
  author = {Diana Stancheva},
  title = {Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities},
  journal = {International Journal of Literature and Arts},
  volume = {2},
  number = {5-1},
  pages = {70-76},
  doi = {10.11648/j.ijla.s.2014020501.22},
  url = {https://doi.org/10.11648/j.ijla.s.2014020501.22},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.s.2014020501.22},
  abstract = {The study is oriented towards one of the most disputable, and least explored and clarified up to now issues in the methodology of teaching the accordion and in the theory of the performing art, namely - the position of the accordionist regarding the selection of means of expression, in his capacity of an interpreter of adapted (not original) pieces - of which consist the most part of the polyphonic works of the repertoire of the students from performance classes in the Universities. The focus is placed on the major and basic issue of performance of polyphonic music, related to the specifics of sound-forming and sound-shaping with the accordion, namely: how should the theme be outlined in a distinct manner, how should a certain motive be emphasized or how should a particular voice stand out in the polyphonic texture, provided the air-flow is being directed equally to all open resonator valves. Two opposite concepts of articulation are presented - both being incorporated in the practice of performance and teaching of the accordionists - the dispute between which still remains open. By analyzing the strengths and weaknesses of these concepts, an attempt is made to extend and deepen the knowledge towards finding an adequate solution to the problem of the solo interpretation of polyphonic transcription with the means of expression of the accordion. The issues described that are placed theoretically for the first time in Bulgaria provide guidelines for certain future more detailed and extensive research in the field of methodology of teaching the accordion and the accordion performance art.},
 year = {2014}
}

Copy | Download

TY  - JOUR
T1  - Interpretation Issues in the Polyphonic Repertoire of the Students from Musical Performance Classes in the Universities
AU  - Diana Stancheva
Y1  - 2014/10/16
PY  - 2014
N1  - https://doi.org/10.11648/j.ijla.s.2014020501.22
DO  - 10.11648/j.ijla.s.2014020501.22
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 70
EP  - 76
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.s.2014020501.22
AB  - The study is oriented towards one of the most disputable, and least explored and clarified up to now issues in the methodology of teaching the accordion and in the theory of the performing art, namely - the position of the accordionist regarding the selection of means of expression, in his capacity of an interpreter of adapted (not original) pieces - of which consist the most part of the polyphonic works of the repertoire of the students from performance classes in the Universities. The focus is placed on the major and basic issue of performance of polyphonic music, related to the specifics of sound-forming and sound-shaping with the accordion, namely: how should the theme be outlined in a distinct manner, how should a certain motive be emphasized or how should a particular voice stand out in the polyphonic texture, provided the air-flow is being directed equally to all open resonator valves. Two opposite concepts of articulation are presented - both being incorporated in the practice of performance and teaching of the accordionists - the dispute between which still remains open. By analyzing the strengths and weaknesses of these concepts, an attempt is made to extend and deepen the knowledge towards finding an adequate solution to the problem of the solo interpretation of polyphonic transcription with the means of expression of the accordion. The issues described that are placed theoretically for the first time in Bulgaria provide guidelines for certain future more detailed and extensive research in the field of methodology of teaching the accordion and the accordion performance art.
VL  - 2
IS  - 5-1
ER  -

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