Some aspects of upgrading the sound of a piano in the era of musical radicalism of t he early twentieth century.

Abstract

The article deals with the evolution of the sound image of the piano in the context of the integration of urban motifs into the system of instrumental thinking. On the example of individual compositions of European and American composers of the beginning of the twentieth century, the specificity of the embodiment of "machine" dynamism by means of piano writing was investigated and the phenomenon of the polivariance of the sound formation of the piano in the era of style radicalism was investigated. In the early twentieth century. European civilization extrapolates into the artistic space the dynamic impulses of technicalism and machinery as a reflection of the rapid industrialization and mechanization of everyday life. Not only does urban aesthetics dictate the newest principles of the formation and structuring of artistic objects, but it also radically influences the transformation and rethinking of the sound "play" of traditional instruments. After all, every instrument, as a sound symbol of the era, has historical preconditions for interpreting the volume, which determine its ability to reflect the concept of an intimate worldview. Piano music, focusing on the spiritual and stylistic beginnings of contemporary art of the early twentieth century, fully demonstrates the contradictions of all the antignomes of modern musical thinking. It is obvious that multilingualism and sound-polymarial variance, ability to make various modifications and to reproduce textures of any type have become the main factors for the active involvement of the piano in the sphere of sound projections of the newest urban-industrial sound landscape, and the diverse sound-image is sonoristic-coloristic to shock-noise - it was fully in demand by young composers.