The article discusses the ways of the optimal formation of sound production techniques in the interpretation of multi-style piano music. The research methodology is based on the use of the historical method to highlight the evolution of methodological approaches to the formation of piano performing technique; analytical - to study the problem in scientific research in psychology, psychophysiology, musical pedagogy, piano performance; musicological method of analysis of piano styles; method of generalizing the piano performing experience of leading artists to substantiate the peculiarities of performing intonation of multi-style piano music. The purpose of this study is to identify the integral direction of improving the process of the formation of instrumental and performing technique, to concretize the sound forms of the embodiment of key pianistic skills, and to outline their typical motor characteristics. For the purpose of the study, methodological approaches to the formation of performing technique in the history of piano pedagogy are analyzed. The evolution of views on the technical development of the performer in different piano schools appears as a transition from empirical methods to scientifically grounded ones, as a change in the subject of the direction of the pianist's consciousness: identification of the most advanced forms of playing techniques, maximum attention to the sound result with the intuitive establishment of auditory-motor connection, conscious processing of auditory-motor coordination. The conditions for the optimal development of piano playing technique are considered, taking into account scientific achievements in the field of physiology, psychophysiology, and musical pedagogy. The circle of those skills of the pianist is determined, the acquisition of which optimizes the technical development of the performer: the skills of style-like sound production and sound science, which make up the technique of style-like sound formation. The content of the process of conscious mastering of interdependent and mutually conditioned components of such playing techniques is specified: generalized understanding of the common factors of the musical and linguistic environment of a certain piano style; creation of vivid sound-like performances based on emotional and intellectual comprehension of musical compositions, coordination of auditory-motor representations of such "mobile" expressive means as articulation, dynamics, agogics and timbre; improvement of motor skills from the point of view of physical convenience with the help of associations with previously acquired relevant performance experience, as well as life motor experience of economical expedient use of motor activity. The main stylistic features of sound production techniques in the interpretation of the piano heritage of Ludwig van Beethoven, Fryderyk Chopin, Serhiy Prokofiev are characterized on the basis of an analysis of their aesthetic ideals, "stable" and "mobile" expressive means of the composers' music, and the performing styles of the artists themselves. The examples of effective mastering by specific ways of combining tones that are appropriate in the style of composers are given. The described playing techniques are primarily a reference point in the art of sound production, a generalization of the rich scale of the pianistic initial touch. In practice, certain changes, combinations of techniques and movements can and do occur. In order to render the specific content of a piece of music, it is often necessary to deviate from the "textbook" way of playing with "exemplary" movements. At the same time, mastering the relationship and interdependence of stylistically conditioned sound tasks and expedient motor skills will make it possible to variably apply the playing techniques mastered in the embodiment of many nuances of the soundest images of highly artistic pieces of piano music.
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