Музичне та вербальне мовлення: діалектика зв'язку

Abstract

У статті досліджено ґенезу проблематики спорідненості музичного та вербального мовлення на матеріалі музичної критики діячів музичного мистецтва XIX ст. Закцентовано увагу на історичному контексті музичної критики минулого, що була важливою формою презентації музичної культури, набувши значення своєрідної творчої лабораторії музичного просвітництва. Проаналізовано музично-критичні праці XIX ст., що вміщують глибокі наукові рефлексії, які у подальшому лягли в основу теоретичних праць з вивчення музичного мовлення.

В статье исследовано генезис проблематики связи музыкальной и вербальной речи на материале музыкальной критики деятелей музыкального искусства XIX в. Акцентировано внимание на историческом контексте музыкальной критики прошлого, которая была важной формой презентации музыкальной культуры, став своеобразной творческой лабораторией музыкального просвещения. Проанализировано музыкально-критические работы XIX в., содержащие глубокие научные рефлексии, которые в дальнейшем легли в основу теоретических работ по изучению музыкальной речи.

The article explores the genesis of the problems of relationship of musical and verbal speech on the material of scientific studies of prominent persons in the musical art of the XIX century. Special attention is paid to the historical context of music criticism of the past, which was an important form of presentation of musical culture, acquiring important kind of creative laboratory of musical education. The author gives critical analyses of music works of the XIX century, that contain profound scientific reflection, which subsequently formed the basis of theoretical works on studying music broadcasting. It is emphasized that the deep view on the problems of music of the XIX century distinguishes the musical and critical works of Odoevskyi, who in the articles “Sketches of organic laws of Prince Odoyevskyi’s musical harmony” (1845), “What is the use of music” (1860) and others raised the question of the relationship of verbal language music. An outstanding erudition and journalistic temperament musical and critical activity of G. Laroche was distinguished, who on the pages of such publications known then as “Modern chronicles”, “Diary of Imperial Theatres”, “Russian Journal” covered the problem of ethnic musical language. The problems of the study of music broadcasting in its relationship with verbal in the works of musical leader, composer and founder of music and critical thinking of the XIX century O. M. Serov were also raised. In the article “Technical criticism experiments on the music of Glinka”, which was published in the Journal “Music and Theatre” (1859), he first outlined the basis of the method of intonation analysis of musical language, which was further developed in the writings of B. B. Asaf’yev. Equally significant contribution to the musical development of analytical thought of the XIX century belongs to music critic Stasov, whose scientific research are valuable documents of the era and indicate the time of new method in studying musical language. Lysenko’s school had great importance too. He was the first who attempted a theoretical substantiation of the structure of modal folk songs, outlined the path of development in professional music countless modal wealth underlying the folk song melodies. Its scientific comprehension the stated problems was developed in the works of Asaf’yev, who believed that the musical tone in its content is in unison with the speech experience, especially poetry. Thus, musical and critical activities of prominent representatives of musical culture of the XIX century became a translator of research ideas, defining preconditions of study musical kinship with verbal speech. The problem of intonation relationship between musical and verbal languages has found its further development in the writings of eminent musicologists of the twentieth century, getting a new vector of the research that led to the inversion’s thinking in the direction of the study of the processes that generate intonation and symbolic reality.