PHENOMENOLOGICAL FEATURES OF MUSICAL SOUND IN THE CONTEXT OF THE ORGANICAL APPROACH

Abstract

The purpose of the work is to study the peculiarities of musical sound in the context of the organological approach. The research methodology is based on historical-typological, phenomenological, psychological and comparative methods. The scientific novelty – in the study of the peculiarities of musical sound as a phenomenological thing and «connecting link» from the «internal» (psychological and psycho-physiological) and «external» (broad context) factors; the application of psychological and organological approaches becomes especially important, which deepens the understanding of the peculiarities of sound and intonation in piano works of the Baroque era. Conclusions. The complexity and multifacetedness of the musical sound problem as a phenomenon makes it necessary to constantly search for ways to solve it and update methods; expanding the context and involving psychological approaches that are directly related to the process of sound production and musical thinking. The sound «ideal», its perception and criteria are constantly changing, as musical (keyboard) instruments, eras and compositional styles change, which determines the need to take into account the specifics of authentic instruments and the peculiarities of means of expression when interpreting a musical work, especially of the Baroque era, the concept of articulation from broad positions. The increasingly active involvement of electronic keyboard musical instruments (both in musical institutions and in home music making) introduces serious complications not only in the process of sound production and intonation, but also in the formation of the pianist's professional skills as a whole. The only orientate to feel the music sound for musician-performer remains the constant appeal and analysis of the intonation and articulation specific by outstanding world musicians-performers – the golden fund of world performing.