THE PIANO CYCLE CHILD’S PLAY BY HELMUT LACHENMANN: FEATURES OF SOUND SPACE CREATION

The aim of this paper is to analyse the specifics of the sound space of the cycle as an example of the adaptation of modern sound techniques for young musicians. Its artistic and pedagogical significance is also considered. The research method includes a detailed analysis of the structural features and characteristics of the sound space in each miniature. The analytical approach focuses on the unique techniques of sound production. The results of the analysis show that the piano cycle Child’s Play by H. Lachenmann has a significant influence on the development of auditory perception and spatial thinking in young performers. The compositions of the cycle open up modern sound textures and techniques to the listeners, including such unique methods as the “silent octave” and “long-sustained notes”. Each of the seven pieces in the cycle serves as a self-contained musical miniature, allowing for experimentation with sound production, immersing the performer in the world of avant-garde music, thus contributing to the formation of modern musical thinking. The cycle not only expands the understanding of the possibilities of the piano but also performs a pedagogical function, introducing the performer to the techniques of 20th-century avant-garde music. The main conclusions of the study highlight the significance of the cycle as a resource for teaching young musicians modern sound techniques. It stimulates auditory perception and musical thinking, fosters an interest in contemporary music, and develops creative perception.