Abstract
Ideas on the relationship between the notes of the gamma scale were perceived from the time of antiquity to the Enlightenment as a key to understanding the structure of the universe with a characteristic analytic component. Disclosure emphasis of the human in culture determined the higher ideals associated with the self-knowledge of man, with the overcoming of the constraining conventions of being. The change in the musical form of the work in the era of Romanticism is largely due to the invention of the modern setting, known as a uniform temperament, the acceptance of it was made hard primarily by mathematical and philosophical discourse over the centuries. The change in the musical system in combination with the accepted ideals of the Romantic era determined the appearance of music by romantic composers. Improving of the piano mechanics and the keyboard system significantly expanded the range of expressive means and predetermined the further development of the piano playing technique. Teaching activities by F. Liszt and N.K. Medtner is associated with the development of the ideas of romanticism and the basic principles of the performing arts of romantics. Music teachers give special attention to an analysis of the pianistic apparatus, which is of great importance in improving the performing arts of playing the piano. Continuity of students in the sphere of basic principles of performing freedom determines the relevance of techniques based on key features of the pianist performing arts of romantics.
Highlights
The musical form of the work and its boundaries essentially depend on the type of temperament of the musical work
The change in the musical form of the work in the era of Romanticism is largely due to the invention of the modern setting, known as a uniform temperament, the acceptance of it was made hard primarily by mathematical and philosophical discourse over the centuries
The mechanics of the instrument, but the understanding of their own pianist mechanics, is important, following the basic principles of art of piano playing, Medtner gives special attention to the elbows and hands: “The elbows reflect the smaller lines of movement trajectory than the body and the hands reflect even less
Summary
The musical form of the work and its boundaries essentially depend on the type of temperament of the musical work. The aspiration to the ideal is a necessary condition for the affirmative nature of personal experience: "people's activities increasingly take place in a very complex world created by them, where it is impossible to draw clear distinctions between subjective and objective" [5, p.3] Such a romantics' aspiration [17, pp.7-43] determines the subjective meaning-making components of the being-existence of man and represents the self-knowledge of the individual as a kind of horizon that is essentially unattainable, but embraced as a whole in his worldview, in the construction of his own self. In a new aspect of spiritual understanding, the world is not reduced to the additive properties of the natural and social: man is capable of perfection through the creation of other worlds that do not exist in reality This reaction was to the rationalism of this epoch, the disappointment in the ideals of the Enlightenment (the principles of bourgeois practicality), which led to a contradictory approach to understanding culture as an intersubjective human life. Researchers note that even at a higher level of abstraction, which are expressed in categories of artistic thinking, "including the musical image, unlike form, are not recognized as structural categories and refer to the field of the ideal as not amenable to textual analysis" [15, p.32]
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