Receptions of the “Piece Of Musiс” Concept in the Modern Scientific Discourse

Abstract

The article is devoted to disclosure of multilevel comprehension of the “piece of music” concept in the modern musicology and determinants of the multiplicity of connotations of its ontological and phenomenological specifics in the interdisciplinary space of the humanities. The purpose of the article — to determine the specifics of reception of the “piece of music” concept and phenomenon in the modern scientific discourse. The methodology of research is complex and based on the comparative, cultural, art historical scientific approaches, fundamentals of systematic and analytical, phenomenological, descriptive and terminological methods of analysis with the use of musicological methodological tools. The results. The notional transformations of the “piece of music” concept in the musical culture of the second half of the XX century are studied and on the basis of systematization of modern trends and levels of analytics of the “piece of music” concept, generated in the humanistic and musicological area, new approaches to reception of the same concept and phenomenon (thesaurus, language and semiotic, discursive, communicative and psychological) are outlined. The cultural ambivalence of the music work phenomenon, the multilayered process of objectification of the artistic information, contained herein and presented in the intonation and figurative form, are disclosed. The scientific novelty of the article pertains to application of a hermeneutic and phenomenological approach to explication of the piece of music and its post-avant-garde modifications (installations, performances, “open” compositions etc., with their intension for unique and momentary expression of experience and unscriptedness in traditional frameworks of music opuses), constituting different manifestations and facets of an integral and multifaceted phenomenon of the music work and determination of its hypostasis as an artifact of culture, result of spiritual production, process/deliverables of the creator’s activities (author and performer), carrier of an artistic meaning (musical semantic image) and value context. It is emphasized that the ontological and existential nature of the music work, its functional and notional polyphony, the focus of the world images and the author image in its artistic fabric make it possible to consider it in the multiplicity of perspectives (philosophical and aesthetic, phenomenological, axiological, communicational and psychological, creative and practical, artistic and semantic, individual and personal, semiotic interpretation) and research paradigms. The practical significance of the scientific intelligence lies in a possibility to apply the hermeneutic and phenomenological approach in the further development of the problems of a music work and involvement of the findings in the musical and pedagogical areas, in the training courses “musical aesthetics”, “philosophy of music”, “musical interpretation”, “analysis of music works” etc.