ARTICULATION IN S. PROKOFIEV’S PIANO COMPOSITIONS
Abstract
The article considers articulation as an important means of expression in composing, performing and pedagogical creativity allowing to reflect the artistic image as fully as possible. The peculiarities of articulation are studied on Prokofiev's compositions "Sarcasm", "Evanescence", Sonatas No. 5, No. 6, No. 7 and No. 8, revealing its most significant features (polyfunctionality, semantic versatility, differentiation of texture) and emphasizing instrumental specificity. The potential of articulation in terms of phonetic character and its ability to create an integral pronunciation quality are indicated. The terminological analysis of modern research opinions on the structure of the concept itself is carried out. Conclusions are drawn about the complex nature of articulation and its special relations with such means of expression as tempo, metro rhythm, dynamics, pedalization. Articulation is always connected with the conception of the work. In case the signs of articulation are written out by the author in the text, their arbitrary change leads to the loss of the meaning of the composition being performed. In Prokofiev's pieces articulation bears the imprint of his individuality, so attention to the interpretation of articulatory instructions ensures the adequacy of the perception of artistic intent.
About the Author
N. M. SMIRNOVA
L. V. Sobinov Saratov State Conservatoire
Russian Federation
Russian Federation
Natalia M. Smirnova, Cand. Sc. (Art Criticism), Professor at the Department of Special Piano
410012, Saratov
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Review
For citations:
SMIRNOVA N.M. ARTICULATION IN S. PROKOFIEV’S PIANO COMPOSITIONS. ARTE. 2022;(2):71-80. (In Russ.)
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