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УДК 654.1 + 78.07
ББК 85.38 + 85.31 + 76.032
DOI: 10.30628/1994-9529-2020-16.1-164-186

Orpheus Radio
Moscow, Russia
e-mail: tskoblik@mail.ru


Abstract. The article covers the genre of a TV concert-conversation dedicated to the classical music. Modern researches bypass this topic. Their interest is focused on the genres that actually ignore the intellectual potential of music art, which turns out to be needless in the context of the entertainment function of television. Unlike its stage prototype, the TV concert-conversation has a number of characteristic features, which allow us to define the genre of various programs having different formats, timing, and themes. The key aspect is the synthesis of music and words, which is achieved due to the fact that the concert-conversation is hosted by a musician, not a journalist or a musicologist. Not every artist feels free in front of a camera and is capable of captivating the audience by a story. This is why the history of the concert-conversation genre has not so many examples. However, all of them have historical and artistic value. They are a kind of artistic self-portraits of outstanding masters. The skills of preparing a concert-conversation are important for young musicians too. Acquaintance with the experience of famous colleagues helps join the search for new formats of addressing a big audience. In this context, analyzing the TV concert-conversation genre is interesting not only in theoretical terms, but also practically. Most of the concert-conversations have a pronounced educational orientation, and some of them, like the cycle of the American conductor M. Tilson Thomas, are a part of educational projects. Their success shows that expanding the boundaries of universal music education, including with the help of television, is a social necessity.
Keywords: classical music, television, radio, concert-conversation, Bernstein, Barenboim, Tilson Thomas, Marsalis