THE STYLISTIC OF SYMBOLISM IN COMPOSER- PERFORMING PRACTICE AT THE END OF 18TH AND THE BEGINNING OF 19TH CENTURIES

Abstract

The purpose of the research. The study is focused on the disclosure of the role and identification of stylistic particularities of the symbolism in the composer-artistic practice at the 18th – 19th centuries. The positions of intonational approach of Asafiev’s school and elaborations of his followers such as Polish (R. Ingarden, Z. Lissa, etc.) and German (D. Kamper, H. Steger, etc.) musicologists, became the methodological base of the study. The musicologists given above were able to combine the current stylistic position and pre-symbolic trends. Respectively the works that may shed light on the methodology of the symbolism at the musical -instrumental context were used in this study. The scientific novelty of this study lies in accentuating the stylistic features and the role of the symbolic and pre-symbolic characteristics of the instrumental piano specificity at the context of the composer-performing practice at the turn of 18th and 19th centuries. The conclusions. Genre preferences in art and in the first place music are determined by pre-symbolic characteristics of the early romanticism for example: the religious symbolism, which evolved under the influence of the “celtomania” and offered the nocturne as an image, which combines the druistic cult of the Moon and the early Christian psalmody; the interest to the topic-signs, genre-signs including genre typologies of the prelude-etude, which in romantic version of the aesthetic “Rapture” captured something, that was considered an ordinary, imperceptible in the aesthetic classification, adopted outside the romanticism; the German "Biedermaeier" is characterized by its attraction to the expression of the “empire style in the chamberness” (provoked to find the art monumentalism in “small” genres like a prelude-etude-nocturne etc.)