Piano Miniature as a form of Projection of The Pianist's Image Model in The Executive Contest

Abstract

The traditions of the genre of piano miniature are generalized by the author in the context of the achievements of modern musicology. There is some bias in existing research. It is established that the main provisions of these works remain theses: miniature is a little-studied genre; miniature is studied and perceived as a secondary genre; miniature is an extremely popular genre in the work of composers and in performing practice; the miniature is a mandatory part of the competition repertoire. The author applied a comprehensive culturological, musicological and psychological approach to justify the formation of new forms of performance, quality system, features of the performer in the competitive sociocultural space of today. Varieties of "stage situations", regularities of their "repertoire solution" and determination of the role of miniatures in the competitive repertoire of modern pianists are identified and structured. The author has classified the main image models of the competitive performer, including: "universal" — demonstrates the ability of the performer to convincingly interpret any repertoire requirements; "academic" — the most common model of stage image and repertoire selection; "Intellectual" — involves the demonstration of selective musical professional preferences of the performer; "Virtuoso" — is reflected in the reproduction of various examples of virtuoso miniatures and, of course, the demonstration of virtuoso skills and abilities of the performer; "Patriotic" — is a reflection of certain personal beliefs of the performer; "Situational" — illustrates the tendency of the performer to adapt and realize themselves in accordance with certain subjective circumstances; "Outrageous" — built on the use of external visual and sound effects. A representative function of the miniature in the repertoire of the modern pianist has been established, aimed, among other things, at self-identification/identification of the performer. The classification of the main image models of the competitive performer, which illustrates the globalization processes in music performance, is carried out. The main conclusion of the study is that the attention of performers, in particular pianists, is drawn to the versatility of the plane on issues that arise in the formation of the repertoire, the specifics of interpretation and projection of selected works