Стильовий аналіз: методологічні та типологічні основи

Abstract

У статті розглянуто основні принципи стильового аналізу, визначено психологічні передумови та складові процесу сприйняття і формування стильових уявлень. Розкрито сутність завдань, методів виявлення стильових ознак, зв’язків як загальних закономірностей феномену стилю. Охарактеризована типологічна система стильового аналізу, окреслені завдання аналізу стилю. Зроблено висновки стосовно мети стильового аналізу та його ролі у дослідженні індивідуального, національного й епохального стилів.

В статье рассматриваются основные принципы стилевого анализа, определяются психологические предпосылки и составляющие процесса восприятия и формирования стилевых представлений. Раскрыта сущность задач, методов выявления стилевых признаков, связей как общих закономерностей феномена стиля. Охарактеризована типологическая система стилевого анализа, намечены задачи анализа стиля. Осуществлены выводы относительно цели стилевого анализа и его роли в исследовании индивидуального, национального и эпохального стилей.

Issues of style analysis are becoming relevant, since there is necessity to identify stylistic features both of the individual style and the style of separate national and regional schools. Systematization of the techniques and methods of style analysis, the typology of style analysis, which are not sufficiently defined and specific, will contribute to quality work in the study of the style of individual composers and the broader style systems. Style is generalization of objective (collective) and subjective (individual) ideas that arise as a result of practical or auditory perception of a certain number of musical works. As a result, in the minds of the musician there are formed stable images of various style systems that allow one to analyze the style. Sense of style is the perception of a particular style character of the author's work, direction, epoch or national school. The sense of style develops as a result of a long process of music perception, as a consequence of the experience associated with comparison and analysis of musical works. Formation of style ideas and certain style standards will serve as guidelines for defining the style of works of art. Analysis of the style involves identifying relationships that allow to understand which style or style system a musical composition or a number of musical works belong to. Relationships, as a general regularity of the phenomenon of style, are manifested in certain style features – the features of style and elements of the style system. Style features, in their turn, are realized in the complex of expressive means. The system of style features is based on a number of aspects, among which – a measure of significance of individual elements of musical-expressive means and development and modification of general, special and individual features. Identifying style features entirely depends on the variety and direction of analysis. An important prerequisite for style analysis is the factor of the relation between the categories of form and content, and the main task is solved with the help of outlining the signs of commonness that combine a number of objects. Researchers distinguish four types of analysis, dividing them into “auditory attribution”, “visual attribution” and “style analysis proper”; the fourth type is denoted by “style analysis” and presupposes analysis of style systems as a whole. The attribution process contains several separate stages that correspond to the sequence of style levels (epochal, style of the trend, national, individual). Firstly, the temporal affiliation of the analyzed music or individual work is determined; the second stage determines the style trend with the simultaneous awareness of the epoch; the third stage is characterized by defining the nationality character of the music; the last, the fourth, stage – a rather complex process of identification – defining an individual style, identifying the signs of creative work of individual composers. Style analysis is analysis of integral style systems, which is often limited to analyzing the style of a particular composer. Thus, the main objective of style analysis is to disclose the unity of the common and individual, traditions and innovations, to discover genetic connections and semantic sources. It is characterized by three main types: auditory attribution, visual attribution, and style analysis proper. The analysis of the style is considered as a separate category, the subject of which is mostly an individual style, since analyses of larger style levels (trend, national school, epoch) imply voluminous work, is noted for complexity of the procedure, therefore, it is quite rare in musicology practice. The discovered methods, techniques and levels of style analysis, produced by scholars at different times, create prerequisites for such a large but extremely necessary work. This will allow one to reach a higher level of knowledge of the unities and differences of different trends, national and regional schools, to define the role of individual artistic personalities in the process of development of musical culture and to understand the peculiarities of the crucial moments that have caused epochal changes in art.