Setian H. Vocal intonation in piano art (on the example of P. Tchaikovsky's work).

The dissertation is devoted to the study of vocal intonation in piano art, in connection with which the organology of the piano as an instrument of a universal type is considered and the features of P. Tchaikovsky's piano style as a representative of the school of "singing Piano"are generalized. The research is aimed at identifying the specifics of vocal sound images in the piano work of P. Tchaikovsky. The artistic and semantic principles of vocal intonation in piano performance are determined on the example of interpretations of P. Tchaikovsky's works by K. Igumnov, S. Richter, and M. Pletnev. Based on the results of scientific research and our own analytical observations, we propose to consider the following concepts: vocal intonation, vocal sound formation, performing interpretation of piano texture, piano organology. Methodological approaches to the study of the principle of vocal intonation in piano art are substantiated, namely: historical, aimed at revealing the genetic foundations and evolution of the piano style on the way of its movement from applied to solo and concert functions; organological, combining instrument technology, performance and compositional creativity in an integral system of the “image” of the piano, with the allocation of the principle of implementing vocal intonation in it; deductive, reflecting the course of research from the general (piano style) to the special (piano texture and the principle of embodying vocal intonation in it) and specific (reflection of this principle in P. Tchaikovsky’s piano works texture); genre-style analysis, used to characterize the compositional and dramatic features of piano works by P. Tchaikovsky; texture analysis, on the basis of which the principle of “singing piano” is revealed in the samples under consideration; performing analysis necessary to characterize the features of interpretation in the texture P. Tchaikovsky’s piano works.