The performing aspect of timbre and dynamic formation of piano texture

The actuality of the article is due to the attention of modern art studies to the analysis recorded in the musical notation of the composer's text, implemented in the aspect of its performing interpretation. As a rule, timbre and dynamics are not subjected to detailed fixation and often not regulated by the composer. The disclosure of the functional relationship of timbre and dynamics in the formation of the timbral picture is given to the performer. The composer sets out on paper only the textural idea of timbre, expressed notation-graphically with the help of signs of height, duration and pedal. This problem is particularly in the field of piano music, since the timbre of the instrument is monochromatic. The task of the article is to reveal the result of the performance coloring of the sounding, which directly depends on the dynamic stratification of the texture, is called the timbre illusion. The article attracted some aspects of the method of integral analysis of a musical text. The performing rules of such stratification are not defined and depend on the taste of the performer. To analyze this process, we use the concept of masking, studied in psychoacoustics. Auditory masking is the phenomenon of "closing" one sound to another, louder. We're interested in a partial masking and how this phenomenon can explain the art process of timbre-illusion formation. Reverse the masking process will be denoted the concept of a mounting. By "embedding" (mounting) one sound (masked) into another (masker), a colorful element of the image is collected, the sounds are conventionally "immersed" in each other, "amalgamate". The masker is the assemblage point of the timbre. In the texture, which unfolds in time and in sound space of the right damper pedal, the mounting acquires the value of the method of forming the timbral atmosphere. The timbral atmosphere exists thanks to the pedal that lifts the damper and opens the strings, thus giving the opportunity to "mix" the sounds. Mounting a sound into a sound vertically or horizontally begins with the dynamic formation of the main two-voice, in which the bass is embedded in the melodic sound. Process of the mounting based on irrational activity of the Art will-power activity (Schopferischer Klangwille concept of K. Martienssen). Art will-power activity solves the problem of timbre formation holistically, linking the spiritual, musical auditory and plastic items. The performer, based on the art problem, finds the proportions of dynamic relations, using the image of the overtone in the formation of the timbral picture. The performer is associating some sounds textures with ghostly in the dynamics sounds which we propose to designate as quasi-overtones. This is possible due to the property of the piano as a percussion instrument. A few seconds after the blow of the hammer on the string, the piano sound turns into a ghostly sound, a quasi-overtone. In the conclusions of the article shows that the performer forms an illusory timbre intuitively. He bases the process of texture timbering on the representations of timbre hearing about overtonal dynamic relations of sounds that are fixed in the performing physical skill.

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