Features of piano performance as an intonation phenomenon

Abstract

The purpose of the article. The article deals with the peculiarities of artistic intonation on the piano, namely, the analysis of its two entities: as a single universal instrument of music and as a musical instrument with its own intonational specificity, a wide range of performing possibilities, as well as limitations. The methodology of the research is the dialectical and systematic methodologies used in the field of cultural studies. General scientific and logical methods of analysis, synthesis, induction, and deduction, historical and comparative studies of the problem are used. The author applied a hermeneutical approach to the study of the essence of the phenomenon of artistic intonation on the piano as a sound-forming phenomenon of culture. The scientific novelty of the work lies in the deepening of ideas about the multicomponent and complexity of piano mechanics, by which the pianist's playing actions are directed towards the achievement of a sound goal; set of piano-intonation ideas, and criteria of pianistic intonation, which are relevant in modern piano-performing practice. Conclusions. Piano intonation is first and foremost understood as a clear-conscious performance of the main melodic line. However, given the polyphonic specificity of the instrument, we distinguish the following specific features of piano intonation: full intonation on the piano implies awareness and realization of all components of the musical process; taking into account the intonation features of various invoices for piano, which include accurate music; taking into account the features of the complex interconnection of expressiveness, which is a necessary component of such interpretative aspects as texture-style and genre features of musical composition.