Published July 14, 2020 | Version v1
Journal article Open

Sacred Origins of the Instrumental Multiplicity of the Musical Performances as Signs of Piano Playing

Creators

  • 1. Odesa National A. V. Nezhdanova Academy of Music, Ukraine

Description

The purpose of the article is to identify the sacred and genetic features of instrumentalism, piano in particular, as the embodiment of Christian-vocal modelling of the play-breathing (mozartianism) and the revival of the original selfsignificant rhythmic and sound principle in the piano orchestration (beethovenianism). The research methodology is the phenomenological perspective of R. Ingarden’s aesthetics and philosophy and phenomenologically oriented art studies of B. Аsаfiev, N. Коryhаlоvа, V. Меdushevskij, E. Маrkоvа, and others, analysis, synthesis, and distributive methods, which helped to reveal the sacred and genetic characteristics of instrumentalism. The scientific novelty of the article is that it for the first time expresses the idea of the genetic conditionality of the piano performance in the antipodes of the Mozartian and Beethovenian playing by sacred origins of the first of the vocal instrumentalism of early Christian praising and the primitive universalism of sound and rhythmic magical first-culture actions. Conclusions. The article has demonstrated that for the piano works the principle of romantic duality in the interpretation of the play was the embodiment of the romantic antinomy of the expression of “light” and “tense” sound of the piano as the instrumental embodiment of a multiplicity of pianism as a whole; the former represented the feminine solo quality, “flute” colouring of the melodic ornament of Mozart’s “piano harpsichord” in the spirit of “instrumental arioso” of Field’s nocturnes and the latter – hypertrophied Beethoven’s orchestralism, Bach’s organ-textural overload, emphasizing the piano specificity as the ability to “replace the orchestra”, including the sound injection. Thus, the piano expressive resource was saturated with total instrumentality in which the “light” type of playing appealed to the sacredness of the early Christian Church nocturnality, and the piano orchestrality embodied the initial absolutization of instrumentalism of magical purpose.

Files

Sacred_Origins_of_the_Instrumental_Multiplicity_of_the_Musical_Performances_as_Signs_of_Piano_Playing.pdf

Files (316.0 kB)

Additional details

References

  • Adler, G. (1911). Der Stil in der Musik [The style in music]. Breitkopf & Härtel [in German].
  • Androsova, D. V. (2014). Simvolizm i poliklavirnost v fortepiannom ispolnitelstve XX v. [Symbolism and polyclavity in piano performance of the twentieth century]. Astroprint [in Russian].
  • Asafev, B. V. (1971). Muzykalnaia forma kak process [Musical form as a process]. Muzyka [in Russian].
  • Blinova, M. P. (1974). Muzykalnoe tvorchestvo i zakonomernosti vysshei nervnoi deiatelnosti [Musical creativity and patterns of higher nervous activity]. Muzyka [in Russian].
  • Chumachenko, E. (2000). Ispolnitelskii stil [Performing style]. (Master's thesis). Odessa Conservatory, Odessa [in Russian].
  • Ingarden, R. (1973). Utwór muzyczny i sprawa jego tożsamości [Music piece and his identity matter]. PWM [in Polish].
  • Kämper, D. (1987). Die Klaviersonate nach Beethoven: Von Schubert bis Skrjabin [The piano sonata after Beethoven: From Schubert to Scriabin]. Wissenschaftliche Buchgesellschaft [in German].
  • Kashkadamova, N. (2014). Vykonavska interpretatsiia u fortepiannomu mystetstvi XX storichchia [Performing interpretation in the piano art of the twentieth century]. KINPATRI [in Ukrainian].
  • Keldysh, G. V. (Ed.). (1990). Muzykalnyi entciklopedicheskii slovar [Musical Encyclopedic Dictionary]. Sovetskaia entciklopediia [in Russian].
  • Korykhalova, N. P. (1979). Interpretatciia muzyki [Interpretation of music]. Muzyka [in Russian].
  • Lévi-Strauss, C. (1999). Mifologiki [Mythologists] (Vol. 1: Syroe i prigotovlennoe). Universitetskaia kniga [in Russian].
  • Markova, E. N. (1998). Vvedenie v istoricheskoe muzykoznanie. Voprosy metodologii i metody issledovaniia [Introduction to historical musicology. Methodology issues and research methods]. Astroprint [in Russian].
  • Markova, E. N. (2002). Voprosy teorii ispolnitelstva: Materialy k kursu teorii ispolnitelstva dlia magistrov i aspirantov [Questions of the theory of performance: Materials for the course of the theory of performance for masters and graduate students]. Astroprint [in Russian].
  • Medushevskii, V. V. (1984). Ontologicheskie osnovy interpretatcii muzyki [Ontological foundations of music interpretation]. In L. S. Diachkova (Ed.), Interpretatciia muzykalnogo proizvedeniia v kontekste kultury [Interpretation of a musical work in the context of culture] (Iss. 129, pp. 3-16). Gnesins Russian Academy of Music [in Russian].
  • Medushevskii, V. V. (Ed.). (2007). Metodologicheskaia funktciia khristianskogo mirovozzreniia v muzykoznanii [The methodological function of the Christian worldview in musicology]. MGK, UGAI [in Russian].
  • Prokhorov, A. M. (Ed.). (1984). Sovetskii entciklopedicheskii slovar [Soviet Encyclopedic Dictionary] (3rd ed.). Sovetskaia entciklopediia [in Russian].
  • Stepanova, O. Yu. (2018). Pianizm londonskoi i videnskoi fortepiannykh shkil: komparatyvnyi analiz [Pianism of London and Viennese piano schools: a comparative analysis]. (PhD Dissertation). Sumy State A. S. Makarenko Pedagogical University, Sumy [in Ukrainian].
  • Wilson-Dickson, А. (2001). Istoriia khristianskoi muzyki [History of Christian Music]. Mirt [in Russian].