Abstract

Throughout the 20th century, the theory and history of performing arts repeatedly attempted to systematize various phenomena in the field of interpretation of works of academic music. The number of performing styles and types in various researches has risen dramatically, until the beginning of this century when it was reduced to a single concept - to the category of an individual style. This topic was discussed mainly in research papers devoted to the theory of pianism. The results of their observations and conclusions can be applied to the performing arts in general. The article mentions the works of K.A. Martinsen, D.A. Rabinovich, V.P. Chinaeva, A.V. Malinkovskaya and others. The topic of musical perception is addressed both in musicology and in musical psychology. This research offers a new vector for studying of musical perception, linking the features of musical imagery created by the performer and the nature of perception. The following aspects are revelated: patterns that allow us to talk about the types of musical image, the principles of its construction and the types of perception. This is an affective image created on the principle of contrast. It corresponds to the psychophysical type of perception. The contextual image is guided by the principle of connections. It corresponds to the aesthetic type of perception. The integrative image is formed, focusing on the principle of the whole. It corresponds to the symbolic type of perception. A hermetic system of typology is considered to be impossible; artistic practice will largely oppose it. However, these tendencies are able to shed light on the nature of musical perception and allow to continue the scientific discussion of the current topic of musical performance.