Abstract
Based on works on literature and visual arts, the article reveals the ontology of miniature origin and presents characteristic features of this category: richness of expressive possibilities, energy capacity of form, aesthetic orientation of contents as an expression of subjective world and human feelings, narrativeness, panoramas. The work considers the historical aspects of the formation of traditional understanding of miniature as a piano music genre, analyzes its main characteristics related to typology and social function of the piano. The author bases on a comprehensive, comparative examination of scientific works on philosophy, culture and musicology, as well as on the theory and history of piano performance and interpretation. The complex approach employs analytical, typological and inductive methods, aimed at highlighting the most important problems of piano miniature. The study of miniatures is primarily associated with the works devoted to the general scientific problems of musical art by the following authors: V. N. Kholopova, E. V. Nazaikinsky, L. A. Mazel, A. N. Sokhor, K. V. Zenkin and others.
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