История создания фортепианного учебного репертуара Республики Молдова: нотные хрестоматии под редакцией Т. Войцеховской и А. Дайлиса (60-70-е годы XX века)
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ГУПАЛОВА, Елена. История создания фортепианного учебного репертуара Республики Молдова: нотные хрестоматии под редакцией Т. Войцеховской и А. Дайлиса (60-70-е годы XX века). In: Traditie și inovare în cercetarea științifică . Ediția 7, 12 octombrie 2017, Bălți. Bălți: Universitatea de Stat „Alecu Russo” din Bălți, 2018, pp. 71-77. ISBN 978-9975-50-225-2.
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Traditie și inovare în cercetarea științifică
Ediția 7, 2018
Conferința "Traditie și inovare în cercetarea științifică"
Bălți, Moldova, 12 octombrie 2017

История создания фортепианного учебного репертуара Республики Молдова: нотные хрестоматии под редакцией Т. Войцеховской и А. Дайлиса (60-70-е годы XX века)


Pag. 71-77

Гупалова Елена
 
Бэлцкий государственный университет имени Алеку Руссо
 
Disponibil în IBN: 24 iulie 2019


Rezumat

This article examines the series of piano collections-anthologies, including the works of Moldavian composers edited by pedagogues-pianists of the Chisinau State Conser-vatory – T. Wojciechowska and A. Dailis. The first main methodological work of this pedagogical tandem was the two-volumes A collection of piano pieces of Moldovan composes creation, which was published in 1960 by Cartea Moldovenească. It was issued there in 1963 Collection of piano works for pupils of mu-sic schools (1 part) and was intended for the 3-4grades. In 1964, under the head of the Library of the Young Pianist (grades 2-7), a new music collection was published in the Moscow Publi-shing House Music – Pieces of Moldovan composers. Their last collection of piano works for the pupils of music schools (grades 5-7), was released in 1971 in the Lumina Publishing House in Chisinau. The main part of all textbooks is miniatures, which are folk arrangements: dances (Dans, Hora, Sárba, etc.) and songs (Cântec de leagăn, Cântec de glumă, etc.). All these collections played an important role in improving musical professionalism in Moldova in the second half of the 20th century. In these readers, the authors attempted to com-bine the old methodological principles of piano teaching with some new ideas of general mu-sical education; great importance is attached to studying the intonations of native musical speech. The main advantages of these piano compilations include a large number of national materials that are relevant in pedagogical work today, valuable in melodic and technical terms, distributed successfully for students interested in music.

Cuvinte-cheie
pieces of Moldovan composers, piano collections, young pianist, piano teaching, methodological principles, musical education, folk arrangements, dances, songs