THE PHENOMENON OF TEMPORAL MUSICAL THINKING: TO THE QUESTION

Abstract

The purpose of this article is to reveal the concept of time in music – musical time; develop the concept of temporality in relation to the specifics of the organization and influence of musical time; establish typological signs of time in music – in accordance with the specifics of musical artifacts. The methodology of the work is determined by philosophical-culturological and musicological semiological approaches, provides for the stylistic and textological study of the author's poetics in music, the involvement of an interpretative performance approach and the corresponding musical-stylistic analysis. The scientific novelty of the article is determined by the development of musicological criteria for the study of time and the involvement of philosophical, culturological and structuralist-philological methods in the study of the nature of time in music. For the first time, at the level of musical material, questions are considered regarding the qualitative and quantitative nature, the corresponding indicators of time in music, the relationship of the concepts of time and meaning, time and number is revealed. A modern view of the temporal content of music as a subject of performance reproduction is developed, an analysis of the concept of the chronoarticulation process is proposed, as the most appropriate to the originality of the construction of a musical text in the unity of sonorous and non-sonorous materials. The category of temporality is derived as synergistic in origin and generalizing in content and methods of formalization, which allows combining both hypostases of artistic time (time in music), compositional and metaphysical. Conclusions. Time in music – musical time – is a paired category that indicates the originality of musical chronos and the time-measuring purpose of musical sounding. It also involves the isolation of time as kairos, self-realization and retention of semantic content in sounding as the "eternal present", which appeals to the indispensable immediacy of musical action, gives special value to the state of being in time, coincidence with time as a unique spiritual experience of awareness of being.