كليدواژه :
تفسير , پارتيتور , ايگور استراوينسكي , پتروشكا
چكيده فارسي :
تفسير در اجراي موسيقي موضوعي بسيار پيچيده و تحت‌تأثير عوامل بسيار است. در اجراي يك اثر موسيقايي توسط مجري هم مكتوبات پارتيتور و هم نانوشته‌هاي آن به صدا درمي‌آيند. پس مجري اثر نه‌تنها با دقت به جزييات نوشته‌شده توسط آهنگ‌ساز مي‌پردازد، بلكه براي ارايه‌ي اجرايي خوب به كشف نكات نانوشته بسياري در اثر نيز نيازمند است كه معمولاً اين نانوشته‌ها ازنظر كمي در مقايسه با مكتوبات بسيار بيشتر هستند. سؤال كليدي اين است كه اجراكننده چگونه مي‌تواند درراستاي كشف لايه‌هايي عمقي‌تر و درك پارتيتور بر مسيري كه هنوز تجربه نكرده، پرتو افكند؟ چطور از نت‌هاي نوشته‌شده در پارتيتور به بخش نانوشته آن نزديك شود؟ دراين‌راستا به چه اطلاعات تكميلي نياز است و چگونه مي‌توان آن را به‌دست آورد؟ هدف اين مقاله نه آناليز اثر بلكه پاسخ به سؤالات فوق با تمركز بر « باله‌ي پتروشكا»» اثر ايگور استراوينسكي است. بدين‌منظور مكتوبات مختلف در مورد آهنگ‌ساز و آثار او در كنار پارتيتور و نوشته‌هاي ديگر از او موردبررسي قرار گرفته‌اند. اين مقاله نشان مي‌دهد كه چگونه مي‌توان در كنار مطالعه پارتيتور با استفاده از اطلاعات جانبي به درك بهتري از محتواي اثر كه ضرورت انكارناپذيري در رسيدن به اجرايي مطلوب است، دست يافت.
چكيده لاتين :
Interpretation is a very complicated theme in musical performance and is influenced by many factors. The notes on the paper indicate sounds in the composer's mind, but they are not still real sounds. In other words, the score does not sound by itself! Converting a composer's score to musical sounds includes a complex process full of dark points which should be discovered during the score studying and before rehearsals begins. In a musical performance, not only the written notes but also the not written parts between the notes are played by the musicians. Therefore, a musician must learn all the score details and be well prepared for all of them and also have a clear image of the sound that he wants. Of course, to achieve the desired interpretation in a performance, it is necessary to learn the orchestral score exactly, but definitely it is not enough. For this purpose, the performer needs to pay close attention to all of the details written by the composer, also to be able to discover the unwritten elements in the work to reach a clear musical imagination to provide a fine interpretation in performance. These articles, by mentioning some aspects of the score studying and citing examples shows how the additional information relates to the conductor’s musical ideas and helps them understand and prepare the piece.
The question is how can a performer discover a way to discover deeper layers between the notes in a score and understand the piece on a deeper level? How to approach the unwritten part between written notes in the orchestral full score? Which further information could be practical and how can they be obtained? The purpose of this article is not to analyze the piece, but to specifically answer the prior questions by focusing on Igor Stravinsky's Ballet “Petrouchka.”To this end, the full score of Petrouchka, other pieces, and writings by the composer, alongside various researches about the composer and his works have been studied. The author has employed his experiences in conducting and score studying to recognize the relationship between the supplemental information and how score details can be understood. This article seeks to discover ways to approach the content of the score by citing examples from the composer's various works and examining other information about his musical ideas. It should be noted that as no two works are alike, how the musicians approach the content of the work is not quite the same.
Finally, this article will indicate how a more thorough understanding of the content of an undeniably necessary work for achieving the desired performance, can be reached by employing additional information.
