THE CONCEPT OF INSTRUMENTALISM IN THE ASPECT OF MUSICAL THINKING

Abstract

The article is devoted to the illumination of the essence of instrumentalism as an artistic and aesthetic phenomenon – multistructural and polysemantic. Its development and introduction in a larger volume into the practice of public music making was a historically natural stage in the evolution of music, and its autonomization as a separate, independent sphere of art. In the aspect of the evolution of string-based instrumentalism, changes in the dashed technique are considered. Instrumental techniques as components of instrumentalism appear in different compositional styles and in the originality of textural solutions, fixing the author’s principles for choosing a particular sound. About this in recent decades, written a number of studies, the materials of which I also considered. Stringed stringed instruments can be called "visible breath" of music. The singer’s breath, which unites several notes of the melody, responds to the violin or alto by the movement of the bow. The importance of instrumentalism especially increased in the music of the 20th century, in connection with the development of new trends, the intensive process of creating new composite systems, which resulted in the creative processing of existing types of instrumentation. Among the actual problems of music and performing arts, a significant place is occupied by questions connected with the analysis and interpretation of certain aspects of the performing technique. Any executive trick can be mastered perfectly only if we consider it as a means of achieving a specific artistic goal, as a manifestation of the characteristic features of string-bow instrumentalism. So instrumentalism is a category that transforms the innate properties of the instrument in accordance with the requirements of each of the trends, trends, styles of musical art of this or that era.