Музыкальное искусство и образование (Sep 2019)
Author’s Comments in the Conceptual Space of Musical Text: to the Methodology of Research of Musician Teacher
Abstract
This article presents the problem of the relationship between two landmark subsystems in the conceptual space of the musical composition text: notation and author’s instructions, comments of various types and functions. The author contrasts the text formal division (it is used in performing and pedagogical practice, non-binding “notes” and instructions by the composer of minor importance) and views of musicians who see in the traditional dichotomy “musical text – comments on it” a theoretical problem. The differences in approaches to it are analyzed in the works by S. E. Feinberg, E. Ya. Liberman; it is proposed to consider the position of the author of the article, treating the first of these subsystems as a base, the second as a superstructure in a united conceptual space of a musical text. The author develops the theme and carries out historical-style excursions and reveals the evolution of the composer’s comments in the music in 17th – early 20th centuries due to aesthetic, artistic, technological and other factors. In the historical-style sections of the article, the author relies on the concept by S. S. Skrebkov, that is in the book “The Artistic Principles of Musical Styles”. In particular, the author uses the principle of centralizing unity postulated by the scientist as a methodological guide, and interpreted broadly in the article as a general dialectical principle of musical logic. This allows to differ stylistically and at the same time to study dialectically the practice of composer commentary in musical works of the Baroque, classical and romantic eras. The main conclusion of the article is the reference to the need for performers and teachers to deepen into essential, substantial relations in a united conceptual space of a musical text of two main plans: notated, reflecting introverted, immanently musical meaning, and composer comments, where denotation is carried out, symbolization of the deep structures of music.
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