Musical Aesthetics of John Dowland: From the Era of Elizabeth I to the Modern Understanding

Abstract

The purpose of the research is to understand the work of John Dowland through the prism of the concept of melancholy as a reflection of a specific worldview of English society from the era of Elizabeth I to the present. The research methodology is based on the historical-conceptual, hermeneutic method and comparative analysis of factual data based on the works of E. Chambers, V. McCaffrey, D. Drew, D. Poulton, E. Fellows, P. Holman, A. Rooley, D. Poulton, F. Heseltine and others. The scientific novelty of the research lies in the first attempt to reveal the specifics of the aesthetics of melancholy as a unique phenomenon and part of the national cultural code of England. A study of John Dowland’s musical aesthetics in the context of the culture of the Elizabethan era and its influence on modern musical art was carried out. Conclusions. English melancholy as a specific cultural code of the nation was formed under the influence of a complex of factors: geographical isolation of Britain, special climatic conditions, Puritan heritage with its emphasis on introspection, as well as the empiricism of English philosophical thought. A key role in the musical embodiment and consolidation of this phenomenon was played by the composer John Dowland, who not only reflected the tendency to melancholic moods, but also created a new aesthetic of melancholy and made a revolutionary breakthrough in several directions. In the period of dominance of vocal genres, he raised the music of the month to the level of high art. The universality of his musical language made it possible to overcome the status boundaries of Elizabethan England – the composer’s works were performed with equal success both at the royal court and in the urban environment. The aesthetics of melancholy created by John Dowland significantly influenced the further development of English musical culture.