Piano performance in the context of scholarly research

Abstract

The article provides a fundamental analysis of piano performance as a multi-vector object of scientific inquiry, covering a spectrum from musicology to psychophysiology. The purpose of the article is to build a theoretical model of combining research issues regarding piano performance as a theoretical basis for updating the methodological context of its improvement in the field of arts education. To achieve this goal, the author implemented the tasks of extrapolating the methodology of art criticism into a practical plane, determining the methodological potential of current research positions, and identifying prospects for the development of piano education. The research methodology is based on the poly-paradigmatic principle, which allows integrating musicological, anthropological, and organological approaches. The work adapts S. Ship’s four-level model (implicit, theoretical, metascientific, and philosophical-ideological levels) to the specifics of the piano interpreter’s activity. Particular attention is paid to the anthropological aspect, which reveals the internal processes of the pianist: performance reliability, musical memory, and artistic thinking, as well as the biomechanics of interaction with the instrument (Tuche). The article is the first to systematically combine the concept of artistic-creative mentality with the problem of “historically informed performance” (HIP). The role of instrument quality (Steinway, Bösendorfer, Yamaha, etc.) in the process of materializing the artistic image is examined. The author proves that the object of musical pedagogy is not only the musical text but also the personality of the performer, which requires a synthesis of theoretical knowledge and practice- oriented techniques. The results of the study can be used to develop new methodological recommendations in the field of arts education and professional training of pianists.