The Concept - Text - Interpretation Triad in Piano Music of the Second Half of the 20th - 21st Centuries

The author of the article attempts to comprehend various aspects of the concept - text - interpretation triad, proposed as an analytical model to study the problems of performing arts in piano music of the second half of the 20th - 21st centuries. The concept, which is the quintessence of the composer's ideas developed in interpretation, is assigned the role of the initial stage of the composer's intention. The author conducts a comparative analysis of the term "concept" in Russian and Western European musicology, notes that modern humanitarian science allows one to determine approaches to the problems of interpretation from the standpoint of the methodology predetermined by the meaning of a concept. The study of the triad allows combining various methods of revealing musical meanings to comprehend the content of the interpreted object and present this phenomenon as a universal system. The author considers the concept of interpretation from the standpoint of conceptual metaphors and research in musical semiology. In the article, the broad interpretation of a musical text goes beyond the musical text itself into the field of signs, metaphors and metonymy. In this regard, the author draws a conclusion about the importance of the meaning of metonymy for a musical text and compares the approaches to the text in serialism and post-serialism in order to determine the characteristic features. In the study of the functions of performers and composers in the second half of the 20th - early 21st century and the projection of changes in the listener's perception in this process, it is emphasised that the authors of compositions were beginning to consider reception as an integral part of the work, taking this aspect into account in their creative strategies. Analysing the peculiarities of the psychology of “delayed perception” based on making musical connections and a composition form in a retrospective context, the author defines it as a “conceptual form” resulting from comprehending certain sound concepts. The article substantiates the need for a special meta-approach, characterised by the search for relationships in a situation of fundamental lack of balance in connection with introducing new aesthetic concepts into the process of interpretation and perception through composing practice. The phenomenon of the triad proposed by the author contributes to the introduction of the problems of contemporary performing arts into the general system of humanitarian thinking. It allows it to be presented as a scientific problem.