The category of emotionality in modern piano performance

Abstract

The article examines the nature of emotionality as an integral component of piano performance. Piano performance is considered as a communicative process between the composer and the performer and the performer and the audience, in which the performer’s function is to broadcast the contents of the musical work to the audience. The ratio of rational and emotional in the structure of performance activity is considered, attempts to classify types of pianists based on the predominance of emotional or rational principles are analyzed. Emotionality is considered as an integral component of musical art in general and the content of each specific piece of music in particular. It is shown that the emotions felt by listeners while listening to a certain piece of music cannot be explained only by the timbral or dynamic properties of individual musical instruments involved in the performance. In this regard, the piano sound has one of the widest emotional spectrums, so, the emotional load of individual piano sounds cannot be considered outside the context of the performed piece of music. Instead, intonation, which is interpreted in a broad sense and includes a complex of pitch and dynamic characteristics of sound, is considered as the main carrier of the content of a musical work. At the same time, in contrast to a word that conveys a concrete meaning, intonation conveys a person’s attitude, therefore, mainly emotions. In addition to the intonation sphere, harmonization, tempo, agogic and other musical means of expression also play a significant role. From a practical point of view, the touch, or the nature of the touch of the pianist’s fingers to the instrument, is also of great importance, which determines the timbral and dynamic characteristics of the sound. At the same time, it is shown that the emotions of the listener do not always coincide with the emotions laid down by the authors of the work or broadcast by the performers. A possible reason for such discrepancies may be the individual experience or preferences of listeners. This indicates the complex nature of emotionality, involving a large number of factors that require further research.