Virtuosity in musical art: context sketches

In article musical virtuosity in interrelation with adjacent categories of the theory of performing art is considered. Virtuosity has huge value in culture, and disputes on her don't cease the millennia. However, the theory of virtuosity isn't developed, consists of a set of separate data and only at the beginning of the 21st century it begins to develop spontaneously in the generalized system of theoretical knowledge. The initial task consists in division of the basic concept of virtuosity into a number of independent subspecies with the subsequent their classification. Differentiation of a concept of virtuosity is carried out proceeding from the revealed contextual interrelations. The system of synonymic concepts of performing art is for this purpose presented: skilfulness, skill, virtuosity, artistry, equipment, bravura, class, art, virtuoso, (tour de force). Virtuosity of the performing musician is shown in various contexts: semantic, scientific and literary, synonymic (in the form of the term), in system of means of expression of the musical piece, in connection with an intonational sobytiynost, in a triad "the composer, the performer, the listener". In structure of the known system: "the composer - the musical piece - the performer - the musical piece - the listener" virtuosity is understood or as ability of musicians - composers, performers, listeners or as attribute of the piece of music. So there are five forms of virtuosity: 1. Virtuosity of the composer; 2. Virtuosity of the composer work; 3. Virtuosity of the performer; 4. Virtuosity of a performing type of the work; 5. Virtuosity of the listener. 1, 3. Virtuosity of the composer and performer belongs to their unique ability to create or reproduce and recreate the sound world of music. These are the main sources of virtuosity. Virtuosity of their musical and art consciousness source of their creativity. 2. Virtuosity of the work is put in it by the author, schematically recorded in the musical text, in that invariable part which is steadily reproduced by all performers. 4. In performing type of the work virtuosity receives the real embodiment in sounding. It is the sound form of virtuosity inseparably linked with this interpretation of the piece of music by the performer. 5. Virtuosity of the listener is shown as his ability to apprehend adequately and to estimate virtuosity of the sounding work. Influence of music is result of collective works of the composer, performer and listener. For the listener virtuosity exists in the form of standards, ideals, opportunities of hearing to follow, sointonirovat the work at speed and in the difficult invoice. Memory of the listener divides ordinary and incredibly masterly performed by. Such standards are subject to historical changes. They change most strongly when the new public comes.

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