TY - JOUR AU - Patrikov, Georgi PY - 2018/12/10 Y2 - 2024/03/28 TI - PEDAGOGICAL PROBLEMS OF WORKING ON RHAPSODIC FANTASY BY DIMITAR NENOV IN THE CURRICULUM IN ORCHESTRA CONDUCTING BY PIANO JF - KNOWLEDGE - International Journal JA - kij VL - 28 IS - 3 SE - Articles DO - 10.35120/kij28031051G UR - https://ikm.mk/ojs/index.php/kij/article/view/2864 SP - 1051 - 1056 AB - <p>There are at least two reasons why Rhapsodic fantasy by Dimitar Nenov should be included in the curriculum for students in the Orchestra conducting field of study.<br>The first of them is the high artistic value of the composition (the same applies to the Piano concert – one of the two great pinnacles of Nenov’s work), which assigns it a well-deserved honorary place not only amongst the Bulgarian musical culture, but also amongst the most valuable models of European symphonism.<br>Unfortunately the work is not well-known even for the Bulgarian public – a problem that could be solved by it being studied and performed. That is why the inclusion of the composition as part of the curriculum in “Orchestra conducting” plays an important part in the meeting with one of the much less known masterpieces of the Bulgarian musical culture, such as Rhapsodic fantasy by Dimitar Nenov.<br>Another key reason as to why piano work in the Orchestra conducting classes, dedicated to Rhapsodic fantasy is particularly appropriate, is the importance of the conductor’s abilities, which students can acquire, such as:<br>- quick orientation in big orchestra full score,<br>- convincing building of the shape through aesthetic and structural analisis of the logic of its procedure development,<br>- gradation of the dynamical increases with good manual technics,<br>- fine expressiveness of the tempo correlations and<br>- exactly measured rubato,<br>- cultivating of the timbre thinking.<br>The inclusion of Rhapsodic fantasy in the curriculum is likewise a good opportunity for the students to acquire abilities, related to complex rationalization of the orchestra score from the point of view of the specific conductor’s questions which they have to solve as well as from the point of view of creating a personal concept of the composition.</p> ER -