Piano in Electroacoustic Discourse of Sound Representations

The purpose of the article is to study piano’s performance expression in sound representations electroacoustic opuses by Ukrainian composers. research methodology based on musicological, semiotic, cultural, and hermeneutical analysis. scientific novelty that for first time music Ukraine, importance instrumentalism, namely piano lexicon, interpretation images a person, an epoch world reproduced semiotic-communicative artistic-figurative space compositions emphasised. Conclusions. creativity regional composing schools Ukraine marked use information technologies, as evidenced emergence electromusical, electroacoustic, audiovisual opuses. Electroacoustic has wide range genre models hybrid type, combining possibilities acoustic instruments multimedia technologies. analysis works magnetic tape K. Tsepkolenko A. Karnak shows digital audio modifications provide expansion spectrum through processing programming series sound, noise, speech genesis, where verbal components reveal ideological conceptual basis compositions. piano, embodied stylistics modernism avant-garde, absence elements ethno-national character, which emphasises tendency "globalised" type aesthetics. In semiotic communicative interaction instrumental part with electronic media, unique environment multidimensional unity movement, time, formed. It reflects modelling general philosophical picture dual oppositions immanent transcendent, historical non-historical significance.
 Key words: electroacoustics, school, art, performance, image, world.