Symbolist and orchestral and mimetic paradigms of music creation of the XXth century in the projection onto the pianistic art

Abstract

Purpose given studies is a grounding of regular nature of "klavirization" of pianoforte play in the denying orchestra theatricality of List’s academic tradition by means of focusing on aestheticism of symbolist ("neo-symbolist") tradition of pianistic art, which "defuses" a conflict between avant-garde and traditionalism of the 1920s – 1970s. The methdological base – intonation approach of the school B.Asafiev in Ukraine, this works A.Sokol, V.Shulgina, E.Markova, beside which style comparative features feats and analytical generalizations of the observations practical persons form the rich material for conclusion of the music-hеrmeneutic type. Scientific novelty – in independance of the theoretical idea to style autonomies of the music abreast directions art XX centuries and piano performance creative activity as music forming. The Findings. By the end of XX centuries became the approved line of the interpretation pianoforte that is declared was in protosymbolism – symbolism periods of the formation of the modernist style which turned out to be deep to be radical in transformation piano technology, generated new constructive decisions of the instrument as a whole. So   experience piano creative activity has opposed to the radicalism of klavirity with classics of the pianoforte orchestral-"grand piano" nature. In case of "klavirization" we rise to a new level of presentation of complicated timbral-motor features of, which by no means do not exclude traditional orchestra peculiarity, but absorb it as one of the manifestations of this klavirity.