Perceptual Space of Action of a Musical Composition

Abstract

The purpose of the article is to reveal the meaning and peculiarities of the category
"perceptual space" in musical art. The methodology of the research is based on the
interdisciplinary integration of the methods of modern philosophy, cultural studies and art history.
Scientific novelty of the article is the substantiation of the inseparable interconnection of space and
man, which makes it possible to consider this category one of the fundamental forms of
understanding the world and thinking about the world in musical art. For a full study of the
perceptual space in music, there are means that facilitate the creation of connections of elements
both within the composition and between objects of art and reality. Conclusions. Continuation and
deepening of the study of spatial means and principles of form formation in music create
prerequisites for a deeper understanding of the nature of space in art. This process also contributes
to the identification of common psychological, physical, compositional patterns, concentrates
spatial perception in music. To such we attribute the following: the value of the unconscious in
creating conditions corresponding to the activation of sensory channels responsible for visual
perception; the operation of general physical laws; the basis of the mechanism of associativity, motor modeling in music; the necessary generality of the stages of understanding is imagesensation, image-perception, image-representation; the basis of the unity of the compositional
principles of visual and musical arts; the general effect of the principles of formal composition (the
principle of simplicity, the influence of geometric forms on emotional perception, the arrangement
of musical marks on the plane of the score, such as the relationship between the figure and the
plane and other positions in music).
Key words: space, space of musical art, perceptual space, composer creativity, synaesthesia