REVISITING THE POLYGENESIS OF MUSICAL ART
DOI:
https://doi.org/10.32461/2226-3209.1.2018.160496Keywords:
music, sound means, word, musical instrument, syncretism, synthesis, "pure" forms of art, polygenesis of music, musical thinkingAbstract
The purpose of the work. The article under consideration deals with the analysis of verbal and musical-sound (extra-speech) origins of music in the aspect of their dependent-independent relations, coordinated with the concept of the primary nature of the origin of musical instruments. The methodology of the study lies in application of the aesthetic-cultural, comparative, theoretical and historical methods, as well as the analytical approach, which form a single methodological basis. Along with a complex method, so-called systemic approach is needed, which makes it possible to comprehensively study the object at various but interrelated levels. The scientific novelty of the research consists in expanding the understanding of the genesis of musical art as an artistic and cultural phenomenon on the basis of a comprehensive analysis of the relationship between the musical, sound and speech sources of music, taking into account the specific features of the formation of musical instrumentalism. Conclusions. Comprehension of complex evolutionary processes of the polygenetic nature of music provides a new starting point in the perception of this type of creative expression and perception of the world as a specific holistic supernonational phenomenon of "sublime sound forms" (Yu. Kholopov). This approach allows us to distinguish the statuses of specific musical thinking, as well as musical instrumentalism, while responding to the intentions and principles of the functioning of a common creative, communicative, "living" art field.
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