PIANO CREATIVITY OF TATARSTAN COMPOSERS: FROM ORIGIN TO MODERNITY

Abstract

Abstract. The article presents the results of the study of the development of piano music in the works ofTatarstan composers during the period beginning from its origin to the present. The historical-cultural approach used in the study allowed revealing the background, stages and regional peculiarities of the development of this type of music. The materials studied show that that Tatar piano music originated as a cultural phenomenon under the influence of the Western European (Russian) musical tradition, in the process of Tatar musicians mastering the basics of European musical instrumental culture, including genres, forms, and means of expression. These processes led to the forcing out of the established tradition of oral musical and poetic creativity in Tatar-Muslim culture and, at the same time, to thesynthesis of the traditional foundations of European piano music and Tatar folklore in the works of national composers. The subsequent stages of the development of piano art in Tatarstan are characterized by the search for a national style, the formation of a system for the professional training of musicians. Modern composers return to their national origins in their work, find connections with the ethno-musical traditions of the peoples of the Middle Volga region (Russians, Tatars, Mari, Chuvash, etc.), they use ancient layers of folk art in the synthesis with new expressive means and moderncomposing techniques. Thus, the piano art of Tatarstan is represented by the work of several generations of composers who mastered and transformed Western European musical canons in combination with national musical traditions. The article considers the development of Tatar piano music as innovative that is determined by the historical choice of the development of the musical culture of the region.Keywords: musical culture, piano music, Tatar folklore, Western European art, tradition, innovation.