ASYNCHRONY AS A COMPONENT OF A PIANIST’S EXPRESSIVE MEANS
DOI:
https://doi.org/10.32782/art/2025.2.3Keywords:
asynchrony, piano, means of expression, performance style, interdisciplinarityAbstract
The article analyzes the phenomenon of performance expressive means – asynchrony. In the context of contemporary perspectives on the palette of pianistic playing techniques, the phenomenon of asynchrony has a rich historical path of formation and development, paralleling the evolution of the instrument’s timbral and acoustic qualities. The study analyzes the historical prerequisites and conditions for the emergence of the playing technique characterized by a slight temporal displacement between texture elements such as melody and accompaniment.The article introduces terminology and a classification of various ways of applying the technique involving displacement between the hands.Drawing on a historical review of pedagogical literature and an analysis of early 20th-century audio and mechanical recordings, the research determines the stylistic and expressive rationale for employing asynchrony across different styles and instruments of various periods. The study integrates a transdisciplinary approach, employing insights from the field of psychoacoustics, which examines the psychophysiological mechanisms underlying the perception of asynchrony and its role in expressive interpretation. This enables a nuanced characterization of the stylistic and pianistic features of asynchronous playing.The relevance of a new classification system is clarified that transcends the limitations of the “salon” style and reveals the expressive potential of texture displacement across different conditions and degrees of intensity.Based on the analysis of literature and research from related disciplines, a set of recommendations for performers and educators is proposed, aimed at recontextualizing the phenomenon of asynchrony in contemporary performance practice. The article also addresses the possibilities of graphic representation of this playing technique, exemplified by György Cziffra’s transcription of a “La Valse triste”, where notation elements approximating actual sound are actively employed for the first time. The conclusion outlines prospects for the development of alternative notational systems for displacement, viewed in the context of current interdisciplinary research trends and against the backdrop of the limited technical evolution of the piano.
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