Workshop as a form of professional dialogue in the context of the typological approach

Abstract

The phenomenon of workshop has deep historical roots, which led to its active development in the 20th – 21st centuries, the appearance of its various types. Among the main types, individual and group workshops can be distinguished; which are aimed at creating a broad context for understanding the composer’s text (predominance of theoretical information); to solve professional problems (artistic, technological, sound, agogic, where the master’s performance prevails); to cover purely technological issues; it is also aimed at the combination of detailed work on the composer’s text and a complete display by the master. Among the modern forms of conducting workshops, there are the following: “storytelling”, “summer academy”, “creative workshop”. Workshop, as one of the current forms of professional dialogue (both offline and online), give young performers unlimited opportunities to improve their professional level. The depth of information that each workshop carries is very different, but its perception depends entirely on the listener (the level of his professional training, giftedness, motivation, etc.). On the other hand, the higher the level of the musician conducting the workshop, the more complex the information he tries to convey through explanation and his own demonstration (those subtle gradations – sound, agogic, articulatory, semantic). It is precisely this depth that is valuable, which provides an opportunity (chance) for professional and performance growth of the student (listener). The special role for pianists of getting to know and analyzing the workshops of famous symphony conductors (work on the performance of orchestral pieces) and world singers (Luciano Pavarotti, Mirella Freni, Elisabeth Schwarzkopf and many others) is emphasized. Such workshops contribute to a deeper understanding and interpretation of piano works from the point of view of form creation (scale), the nature of intonation, the peculiarities of thinking when interpreting polyplast textural teaching (especially in the works of composers of the 18th – 21st centuries).