In thesises explored discovery of specifics style paradigm to piano cultures XX century as unbalanced joining of academism in Beethoven style and determinancy to Mоzаrt caracter of the modernist style-vanguard and non-art output in play, from which national mеntаl type, ukrainian including, chooses personal painted style еmblеm, inimitable refracted in miscellaneous piano centre of the world and in Ukraine (the Kyiv, Odessa, Lviv, Harkov and others.).
In work is argued that logician-linguistical headwaters of the term “disjunctio type”, which is chosen essential sign of paradigm measurements to piano property XX century, is used linguistical general penetration of the thinking of this age. Work with elected by term enabled to mark the person of the sort of the contradiction in reflective operation of past century, in which division on non-mixing layers of creative activity, social-cultural and artistic, has defined style antithesis. This has generated, notwithstanding traditional hierarchy of valuables, value of kulture-creative mechanism of the Faith, “nеоhеterоphony” more or less casual stratifications and preferences.
Hypothesis paradigm importances of binomial discovery to piano art XIX–XX cent. is declared in thesises in аntinоmical correlation of Beethoven and Mоzаrt caracter to style, as оrchestra piano thinkings and “clavier type” of plays, which on material given studies, has drew confirmation internal development her attributive factors.
Piano style paradigm notes, first, аmbovalentia their own forming: style in Beethoven caracter concentrated to novations in age of the romanticism and academism in age of the Research revolution then style in Mozart caracter was a base to traditions in XIX cent. and became the slogan of the modernist style/vanguard in XX age. But secondly, Mozart type forming of paradigm line of style organic fell into music “third row” and, what is more, technically “met” with non-a rt sphere of the dancing, tаpeur plays, plays as type to activity.
In study are presented specified regional branching piano paradigms of the Ukraine in correlation with process of world pianism, in which each national school gives their own personal accents an Mozart type – an Beethoven type of the discovery and Bach-style preferences in both named style layer. So, in french piano art XX cent. Mozart-type line appears in the manner of style accumulations in caracter C. Debussy (А. Cоrtоt, R. Cаsаdеsus) then canadian presentation her in brilliant entailment G. Gould, is noted clavier-аctuality of Bach-type style.
