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PHILHARMONICA. International Music Journal
Правильная ссылка на статью:
Холопова В.Н.
Specialized and Non-Specialized Musical Content
// PHILHARMONICA. International Music Journal.
2014. № 1.
С. 4-13.
DOI: 10.7256/2453-613X.2014.1.12535 URL: https://nbpublish.com/library_read_article.php?id=12535
Specialized and Non-Specialized Musical Content
Холопова Валентина Николаевна
доктор искусствоведения
профессор, кафедра междисциплинарных специализаций музыковедов, Московская государственная консерватория им. П.И.Чайковского
125009, Россия, г. Москва, ул. Большая Никитская, 13/6
Kholopova Valentina Nikolaevna
Doctor of Art History
125009, Russia, g. Moscow, ul. Bol'shaya Nikitskaya, 13/6
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v_kholopova@mail.ru
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DOI: 10.7256/2453-613X.2014.1.12535
Дата направления статьи в редакцию:
26-08-2014
Дата публикации:
09-09-2014
Аннотация:
The object of this work is one of the newest Russian theories – the theory of musical content, which the author of the present articles is one of the generators. This method of research has a musicological direction, but is contiguous to philosophy. The author considers the well-known philosophical dyad “form-content” inapplicable to the art of music, since in practice these notions turn out to be poorly differentiated from each other, which leads to confusion. In their place a dichotomy of conceptions of a notional type is offered, which the author called the “specialized and non-specialized content” of music. Content is the expressive-notional essence of music. Specialized content belongs solely to music; it is formed by the content of sound, intervals, chords, modes and tonality, melody, rhythm, texture, timbre, sonority, thematicism, musical form, etc. Non-specialized content is present both in music and beyond it: human emotions, depicted objects (birds, the movement of sea waves, the warbling of the brook, the noise of the approaching train, the sound of a clock, movement of human beings – steps, running, etc.), as well as various ideas. Both the described concepts and terms and the theoretical elaboration of the ability to analyze the art of music from the position of broad notional categories present a new phenomenon in music theory.
Ключевые слова:
music, biography, violin, orchestra, chorus, conductor, fund, festival, tours, interpretation
Библиография
1. Abert G. W.A. Mozart. Part1, Book 2, Moscow, 1980.
2. Blok A. O naznachenii poeta [About the Purpose of the Poet] //A.Blok. Sobranie sochineniy. v 8 tomakh. T.6 [Collected Works in 8 Volumes. Volume 6]. Moscow-Leningrad, 1962. pp.160-168.
3. Berlioz, H. Kriticheskii ocherk o simfoniakh Bethovena [ A Critical Essay on Beethoven’s Symphonies], in Russian //H. Berlioz. Izbrannye statyi [Selected Articles]. Moscow,1956.
4. Berlioz, H. O podrazhanii v muzyke [On Imitation in Music] // H. Berlioz. Izbrannye statyi [Selected Articles]. Moscow, 1956.
5. Volodin, A. Rol garmonicheskogo spectra v garmonicheskom vospriyatii vysoty i tembra zvuka [The Role of the Harmonic Spectrum in the Harmonic Perception of Pitch and Timbre of Sound] // Muzykal’noye iskusstvo i nauka [The Art and Science of Music]. Issue 1. Moscow, 1970.
6. Golosovker, Ya. E. Dostoyevsky i Kant [Dostoyevsky and Kant]. Moscow,1963.
7. Hegel G.W.F. Sochineniya [Collected Works]. Volume 12, Book 1. Moscow, 1938.
8. Peirce, C. O novom spiske kategoriy [About a New List of Categories], in Russian // C. S. Peirce. Izbrannye filosofskiye proizvedeniya [Selected Philosophical Works]. Moscow, 2000.
9. Polyakov, M. Voprosy poetiki i khudozhestvennoy semantiki [Questions of Poetics and Artistic Semantics]. Moscow, 1987.
10. Savenko, S. O stilisticheskikh tendentsiyakh tvorchestva Ligeti [On the Stylistic Tendencies of the Musical Creativity of Ligeti] //G. Ligeti. Lichnost’ i tvorchestvo [Personality and Musical Creativity]. Moscow, 1993.
11. Kholopova, V. O prototipakh funktsiy muzykal’noy formy {On the Prototypes of the Functions of Musical Form] //Problemy muzykal’noy nauki [Problems of Music Scholarship]. Issue 4. Moscow,1979.
12. Kholopova, V.N., Kholopov, Yu. N. Anton Webern. Moscow,1984.
13. Shestakov V.P. Garmoniya kak esteticheskaya kategoriya. Uchenie o garmonii v istorii esteticheskoy mysli [Harmony as an Aesthetical Category. A Teaching of Harmony in the History of Aesthetical Thought]. Moscow,1973.
