Актуальні аспекти проблеми генезису знаків музичної мови

Abstract

У статті висвітлено сучасні наукові трактування походження мови в цілому, зокрема, музичної мови, як такої, що має знакову природу. Досліджено єдину природу звукової інтонації та мови людських рухів. Охарактеризовано процес становлення звукової інтонації музичною мовою під час її формування у часі згідно із законами логіки музичного руху. Розглянуто моторно-пластичну сторону музики як одну з найважливіших засад інтонування у психологічно-асоціативній формі.

В статье освещены современные научные трактовки происхождения языка в целом, в частности, музыкального языка, как имеющего знаковую природу. Исследована общая природа звуковой интонации и языка человеческих движений. Охарактеризован процесс становления звуковой интонации в музыкальный язык при формировании её во времени по законам логики музыкального движения. Рассмотрена моторно-пластическая сторона музыки как одна из важнейших основ интонирования в психологически-ассоциативной форме.

This article is dedicated to studying of a modern scientific interpretation of language origin in general, and music language in particular, that has a sign nature. The interpretation of music as a separate type of language was established in art studies only with the development of semiotics. According to many researchers, the general theory of sign systems should be based on analytical concepts derived by linguistics. If the essence of a language is to be a means of communication for people thanks to its ability to transmit certain spiritual information, then the structure of verbal speech will be only its peculiarity, and the languages of art, the musical language in particular, should be considered as full linguistic, sign-semiotic systems. The relevance of our research is to prove this issue. The objectives of the article are the analysis of modern scientific interpretations of the human communication language origin; the study of the essence of music, the laws of its functioning and development in the system of languages; consideration of the single nature of sound intonation and the language of human movements; the study of the motor-plastic side of music as one of the most important base of intonation. Thoughts are shown and transmitted not only through a sound form. Such non-verbal means as gesture, facial expressions and pantomime do not give way to a sound intonation and are in a deep relationship with it. The fact that a sound intonation and gesture are controlled by one center (right hemisphere of the brain) is an important point of their commonality, of a single nature and serves as an essential argument for their theoretical convergence. In theoretical musicology there are a lot of scientific research dedicated to the problem of a genesis of a music art language. The structure of the analysis proposed by many researchers determines the presence of three arts which are based on gesture, word and sound, because these means are necessary and sufficient to fully express the emotional processes, that is to express the personal meaning of reality in musical matter that bears an aesthetic function. We believe that music as an immanent art is built not only on the basis of verbal intonations, but also on plastic intonations which reflect the movement of the whole surrounding world and, first of all, of a man. Basing on the works of psychologists and neuroscientists that the verbal language is preceded by its non-verbal formation, that is the primacy of the process of creating thought in the right hemisphere of the brain, which controls non-verbal intonational means of communication (audio – voice, musical sound; visual – gesture and facial expressions) and on the study of musicologists who dealt with the problem of a musical language genesis, we made the following conclusions: – the human movement lies at the basis of a musical art, in other words “the energy of a living movement” (M. Bernstein), and it is primary, because it is the movement that is the condition for the emergence and development of perception and sensation; – intonation becomes a musical language, that is a means of expressing and transmitting figurative and semantic information when it is formalized in time according to the laws of the musical movement logic; – not only in the early stages, but also in the further development of music the motor-plastic side either directly organized the musical movement (when combining music with dance, procession, pantomime), or became one of the most important foundations of intonation in a psychologically associative form; – the category of musical movement is based on a kind of “hidden anagram” of human bodily activity as an ontological formula for meaning formation; – the type of musical mobility that organizes the musical movement is the condition for the existence of the intonation system of music.