STYLE PARADIGM OF THE INSTRUMENTAL ETUDE GENRE

The article is devoted to the study of the genre and style paradigm of the etude for various instruments. The material includes opuses by J.F. Mazas (for violin), etudes for cymbals of the Shunda system, P. Jeanjean (for clarinet), Debussy, Bortkevich (for piano), and a number of modern etudes for wind instruments. Research methodology includes comparative and systemic approaches, performance analysis (identification of text components such as texture, rhythm, stroke, articulation, etc.). The genre is interpreted as an onto-semantic and communicative-interpretive system. The scientific novelty consists in formulating a stylistic paradigm of the etude genre for various instruments. The historical divergence of the presented examples of the genre (from the 18th to the 21st century) made it possible to mark the constant parity of the technical and artistic side (or didactic and artistic parameters); formulate signs of “blurring of boundaries” (erasing of the separation between academic and non-academic music, loss of relevance of dividing the etude repertoire for various instruments into methodical and artistic), which is characteristic of etudes of the late 20th and early 21st centuries. Research allowed revealing that in modern performing arts, the final transition of etudes from the status of musical material, which is practiced alone during closed rehearsals, to the status of concert works, which is demonstrated to the public, took place. It was concluded that virtuosity, which is the basis of performing art in etudes of various stylistic orientations, can present its high quality, which is a constant feature of the genre, that overcomes the boundaries of historical times and styles.