The article deals with aspects of the embodiment of ornamentation3 3 in music. The musical arrangement is a special kind of text4. 4 . On the one hand, its essence is manifested in the sound, which materializes in time and space, and on the other hand, in the sphere of sense perceptions, including emotional impressions or experiences, visual images, etc. The associative similarity with some elements of fine art allows revealing a special musical "pattern" by means of which the piano texture acquires ornamental features. The ornamenta tion means the introduction of ornamentation1 1 elements into the musical fabric, which is perceived largely on the basis of synesthetic sensations, with the manifestation of stable ornamentation techniques being evident. Based on a certain consistency of ornamentation principles in the works of several composers, it seems possible to identify several types of ornamentation, as well as a number of textural techniques. The ornamentation of the musical texture may be associated with the realization of different artistic tasks. As a consequence it has a certain functional meaning. The purpose of this article is to consider individual ornamentation techniques, which have formed in the practice of European music-making, and their application in Russian piano works of the first half of the 19th century. The author compares the peculiarities of ornamentation in the fine arts and music, identifying the stable techniques, typical for each of the arts, and considers them on the examples of piano works from a particular historical period.
