The dissertation is devoted to the study of the poetics of the piano etude, which is considered in the stream of genre-style styles of European musical culture of the XIX-XX centuries, as well as the accompanying phenomena of transcendence and virtuosity, revealing its wide historical and cultural context.
The materials of the work served as the etudes of Sh. V. Alcan, E. Prudent, K. Debussy, C. Saint-Saens, O. Messiaen, F. Liszt, S. Lyapunov, O. Scriabin, S. Rachmaninov, V. Rebikov, O. Cherepnin, S. Prokofiev, V. Kosenko, B. Lyatoshynsky, A. Shtogarenko and others.
It has been established that the etude is a universal genre model, addressed to the idea of perfection of Mastery, Technique in their high sense and therefore combines various fields of artistic and intellectual activity - music, literature, painting, theater, chess, sociology, etc. It is noted that the variety of areas of the concept of «etude» is also largely due to its etymology, derived from the French and Latin primary sources, which have a general and quite broad meaning – «doctrine», «study». Given the pre-European origins of the word («pushing, beat»), the etude can also be regarded as a «push-action» preceding the birth of an artistic creation or its counterpart. For etude in musical and performing arts, the above-mentioned facets and meanings are very revealing, as evidenced by the general definition of this genre: the etude is a play, «intended to improve the technical skills of playing a certain instrument». The concept of the etude as a play being studied for perfection in skill, has a broad meaning.
It was established that the piano etude is composed and appears to be extremely demanded in the XIX-XX centuries – in the culture of romanticism (later symbolism, neo-classicalism) with an indicative attraction for him to the exclusiveness of manifestations of creative and performing factors with appealing to the phenomenon of «virtuosity» and «transcendental», to the prospects of separation of creative, composing and performing activities, which does not exclude at the same time their active interaction. The etude in his best samples demonstrates the real ability of creative development not only of the genre-style language of different eras, but also of individual authors. Outlined the qualities of the etude in general at the level of perception of it as a universal «concept-avant-garde» genre, potentially open to any type of content. The best examples of this genre in the music of the XIX-XX centuries. marked the milestones of the development of European instrumentalism and piano performance of the epoch.
