Current Issues of Musical Textology

• Authors: Yuliia Hribinienko

Abstracts

EN

The article is devoted to consideration and characteristics of the ways of formation and development of the theoretical base of musical textology. The purpose of the article is to identify and characterize leading approaches to key concepts in the analytical apparatus of musical textology. The article uses a set of musicological approaches, among which the system-interpretive and comparative ones have a leading role. It is established that the problems of a text and text creation in music are becoming central in an increasing number of works representing original musicological and cultural concepts, and also often become the focus of various discussions. It is emphasized that the concept of the musical text as central receives different interpretations. Each of the researchers, who focuses attention in their works on the text as an object of study, understands this phenomenon differently, highlighting these or those its content and structural features. Emphasizing the views that are represented in the works of Levon Hakobyan, Mark Aranovskij, Alexandra Samojlenko, Andrew Denisov, allows us to study the musical text as a complex, multi-level, systemic phenomenon that has its own semantic structures, an autonomous logic of development, unique properties. Among the latter, musicologists single out fixation, organization, meaning productivity, duality, transitivity, equivalence, linearity of unfolding in time, the possibility of multidimensional organization of sound texture, variability depending on interpretation, etc. It is their understanding that determines the ways of comprehension of the musical text. There are revealed the mechanisms of the generation of the musical text, both external and internal, which allow it to acquire the status of a significant, possibly real space. At the same time, the musical text appears as a combination of the «expressed» (semiotic structure expressed in signs) and what is meant (meaning), caused by the realization of the function of musical-sign and sound subject-creative activity. The special attention in the article is paid to the definition of levels of the musical text, which are important for understanding its structural organization. It is established that the relationship between the linear and vertical aspects of the text through their understanding is the main characteristic of the text as a structure.

Keywords

EN

text; musical text; structure; meaning productivity; derivation; levels of the musical text

• Publisher: Wydawnictwo Adam Marszałek
• Journal: Copernicus De Musica
• Year: 2022
• Issue: 1
• Pages: 93-100

Dates

published

2022

Contributors

author

Yuliia Hribinienko

• Odessa National A.V. Nezhdanova Music Academy of Music

• https://orcid.org/0000000348915157

References

• Akopjan Levon, Analiz glubinnoj struktury muzykal’nogo teksta [Analysis of the Deep Structure of a Musical Text], Moscow 1995 [in Russian].
• Aranovskij Mark, Muzykal’nyj tekst: struktura i svojstva [Musical Text: Structure and Properties], Moscow 1998 [in Russian].
• Denisov Andrew, Metamorfozy muzykal’nogo teksta [Metamorphoses of the Musical Text], Moscow 2019 [in Russian].
• Hribinenko Yuliia, Ponjatijnyj osnovy muzykal’noj tekstologii: k probleme vzaimodejstvija kategorij tekst, intertekst i gipertekst [Conceptual Foundations of Musical Textology: To the Problem of Interaction of the Text, Intertext and Hypertext Categories], “KELM: Knowledge, Education, Law, Management” 2021, vol. 1, no. 3 (39) [in Russian].
• Samojlenko Alexandra, Muzykovedenie i metodologija gumanitarnogo znanija. Problema dialoga: monografija [Musicology and Methodology of Humanitarian Knowledge. The Problem of Dialogue: Monograph], Odessa 2002 [in Russian].
• Samojlenko Alexandra, Psihologіja mistectva: suchasnі muzikoznavchі proekcії [Psychology of Art: Current Musical Projections], Odessa 2020 [in Ukrainian].

Identifiers

DOI

10.15804/CDM.2022.1.10

Biblioteka Nauki

60749238