MUSICAL SPACE AS A WAY OF REFLECTING PUBLIC RELATIONS

Abstract

The semantic universality of the space category and its relationship with the extra musical experience of the person provides composers an opportunity to model various forms of public relations in music. Being guided by E. Hall’s theory and the four models of communicative space identified by him – intimate, personal, social and public – we make an attempt to define the specific features of these spatial models in music. In this paper, the principles of E. Hall’s theory are for the first time projected on music. The research methods include hermeneutics, inter-disciplinary approach and musicological analysis. The research of the samples of instrumental music written by Scarlatti, Mozart, Beethoven, Chopin and Liszt showed the specific features of the intimate space model as the basic isolation of its structure, hierarchy and a special toponymy of the man’s inner world including the invariant steady presence of certain subjects and objects. The research of other spatial models in music shows prospects of conceiving the evolution of music as a special spatial form of reflecting the patterns of public consciousness and society arrangement.

Keywords

• musical hermeneutics
• musical space
• musical meaning
• musical aesthetics