The topic of the dissertation is related to the study of the peculiarities of usingpolyphonic principles in the texture of piano works of the Romantic period and its rojection on the works of composers of the second half of the nineteenth and early
twentieth centuries. The focus is on the personality of the outstanding Polish Romantic composer Frederic Chopin, whose works use various polyphonic
techniques in a very original way. The scientific interest in studying the peculiarities of the Polish genius' polyphonic thinking is caused by the need for a more detailed discussion of the problems of the textural organisation of piano works of the Romantic period, which has a direct bearing on modern piano performance. Chopin's work is extremely popular in China, as is the music of his followers Claude Debussy, Mykola Lysenko and Karol Szymanowski, who embodied the main principles of Chopin's polyphonic techniques in the texture of their piano works. Attention to the heritage of these artists, whose works represent the musical culture of the nineteenth and early twentieth centuries, provides grounds for identifying and studying the ways and trends of polyphony development within the period under study and determining individual manifestations in the work of each composer.
The research methodology is based on the analytical method, which belongs to the sphere of humanitarian knowledge and allows us to identify specific features of polyphonic techniques in the texture of piano works by F. Chopin and his creative followers. To summarise the information on Chopin's polyphony, a systematic method is applied, which is characterised by the search for interconnections and interaction of individual components within the whole. Taking into account the specifics of the musical material, as well as the aim and objectives of the study, some other methods of theoretical research (analysis and synthesis, mental modelling, ascent from the abstract to the concrete, etc.). An important methodological category in considering the impact of F. Chopin's polyphonic technique on the representatives of the following generations was intertextuality, in particular intertextual dialogue, which is traced in the analysis of the connections of the author's texts of later origin with the previous individual-style invariator in the plane of use of polyphonic
technique. The scientific novelty of the materials of the dissertation research lies in the study of Chopin's piano works from a different perspective, from the standpoint of the use of polyphonic techniques in the texture of piano opuses; in revealing the continuity of the principles and models of Chopin's polyphony in the piano music of composers of the late nineteenth and early twentieth centuries, including in the works of C. Debussy, M. Lysenko, K. Szymanowski; in determining Chopin's influences on the basis of the common genre basis and in individual manifestations reflecting the specifics of the composers' thinking.
The practical significance of the research results lies in the possibility of using the materials of the dissertation in the educational and creative activities of pianists when working on piano works by F. Chopin and composers of the late nineteenth and early twentieth centuries, in the preparation of materials for lecture coursesemphasised that in Chopin's piano heritage, polyphonic techniques are used in a very diverse way, despite the fact that the composer hardly ever turned to its traditional forms. The distinctive features of the composer's individual piano style are the polyphonic fullness of Chopin's polyphony, enrichment of homophonic texture and musical development in works of homophonic genres by polyphonic means. It is concluded that the creatively reworked technique of classical polyphony finds an
nnovative interpretation in Chopin's music in the context of new artistic tasks that artists faced in the age of musical romanticism. The peculiarity of F. Chopin's polyphonic thinking, as well as the use of polyphonic techniques by representatives f the next generation of composers, is the introduction of the so-called ‘ related to the professional training of students majoring in ‘Piano’ and related specialities in higher music educational institutions of Ukraine (‘History of Piano Art’, ‘Polyphony’, ‘History of World Music’, etc. In the first chapter of the dissertation ‘Polyphony in the works of F. Chopin: terminology, background, national context’ and its four subsections, the peculiarities of polyphonic technique in the piano works of F. Chopin are investigated. It is determined that they are extremely far from the exemplary baroque standards for
nstrumental polyphony, that they have undergone an individual interpretation, largely different from the understanding of previous eras, mainly Baroque and
Romanticism. At the same time, they fully reflect the specifics of Romantic polyphony, the essence of polyphonic thinking of the composers of this era.
