THE AUTHOR'S WORD OF THE COMPOSER AS A PREREQUISITE FOR THE MUSICOLOGICAL UNDERSTANDING OF CONTEMPORARY MUSICAL ART

Abstract

The purpose of the article is to determine the methodological meaning of the author's word of the composer for the musicological research of musical art at the turn of the XX-XXI centuries. The research methodology consists in the complex use of musical-historical and cultural approaches to the musical art of our time and the author's word of the composer as its essential component; as well as systemic, structural and functional methods and comparative studies for the study of the author and the author's word as the leading categories of humanitarian culture. The scientific novelty of the research lies in the musicological comprehension of the verbal composer's discourse of our time in the context of the theoretical foundations of the development of authorology as a special area of modern humanities, the methodological aspects of studying the creative figure of the composer as a subject and object of musical art are determined. Conclusions. The focus of modern musicology on the study of the author's problem in musical creativity and his verbal expression, which is embodied in the author's word of the composer, actualizes the methodological needs of modern humanitarian knowledge and reflects the current state of the “science of music”, which in the conditions of a globalizing world is increasingly becoming a science of man. The quantitative accumulation of composer's verbal texts, which currently creates a fairly large-scale and autonomous area of texts about musical art and culture in general, naturally requires their special study and sets quite specific tasks for musicologists. The desire to hear, understand and explain the composer's word is an indispensable condition for the formation of purely musicological ideas about the composer's reflections, presented quite widely and variedly in modern musical art. This attitude certainly contributes to the expansion of the cognitive horizons of contemporary musicological discourse in general, since from a methodological point of view, it can be understood as a “tool” of cognition, which provides an opportunity to penetrate into the deep meanings of the musical text and the creative personality of the composer as those phenomena that are organically connected between themselves the “secret of creativity” and should be understood as a “reflection” of each other.