Year: 2020
Type: book
Abstract: From musical concepts to the metalanguage of musicologyOnce again, we note that form and essence are equivalent to a pair of concepts of form and meaning, since the essence always forms the semantic phenomenon centers in which the essential principle can be detected; these are always those two poles that cannot be dispensed with in any semiological musicological analysis.However, the concept of form in recent years (the beginning of the XXI century) has lost not only its scientific attractiveness, but also its explainability, since the approach to the process of form-creation and, most importantly, to forms of musical thinking, musical consciousness, as well as to forms of personal consciousness in general, have come under dictate of a phenomenological approach.Phenomenology in its basic philosophical form, as well as phenomenology that has grown on the basis of hermeneutics, remains today that area of knowledge that leaves more questions than answers.Being in most cases an author's (that is, individualized-subjective, including discursive) discipline, it introduces relevant and promising terminology (associated, in general, with the concepts of noema, noesa, noetic analysis), but does not offer support on objective reality, on a specific historical person.The problem is that phenomenology does not rely on a sufficiently clear definition of the human personality and human consciousness structure.Meanwhile, when we sequentially consider a dichotomous pair of form and essence, we are convinced that their connecting link, through which both of these phenomena are best revealed, is the internal form.And although G. Shpet 1 , partially addressed the problem of the internal form, he did not make serious analytical support for this concept.Since the concept of an internal form needs to be clarified (the internal form of what?), this definition expands to the following definition: "Internal form of thinking" or "internal form of consciousness", which clarifies, but also significantly expands the research approach.The duality of the internal form of thinking as an object of both music and musicology was stated in one of the last works by I. Kotlyarevskyi, who, in particular, wrote: "Understanding the multiplicity of linguistic means even within the same sphere of mental activity requires setting an exciting research problem -the development of thinking in the field of musical art in the light of the communication media system evolution.<...> At the present stage, it seems possible to single out one aspect in it -the evolution of thinking in the musical and artistic sphere and the reflection of this evolution in two language systems: means of musical expressiveness and the terminological apparatus of musicology" 2 .An opportunity to position musical concepts as psychological artifacts -the results of material and ideational objectification of a person's relationship to the external and internal conditions of his being, is created.Based on the scientific theories of L. Vygotskyi, E. Etkind and D. Shchedrovitskyi, a musicological concept of the "inner man" is being developed.A systematic model of the internal form is proposed as a form of musical thinking (musical consciousness) based on the categories of sociotypological connections, musical modalities, and "inner man".
Institution: Odessa National A. V. Nezhdanova Academy of Music
Language: English
Subfield: Music
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: gold
OpenAlex ID: W4238445609