14. Schnittke, A. Polistilisticheskie tendentsii v sovremennoy muzyke [Polystylistic Tendencies in Contemporary Music] //Kholopova, V., Chigareva, E. Alfred Schnittke. Moscow,1990.
15. Eisenstein, S. Izbrannye proizvedeniya v 6 tomakh. T.4. Iskusstvo mizanstseny [Collected Works in 6 Volumes. Volume 4. The Art of the Mise-en-scene]. Moscow,1966.
16. Dahlhaus, C. Die Idee der absoluten Musik. VEB Deutscher Verlag für Musik, 1979.
17. Dahhaus, C. Was ist autonome Musik //Neue Zeitschrift für Musik CXXXIII (1972).
18. Eggebrecht, H.H. Funktionale Musik //Archiv für Musikwissenschaft XXX (1973).
19. Ritzel, F. Die Entwicklung der “Sonatenform” in musiktheoretischen Schrifttum des 18. und 19. Jahrhunderts. 2. Auflage. Wiesbaden, 1969.
References
1. Abert G. W.A. Mozart. Part1, Book 2, Moscow, 1980.
2. Blok A. O naznachenii poeta [About the Purpose of the Poet] //A.Blok. Sobranie sochineniy. v 8 tomakh. T.6 [Collected Works in 8 Volumes. Volume 6]. Moscow-Leningrad, 1962. pp.160-168.
3. Berlioz, H. Kriticheskii ocherk o simfoniakh Bethovena [ A Critical Essay on Beethoven’s Symphonies], in Russian //H. Berlioz. Izbrannye statyi [Selected Articles]. Moscow,1956.
4. Berlioz, H. O podrazhanii v muzyke [On Imitation in Music] // H. Berlioz. Izbrannye statyi [Selected Articles]. Moscow, 1956.
5. Volodin, A. Rol garmonicheskogo spectra v garmonicheskom vospriyatii vysoty i tembra zvuka [The Role of the Harmonic Spectrum in the Harmonic Perception of Pitch and Timbre of Sound] // Muzykal’noye iskusstvo i nauka [The Art and Science of Music]. Issue 1. Moscow, 1970.
6. Golosovker, Ya. E. Dostoyevsky i Kant [Dostoyevsky and Kant]. Moscow,1963.
7. Hegel G.W.F. Sochineniya [Collected Works]. Volume 12, Book 1. Moscow, 1938.
8. Peirce, C. O novom spiske kategoriy [About a New List of Categories], in Russian // C. S. Peirce. Izbrannye filosofskiye proizvedeniya [Selected Philosophical Works]. Moscow, 2000.
9. Polyakov, M. Voprosy poetiki i khudozhestvennoy semantiki [Questions of Poetics and Artistic Semantics]. Moscow, 1987.
10. Savenko, S. O stilisticheskikh tendentsiyakh tvorchestva Ligeti [On the Stylistic Tendencies of the Musical Creativity of Ligeti] //G. Ligeti. Lichnost’ i tvorchestvo [Personality and Musical Creativity]. Moscow, 1993.
11. Kholopova, V. O prototipakh funktsiy muzykal’noy formy {On the Prototypes of the Functions of Musical Form] //Problemy muzykal’noy nauki [Problems of Music Scholarship]. Issue 4. Moscow,1979.
12. Kholopova, V.N., Kholopov, Yu. N. Anton Webern. Moscow,1984.
13. Shestakov V.P. Garmoniya kak esteticheskaya kategoriya. Uchenie o garmonii v istorii esteticheskoy mysli [Harmony as an Aesthetical Category. A Teaching of Harmony in the History of Aesthetical Thought]. Moscow,1973.
14. Schnittke, A. Polistilisticheskie tendentsii v sovremennoy muzyke [Polystylistic Tendencies in Contemporary Music] //Kholopova, V., Chigareva, E. Alfred Schnittke. Moscow,1990.
15. Eisenstein, S. Izbrannye proizvedeniya v 6 tomakh. T.4. Iskusstvo mizanstseny [Collected Works in 6 Volumes. Volume 4. The Art of the Mise-en-scene]. Moscow,1966.
16. Dahlhaus, C. Die Idee der absoluten Musik. VEB Deutscher Verlag für Musik, 1979.
17. Dahhaus, C. Was ist autonome Musik //Neue Zeitschrift für Musik CXXXIII (1972).
18. Eggebrecht, H.H. Funktionale Musik //Archiv für Musikwissenschaft XXX (1973).
19. Ritzel, F. Die Entwicklung der “Sonatenform” in musiktheoretischen Schrifttum des 18. und 19. Jahrhunderts. 2. Auflage. Wiesbaden, 1969.
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