Bodily-Sensory Сodes in the Texture of S.V. Rachmaninoff's Musical Movement op. 16 №4
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Abstract
The article is focused on some of S.V. Rachmaninoff’s piano texture peculiarities, which are based on a difference between two types of its perception – by a listener and by an actual piano player. In order to characterize the specifically pianistic sight of a texture units, the new term, “bodily-sensory codes” is originally used. Figures of texture are not interpreted as pictures, but with an actionable slant, so they are considered to be (based on a whole complex of empirical and psychological connectivity, existing in a pianist’s conscious) signals for the relevant movements. Thus, in the text of a musical composition, a motional, tactile plan substratively arises, which in its development has the features of a stageness.
Observing the Rachmaninoff’s piano texture is based on the analysis of his own remarks in the text, therefore the attention focuses on the equality between the two identities of Rachmaninoff as an artist – a pianist and a composer. The analysis of texture units considered as a bodily-sensory codes, reveals a certain logic of a composer in realizing pianism tasks.
By the example of the op. 16 № 4 it is analyzed the most important bodily-sensory code, which occurs to be a legitimate result of a romantic pianism “vocabulary”, and it is proposed a preliminary historical model of its development.
Keywords: S.V. Rachmaninoff, piano texture, romantic pianism, bodily-sensory codes, Musical Movement, piano technique.
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