PIANO TEXTURE IN THE UKRAINIAN MUSICOLOGICAL DISCOURSE

Abstract

The article examines the scientific works of Ukrainian musicologists devoted to the study of piano texture in various aspects. The focus of attention is those studies in which the piano texture is a special subject of research or an important component in the context of a broader issue: organology of the piano, piano performance, development of piano genres and musical styles, formation and development of piano pedagogy. The analytical material of this article was the scientific works of various genres by M. Borysenko, O. Burska, S. Davydov, I. Denisenko, L. Kasyanenko, N. Kashkadamova, T. Molchanova, E. Nikitska and H. Savchenko, N. Ryabukhy, I. Tsurkanenko, M. Chernyavska, S. Shkolyarenko. The purpose of the article is to systematize approaches to the study of piano texture in Ukrainian musicology. The novelty lies in the separation of theoretical and historical directions in the study of piano texture by Ukrainian musicologists; dividing the theoretical direction into three problem areas – performing, composing, and performingcomposing. Systematic, analytical, and comparative research methods are used in the article. The conclusions emphasize the ramifications of Ukrainian invoice science. Two trends in the study of texture in the works of Ukrainian musicologists are distinguished: theoretical and historical; in the theoretical – three problem areas (performing, composing, performing-composing). The conventionality of this division is emphasized, because both problem areas and directions certainly overlap. It is noted that in works belonging to the first field, researchers concentrate on executive issues.In the second, the theoretical questions of the relationship between the piano texture and the style, genre, and composition come to the fore. In the third, the meaningful and meaning-making potential of the texture is conceptualized, which is embedded in the composer's text and requires adequate interpretation by the performer.