Individual timbre of the pianist in the context of the expressive capabilities of the piano

The article examines the issue of the pianist’s individual timbre as a phenomenon from the pianist’s arsenal of performance means of expressiveness. The paper analyzes and summarizes the results of modern studies of the pianist’s expressive capabilities, which highlight the purely performing ability of the musician to influence the timbre of the piano. The list of means of artistic expressiveness of the pianist, thanks to which the listener is able to perceive timbre as a variable, is analyzed and classified. The purpose of the article is to study the features of the process of sound production on the piano, which is directly perceived by the listener as the variability of timbral coloring of the piano sound. With the aim of moving away from the phenomenological approach, which is often determined by the performing practice of art scientists, the main research methods are empirical, structural-functional, interdisciplinary and systemic, forming a holistic analytical understanding of the most modern experiments and research conducted in specialized laboratories for the study of sound. The relevance of the topic is related to the active expansion in the 21st century of the subject of research and experiments related to the perception, as well as the generation of piano timbre. The results of research and experiments represent an opportunity to expand the imagination of sound, its extraction and timbre-color significance with its representation in the Ukrainian piano school, which is actively developing today. As a result of the study, a list of components influencing the timbral palette of the pianist was developed, depending on articulation, pedalization, sound volume, dynamic balance between the hands of the pianist, with the identification of exactly those factors that can be objectively adjusted by the performer.