Tembronic mounting-masking of sounds in piano facture: synesthetic aspect

The article presents the method of performing the implementation of the timbre of the piano texture, carried out through its dynamic stratification. The dynamic relationship of sounds in the texture is proposed to express through the concept of camouflage. In psychoacoustics, disguise explains a change in the perception of one sound when another appears. The sound masker dominates the texture and changes its coloristic appearance. In the performing text, "disguise" is complemented by a "mount" process. Mounting ("putting" sound into sound) and masking ("absorbing" sound by sound) is a mutual process of forming an "illusory" timbre, therefore it is appropriate to define it as a timbral mount-masking. The timbre of the texture is characterized by the overtone properties of the piano sound. This makes it possible for the performer to associatively use the dynamic relationship scheme of the overtones of the overtone series as a model of texture bundle. The mounting-masking method is productively expanded with a synesthetic approach. Synaesthetic as a systemic property of artistic consciousness allows enriching the method with associative values. Quiet sounds of the piano texture, timbrally equal to the overtone, are proposed to be defined as quasi-overtones. The intermodal characteristics of quasi-overtones can have the following meanings: light, foggy, light, weightless, ghostly, etc. The action of the mount-disguise method, implemented in the process of performing the pianist's performance, is shown in the example of Concert No. 2 for piano and orchestra by N. Medtner.

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