Стиль виконавської інтерпретації як предмет музикознавчого дослідження
STYLE OF PERFORMING INTERPRETATION AS A SUBJECT OF MUSICOLOGICAL RESEARCH

Summary/Abstract: Purpose of the article is to create author’s typology of the styles of piano-performing interpretation. After the definitive analysis of performing interpretation style on the basis of works by B. Yavorskiy, O. Alekseev, Yu. Kapustin, G. Kogan, Yu. Kochneva, Ye. Liberman, K.-A. Martinsen, G. Orlov, Ya. Milshtein, S. Skrebkov, V. Holopova, T. Cherednichenko and others researches, the author offered her own typology, based on the idea of persistent style characteristics in the sphere of specific performing thinking, the way of perception composer’s style and the pattern of performing sounding. Methodology of the research is based on the system approach and modified according to peculiarity of the subject methods, which combine aesthetic and musical-textological approaches, in particular analytical-synthesis processing (for study of theoretical sources of piano-performing interpretation problems); comparative-historical (for identification of specific signs of different stylistic periods of piano performing); historical-stylistic (for research of peculiarities of composer’s and performing style in a definite historical period). The used methods have been tested by textological analysis and semantic consolidation. Scientific novelty lies in explanation of the phenomenon of performing interpretation and its triune (the composer’s style, its perception by the interpreter and objectification of the processes of musical-performing thinking) and development of author’s typology, which includes rhetorical, rationalized, emotional and sensual styles of piano-performing interpretation. Conclusions. For the creation of piano-performing interpretation typology, the author uses as a basis the epochal composer’s styles: baroque, classicism, romanticism and impressionism. In the process of determination of style interpretation types the mentioned concepts point to objective side of performing process. In conditions of domination of a definite style the appropriate types of performing interpretation developed rhetorical, rationalized, emotional and sensual, representing subjective aspect of interpretation. Thus, in performing style name the dominating way of presentation of the author’s style is underlined. The main sings of rhetorical performing style are subjective-philosophic technique of presentation of composer’s style, the passion as the way of performing thinking and piano sounding character close to baroque instruments and chamber orchestra. The way of presentation of composer’s concept in the rationalized style is rationalized-philosophic and the method of performing thinking is logicality. The emotional (interactive) piano-performing style demonstrates objective-artistic way of presentation of composer’s style and is characterized by orchestra piano sounding. The sensual piano-performing style is characterized by subjective-dreamy way of composer’s style presentation and the sensibility as the way of performing thinking and aspiration to sound description in piano sounding.

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