THE STYLISTIC OF SYMBOLISM IN COMPOSER- PERFORMING PRACTICE AT THE END OF 18TH AND THE BEGINNING OF 19TH CENTURIES
THE STYLISTIC OF SYMBOLISM IN COMPOSER- PERFORMING PRACTICE AT THE END OF 18TH AND THE BEGINNING OF 19TH CENTURIES

Summary/Abstract: The purpose of the research. The study is focused on the disclosure of the role and identification of stylistic particularities of the symbolism in the composer-artistic practice at the 18th – 19th centuries. The positions of intonational approach of Asafiev’s school and elaborations of his followers such as Polish (R. Ingarden; Z. Lissa; etc.) and German (D. Kamper; H. Steger; etc.) musicologists; became the methodological base of the study. The musicologists given above were able to combine the current stylistic position and pre-symbolic trends. Respectively the works that may shed light on the methodology of the symbolism at the musical -instrumental context were used in this study. The scientific novelty of this study lies in accentuating the stylistic features and the role of the symbolic and pre-symbolic characteristics of the instrumental piano specificity at the context of the composer-performing practice at the turn of 18th and 19th centuries. The conclusions. Genre preferences in art and in the first place music are determined by pre-symbolic characteristics of the early romanticism for example: the religious symbolism; which evolved under the influence of the “celtomania” and offered the nocturne as an image; which combines the druistic cult of the Moon and the early Christian psalmody; the interest to the topic-signs; genre-signs including genre typologies of the prelude-etude; which in romantic version of the aesthetic “Rapture” captured something; that was considered an ordinary; imperceptible in the aesthetic classification; adopted outside the romanticism; the German "Biedermaeier" is characterized by its attraction to the expression of the “empire style in the chamberness” (provoked to find the art monumentalism in “small” genres like a prelude-etude-nocturne etc.)

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