Монодия как предмет изучения когнитивной этномузыкологии

Abstract

The article discusses monody as a phenomenon of musical culture and the archetypal type of thinking for many peoples of the world. Examination is made of the historiography, terminological apparatus and practice of applying the term in Russian musicology as well as in musicological systems of other countries. Despite the fact that monody is intrinsic to the musical cultures of many peoples, it has remained practically unstudied from the positions of cognitive ethnomusicology – a contemporary trend placing as its aim the comprehension of the underlying foundations of the organization of the musical text, its structure and content, as well as the demonstration of their inner hierarchy. The signification of studying Finno-Ugric monody as a type of musical thinking is actualized in the article. The importance of the issue of polyphony within monody, as well as the role of timbre and intonating are actualized in the article. According to the cognitive approach, music presents a part of the picture of the world in the consciousness of the human being, and its study may be carried out by means of studying the information it contains. The information extracted from a phonogram, along with its cultural context, comprise a complexly organized ethnomusicological text the study of which is prospective from the positions of methodology of cognitive musicology. Keywords: cognitive ethnomusicology, Finno-Ugrian musical studies, monody, monodic thinking, intonating, vocal structure, articulation, timbre, polyphony in monody, heterophony of monodic nature, heterophony.