STYLISTIC FEATURES OF THE SCREEN PRESENTATION OF A MASTER CLASS BASED ON CHRISTIAN BERGER’S DOCUMENTARY FILM “MISSION “MOZART”: LANG LANG AND NIKOLAUS HARNONCOURT”

Abstract

This study probes stylistic plus methodological attributes of Christian Berger’s documentary “Mission “Mozart”: Lang Lang and Nikolaus Harnoncourt”, which represents the filmic demonstration of a masterclass regarding executing a learned musical piece. It evinces how cinematic techniques recreate the performance process during a masterclass such that it constitutes a singular repository toward presenting professional interpretive practices to a broad audience. This arrangement propagates scholarly musical compositions. It additionally institutes novel avenues regarding interaction linking artists together with listeners. The analysis includes verbal along with nonverbal communication, including facial expressions, gestures, and intonation. Also included are modifying and aesthetic procedures that impart cohesion and energy onto the visual depiction.The screen masterclass configuration broadens typical parameters when it assimilates music, visual representation, and cinematic methods to discern music. They notably stress the synchronization amid musical structure and film editing, which heightens comprehension of the masterclass presentation. Cultivating a pedagogical milieu requires reciprocal discourse between presenters, the study elucidates, and it pinpoints aesthetic and mechanical elements for impactful display on screen. Audiovisual technologies within masterclasses display novel routes forged in musicians’ artistic plus vocational evolution. The documentary masterclass emerges as an innovative instrument of artistic and professional communication.The research aims to identify stylistic features of the screen masterclass in “Mission “Mozart”: Lang Lang and Nikolaus Harnoncourt”, considering musicological and cinematographic components; to reveal how audiovisual elements facilitate perception of the musical text and performance nuances; and to argue that this screen format represents a new model of musical communication combining interaction, performance, and audiovisual media into a holistic interpretive and educational process.Central to this study is the screen masterclass’ dialogic trait because it improves interpretive comprehension of gesticulation, articulation, cadence, force, and expressive aspiration. Digital interface engagement engenders compassion along with introspection. Analytical reasoning is cultivated as people obtain deep understanding into musical form, structure, and individuality.Essentially, the documentary screen masterclass elevates listeners’ musical perception above standard auditory experience. It additionally introduces novel outlooks toward musicological inquiry inside audiovisual mediums.Methodology. A multidisciplinary approach is applied, including stylistic analysis to reconstruct the audiovisual work’s semantic and compositional structure; content analysis of verbal and nonverbal elements to map communicative processes; discourse analysis of performer interactions; and synchronization analysis comparing film editing and camera movement with musical form.Scientific novelty. This research furnishes the initial interdisciplinary scrutiny into a masterclass uniting musicological and aesthetic aspects as “Mission “Mozart”: Lang Lang and Nikolaus Harnoncourt”, a stylistically integrated screen model. For efficacious communication among performer and audience, one could alter the model’s skill. Stylistic along with semiotic attributes of cinematic musical text reveals interpretive elements through audiovisual’s integrated analysis.This analysis underscores the screen masterclass as a revolutionary musicological practice modality and an impetus for novel musical thought and performance culture models. Ample opportunities produce cinematic technique and academic musical perception. Subsequently, investigators are able to improve techniques that are audiovisual. In addition, artists are able to improve readiness via these techniques.Conclusions. The on-screen presentation of a master class in documentary form creates a new type of musical communication, allows for the preservation and dissemination of performance experience in an aesthetic form that performs cognitive and artistic functions.The use of audiovisual technologies in the form of an on-screen master class undoubtedly provides for the expansion of the scope of broadcasting performance experience, as well as multi-level communication between the musician and the audience. The comprehensive approach significantly expands the outlined boundaries of the musicology field.It broadens the scope of the study of music interpretation in the media environment.The rich arsenal of research significantly enriches the outlined intermedia discourse for musicology and audiovisual art. The visual and the sonic are united as a unity in this consideration.