Фортепіанна гра як художній музичний дискурс

Abstract

Research objective of the work is to study the piano performing artistic discourse and its intentional structure. The methodology of the research is based on the discursive, linguistic and phenomenological-hermeneutic approaches. Thanks to a set of these methods there is an opportunity to study piano playing as a communicative event, considering the concert and stage conditions of the functioning of piano performing arts. The scientific novelty – using a discursive approach to the study of piano playing, identifying its intentional bases and creating a typology of performing piano discourses. A new level of studying the methods of game organization of pianoperforming speech is achieved, a significant update of the current performing terminology is offered. Conclusions. The productivity of application of the discursive approach to studying of piano performing art is revealed. It is proved that the basis for the choice of a particular performance discourse and means of its implementation is not only the text of the performed work and the author’s remarks, but also the personal intentional state of the pianist. It is revealed that the musical-performing artistic discourse has three main levels of functioning: 1) realization of the author’s idea and intentions that underlie the figurative content of the work; 2) realization of the artist’s intention, which underlies one or another communicative event and determines one or another type of musical-performing artistic discourse: argumentative, agitative, epideictic, heuristic or hedonistic; 3) the artist’s disclosure of his personal worldview, his subjective artistic picture of the world, the basis for which is an aesthetic attitude to reality. The artist embodies it in figurative form in the process of playing the instrument, with the help of selected by the musician texts and performing means of expression. The artist achieves greater accuracy of imaginative decisions and communicative techniques.