The role of the typology of etudes in art and intellectual activity
DOI:
https://doi.org/10.32461/2226-3209.3.2020.220132Keywords:
etude, musical etude, etude in painting, theatrical etude, sociological etude, chess etude.Abstract
The purpose of the article is to identify typological and functional features of etudes in various forms of artistic and intellectual activity and their intersection with the poetics of piano etudes. The methodology is based on the following approaches: analytical, musicological, genre-style, etymological, interdisciplinary, historical-cultural, allowing to identify factors that contribute to the identification of spiritual, semantic, and stylistic specifics of etudes in various types of art and intellectual creativity, as well as an important component of European piano music of the XIX-XX centuries. The scientific novelty of the article is determined by its analytical perspective, taking into account the typological characteristics of this genre and its analogs both in musical art and in other types of artistic and intellectual activities. Conclusions. The study of the etymological and semantic indicators of the word «etude» allows us to identify its general content in various types of creative and intellectual activities of a person, its «prolitical meaning», which is determined at the level of educational, research support work, oriented ultimately to gain Mastery. In various areas of creative activity (painting, theater, chess, sociology, etc.), the study performs the role of «push-action» in understanding the nature, theme, genre, role, social issues, works and is associated not only with «entry» - the development of certain typological models and artistic principles of their functioning but also with the means of their "technical interpretation". The typology of a musical etude demonstrates the ability to enter and implement other genre typologies (instrumental, vocal) and related means of expression. The indicated qualities of the etude are generalized at the level of understanding of it as a universal «conceptual-avant-garde» genre that is potentially open to any type of content and outlines the milestones in the development of European instrumentalism and piano performance of the 19th-20th centuries.
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