Music and Time Annotation << Back To the problem of transformation of the texture of piano transcriptions: the experience of the ontological approach O.Y. Ushakova The textural organization of piano transcriptions is one of the universals of this genre. It is the most stable indicator of changes in the original. Therefore, the comparative characteristics of the texture parameters of the original and its transcription becomes one of the objective criteria for assessing the artistic integrity of the transcriptor’s interpretational art. The problem identified in the article is solved in the methodological context of E.V. Nazaikinsky’s invoice theory, which relates the texture to the phonemic level of a musical language possessing specific perception laws. The most important concept of this theory is the text-register idea of the exposure texture, which has an installation function and expresses the author’s modality. Reliance on it allowed not only to examine the textural drama of the romance of R. Shuman’s "I'm not angry" from the cycle "Poet’s Love" and the piano transcription of this masterpiece by B. Borodin and to reveal essential differences in the interpretation of G. Heine's poetic text. The phonological view of the analysis of texture became an objective criterion for assessing transcription, confirming the artistic appropriateness of Boris Borodin’s interpretive art. Кеуwords: transcription, interpretation, texture, phonology, register. Contacts: - Pp. 33-38.