Development of Timbral Hearing in the System of “School – College – Higher Educational Institution”

Abstract

Timbral hearing is one of the most important components of the contemporary musician’s auditory complex. The author of the article examines the development of timbral hearing and suggests the possible paths of its development. The syncretic character of timbre, its interaction with other expressive means determines the corresponding aspects of timbral hearing: the timbral, the textural, the timbral-harmonic, the timbral rhythmic, etc. Different aspects among those indicated are accentuated at the various stages of instruction. At the intermediary and advanced levels of education, in connection with the separation into the different major fields of study, the prioritized skills for perfection of timbral hearing are determined. It is particularly the type of professional activities that stipulates the choice of musical material, as well as the prioritized goals and forms of work with it. The study of timbre, along with the other elements of the language of music, the development of timbral hearing as a part of intonational hearing corresponds with a systematic approach, presuming the study of the components of the integral with their inseparable connection and mutual influence. The incorporation of work on timbral hearing actualizes the potential of the great diversity of concrete timbral manifestation of music and meets the demands of the time and the changed technical conditions.

Keywords: timbre in contemporary music, contemporary solfeggio, timbral hearing, timbral solfeggio forms of development of timbral hearing, authorial methodologies