F. CHOPIN’S STYLE THINKING AS A SUBJECT TO MUSIC SCIENCE AND PERFORMANCE STUDY

Abstract

The purpose of this article is to explain the phenomenon of stylistic thinking as important to understanding the author’s discoveries of F. Chopin, the individual interpretive requirements of his piano works. The methodology of work is represented by cognitive-stylistic, semantic and textual approaches. The scientific novelty of the work is due to the fact that for the first time an approach to Chopin style thinking is proposed based on the concept of idiostyle; this allows us to combine style and language and stylistic techniques into a single complex of author’s piano semantics, giving them the appropriate definitions. The сonclusions of the article testify to the innovative authorial nature of Chopin’s piano work, which is conditioned by the individualization of his style thinking. The definition of the three basic linguistic and stylistic complexes in Chopin’s piano music makes it possible to see in them the unity of composer’s and performing intentions and the effect of the principle of recurrence, which acquires a methodological meaning and testifies to the semantic unity — a kind of authorial programming — piano language.