Shevchenko T. N. Medtner’s Piano sonatas in the artistic space of European music of the late nineteenth and early twenty-first centuries.

The dissertation is devoted to the definition of compositional and stylistic toposes of N. Medtner's piano sonatas in their interrelation with the expressive possibilities of performing interpretation as a modeling space-time process. The leading genre and style tendencies of Russian musical art are revealed at the turn of the 19th and 20th centuries, the connection between N. Medtner's piano creativity and the semantic dominants of Russian artistic culture at the end of the 19th and the beginning of the 20th centuries is considered, and N. Medtner's aesthetic ideas and musicology are considered as factors of interpretation of the genre form piano sonata. Disclosure of the meaning of the category of topos and the theory of the artistic topic is subordinated to the chronotopic study of N. Medtner's piano creativity and to the illumination of the temporal aspects of Russian composer poetics at the turn of the 19th and 20th centuries. A circle of figurative-program topos, typical for N. Medtner's piano music, was discovered, features of their composite embodiment in sonatas were determined. Based on the analysis of N. Medtner’s verbal and graphic instructions (remarks), the composition and performance score of the remarks was compiled, which makes it possible to represent the composer's style settings. The analysis of compositional-stylistic and figurative-style content of piano sonatas promotes the disclosure of the interaction of composer's design and performing means in the works of N. Medtner. The method of recording compositional notation-text remarks (verbal and graphic) in the form of a score-scheme for compiling a plan for performing interpretation is proposed; based on a comparison of the graphic analysis of the music text and its sound reproduction, the content of N. Medtner's piano sonatas is presented. A wide historical-style comparative approach to N. Medtner's creativity and related performing tradition was developed; confirm the integrity and dialogical openness of the poetics of N. Medtner. In a new light and in a new research context, the trinity of N. Medtner's creative intentions (as composer, performer, musical-aesthetic - musicologist) is revealed, which explains his individual and author's approach to the genre form of the piano sonata and the program conditions of music; the evaluation of the repertoire value of N. Medtner's piano sonatas in the pianistic creation of the twentieth and early twenty-first centuries was carried out. The place and value of creativity N. Medtner in a musical and creative continuum of modern European culture, the leading lines of performing conceptualization of style contents of piano sonatas of N. Medtner by the leading modern pianists are defined.