Сучасна піаністична культура і бетховеніанство - моцартіанство в ній
The modern piano culture and features of Beethooven’s and Mozart’s styles within the one

Summary/Abstract: The purpose of the article is to show the nature of the interaction to Mоzаrt and Bеrтhоvеn style tradition in the piano play of their ambiguous joint presence and interactions in inheritance cultural-artistic life lengths to the past century. The methodology of the work is the culturology approach in science about art, presented including the school of B. Asafiev in Ukraine, begin which are fixed French Ars nova begin XIV century and are turned in riverbed theatrical mimеsis of J.-J. Rousseau. The base place occupies the method of the genre-style benchmark analysis, hermeneutic, historian-descriptive methods, allowing within fix the semantic parallels of the formation of the humanitarian sphere and expressiveness of art. The scientific novelty of the work is concluded in that for the first time in science about culture to Ukraine are brought forth of the style contradiction of pianism in inheritance piano ways Mozart style type and Beethoven style type as paradigm sign of piano cultures to contemporaneity. Conclusions. Appeared and acts "hеtеrоphony" principle in general cultural position of piano play: Beethoven and Mozart forming of style paradigm to the piano culture, there is a phenomenon of universal planetary importance. Its disjunctive principle that is unbalanced qualitative correlation artistic entering of Beethoven character and broadly covering out-art horizon of Mozart character play has determined uniquely, noted national "waviness" world-outlook in Ukraine, which gives birth ambiguous, but productive and exciting intersection specified typology, which have a sincere central to the further development of the music thinking. The disjunctive approach to the study of the stylistic paradigm of one or another century brings to the cultural perspective the knowledge of epochal styles, which are unknowable in their entirety in the art of science since it is not the artistic sphere that constitutes the source and the impetus for their existence. Moreover, even the styles, which are the expression of creative differentiation of thinking, do not always feed in their origins specifically in the creative sphere - this is the reason for the long neglect in the second half of the nineteenth and twentieth centuries such artistic and, at the same time, all-culturally encompassing phenomena such as the Rococo, the Biedermeier, and the center of modernity on the eve of the twentieth century - symbolism.

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