The dissertation reveals the dichotomous factors of form and content in piano creativity, develops systemic dichotomous criteria of pianoology as a separate theoretical field. The tasks of determining the current musicological aspects of the problem of artistic content, considering the category of form as determining for the process of musical thinking; determining the temporality of piano thinking and methods of its study; forming definitions of the piano semiosphere and semantic formalization; identifying leading neoclassical trends as specific for the sphere of piano creativity; introducing the concepts of modality, polymodality, transculturation to the sphere of study of modern piano-interpretative style; characteristics of the content modalities of piano creativity as those that reveal the unity of interpretative-performing and composer logic are solved.
The subject of the work is the artistic-temporal nature and stylistic originality of piano creativity as a unity of content- and form-forming factors; the specificity of temporality and semantic modalities in piano creativity from the second half of the 19th century to the beginning of the 21st. The chronological and national boundaries of the study are determined by the historical development of the piano tradition from the Romantic era to the present day, with an emphasis on the evolutionary features of musical thinking and speech. The material for the work was the work of romantic composers, in particular R. Schumann, K. Schumann and J. Brahms, artists of the transitional period and the beginning of the 20th century, in particular C. Debussy, composers of the 20th century, including I. Stravinsky, P. Hindemith, G. Batsevich, L. Ornstein, and some others.
The methodological basis of the work is determined by a combination of semiological and temporalological approaches, historiographic exploration of the stylistic principles of piano art, a genre-stylistic musicological method combined with textological positions, and an interpretative-performance approach that acquires a new systemological resonance.
The scientific novelty of the study lies in the fact that for the first time the systemic and theoretical significance of the concept of dichotomy is revealed as a criterion for the systematic ordering of the phenomena of form and content in piano creativity; the phenomenon of temporality is considered in the process of performing understanding-interpretation, the temporal modalities of musical creativity are revealed; the category of form is considered as determining for the process of musical thinking - in connection with the phenomena of the piano semiosphere and semantic formalization; the neo-stylistic poetics of piano creativity is revealed, the specificity of conceptualization in the process of piano-performing interpretation is revealed; the semantic modalities of piano creativity are characterized, as well as the psychological modalities of interpretative-performing thinking; the concepts of modality, polymodality, transculturation have received further development; the concepts of musical thinking and piano-performing interpretation have been clarified.
