TERMINOLOGICAL PRINCIPLES OF MODERN MUSICAL HISTORIOGRAPHICAL DISCOURSE

Abstract

The possibility of creation of modern dictionary of musically-historiography categories is examined in the article. Such dictionary simultaneously can serve as the dictionary of musical culture of end of the ХХ – the beginning of the ХIХ centuries.

The initial and basic categories of this dictionary are a sense, a semantic setting of music, semantic functions of expressive receptions and characters in music. The semantic interpretation of musical contents is possible only including the musical phenomena, pieces of music in the cultural and historical context. The culture and music are interdependent areas of semantic values. It is possible to determine cultural semantics as musical determinant, but musical semantics, included in the "semantic world" of culture, also influences semantics of culture.

The comparative analysis of key categories of cultural semantics and semantics of culture is discussed in the article. These categories comparatively recently have entered scientific everyday life and still cause contradictory judgments. These concepts specify on the fundamentally different phenomena. The cultural semantics is the mechanism and the processes of generation and translations of information, specific for culture, inalienable from its historical features. The semantics of culture is a hierarchy of values and forms, artefacts, the sign systems in general historical evolution of culture, the effective aspect of communication-intercommunication. It assumes the designs of the got results, its theoretical abstracting and scientific study (for example, aesthetic, sociological, psychological ones). Musicology and Culturology can study both cultural semantics and semantics of culture.

The concepts "Musical semantics" and "semantics of music" are also specified on the different structuralfunctional levels of culture. The cooperation of composer's work and tradition are their basis. The article proves that the fundamental principle of music language is the system of canonical church genres. The strong connection with church Christian tradition substantially distinguishes the historical experience of music from others, for example, from history of literature. The claiming new sacralness, the composer's work of new and the newest time is forced to turn to the roots of cult sources of music. Therefore the the modern composers constantly call to canonical church texts.

Thus, the music resists the attempts of its "translation" to the tunes of secularizing spirituality. Today the canonical genres regenerate a wide front in secondary composer's work. It is the important index of return to the collegiality – unity in a spirit, in vertex ideas about sense. This return is a symptomatology for the whole culture. It allows to say that today the important necessity is the overcoming the psychological disconnection of people, that leads to losses of integrity of personality.

Today a concept "post-tragic" are on the pages of various disciplinary scientific literature. It is the symptom of the crisis of cultural consciousness that experiences the "end of time". The problem and theme of post-tragic are open in the article. There are such problems that accompany existential experience of man and expose his "main nerve".

At the same time the tragic and post-tragic as two forms of tragic relation show up and can be considered at different levels of musical poetics such as intonation-thematic, genre-composition, style and summarized figurativelysemantic.

The last one depends on the features of the author’s personality and structure of artistic expression. The using of this expression and the text of music composition in the different vital and artistic contexts leads to the accumulation of its "stylistic overtones" (M.Bakhtin), arising up here stylistic transitivity exposes permanent transformation of semantic intensions of musical text "multiplicity single" in musical semantics. It reflects the variety of processes of the creative reception or apperceptions. The apperception is related to the internal stimulus of creative process that provides its psychological integrity. This concept is especially important for understanding of the author’s stylish dialogue. On the side of stylistic contents of musical text apperception is expressed in the phenomenon of citation and can be discussed on the basis of the last one.

The article reveals that relations of retrospection and heuristics in work of composers of past century allowed to get to a new level of the method of the style reflection. This method is widely considered as a dialogue with tradition, and prognostic composer's self dialogue. Today a problem of neostylish dialogue is one of most perspective music in musical history. In particular, it allows to call to the game aspects of style, develop substantial for a semiological study of music, the question of game theory.

A "game" belongs to the most difficult phenomena of a human vital activity. The studying of art concept and its equivalent in research of Y. Kheyzingi has not been achieved yet.

The difficulties of scientific explanation of the game are related to multidimensionality of this phenomenon.

Culturological direction is presented by the works of Y. Kheyzingi, Y. Finn, partly G. Gadamera and suggests the universal value of the game, finds the source of culture in a man’s game activity, offers the conception of game genesis of culture. Y. Kheyzingi determines the aesthetic elements of the game. They are the tension, the equilibrium, the alternation, the contrast, the variability, the plot and upshot, the permission. The key values of the game are a rhythm and a harmony which can be accepted as description of musical, forms. They can be applicable to the last one as playing ones, because based on the first rule of game: the creation of convention or the conditional artificial order substitutes the real and competes with it.

The positive culturological conception of game resists the traditional psychological one (by empiric psychotherapy). The last one comes from the social limited nature of personality consciousness. At this point the game is examined as a role display of personality, individual planning of behavior (in an everyday context); to the results of game take such negative phenomena, as alcoholism, suicide, drug addiction even.

In musicology a game can be determined as multifunction epiphenomenon of musical semantics, simultaneously turned to the culturological, artistically-composited, textual criticism, stylistic and psychological terms of musical work. Concept "playing" co-operating with concepts "sense", "cultural semantics", "musical semantics", "text", "stylistics", "neostylish dialogue", "apperception", "citation" relates to the main music categories in the musical history.