MUSICAL GESTURE IN THE SCIENTIFIC-CONCEPTUAL SYSTEM OF MUSIC: HISTORY AND MODERNITY

Abstract

Research objective is to reveal the specifics of the “musical gesture” concept in the scientific-conceptual system of music in a historical aspect; to consider the problems of the relationship of gesture and intonation in modern research, to analyze the fundamental foreign theoretical works on musical gesture from the point of view of the multidimensional understanding of the concept of “musical gesture”. The methodology is based on source study, historical, systematic and comparative methods. Scientific novelty is determined by the need to clarify the understanding of the “musical gesture” concept in musicology and composer practice, the requirement to study the emerging terminological convergence of the concepts of Asafiev’s theory of intonation with Western theories of gesture. Conclusions compel us to state that the theory of musical gesture is still in its formation. The problem of the plurality of approaches, in the absence of consensus in understanding many key elements – the very concept of “gesture”, research objectives, methodology, etc. – remains relevant to this day. Nevertheless, the concept of “musical gesture” is more often used in the analysis of musical works of modern art. In parallel with the strengthening of scientific and philosophical interest in gesture, there is a process of conscious creative mastering of various aspects of gesture expressiveness in the work of composers. There is a gradual transition from a fragmented research to a more synthetic comprehension. Musical gesture is a phenomenon that is naturally located at the intersection of scientific disciplines. Its study affects areas such as semiotics, anthropology, philosophy, aesthetics, psychology, linguistics, neuroscience, information technology, not to mention the actual musicology disciplines. Based on the fact that a gesture is considered as an elementary unit of expressive movements in psychology, sociology and semiotics, we believe that the category “movement in music” is more correct to consider the categorical equivalent of “intonation in music”, and a musical gesture is only its conditional conceptual unit, equivalent to a word in speech, in other words, a fragment of a musical movement that embodies its quality.