Исторические основы музыкально-исполнительской семантики

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The article deals with the fundamental foundations of musical and performing semantics, which operated in an extensive historical period of time: from the era of primitive society to the end of the XVIII century. The relevance of our work lies in the study of the permanent nature and functioning of such constituent aspects of the content of musical art as the theory of affects and musical rhetoric. Despite the different period of their emergence, these basics of the semantics of musical performance not only effectively influenced the psychology of human perception of music, but also determined the most important directions and styles of this art form. The reason for such a long use of these aspects by composers was their psychological nature, which was directly in direct connection with the processes of human perception and thinking, causing an accurate and subtle understanding of the slightest intonation and semantic changes in music. It was to these questions that philosophers and music theorists of various times, such as Plato, Aristotle, I. Cotton, J. Tsarlino, R. Descartes, M. Mersenne, A. Kircher, I. Matteson and many other researchers. The purpose of our work is the correct ideas about the historical formation and development of the fundamental structural aspects that determine the semantics of the musical and performing arts. This goal involves the solution of problems related to the introduction into modern practice of educating musicians-instrumentalists of the skills of semantic analysis of musical works for the implementation of highly artistic images. The scientific development of the problem of semantics of musical performance in our time began in the middle of the XX century. And over the past period of time, a significant number of works of theoretical and practical directions have appeared. However, our article is devoted to the study of the historical path of musical semantics in its most active period of development, namely until the beginning of the XIX century, since since the era of Romanticism, musical theory has undergone significant changes. The artistic method of Romanticism discovered a new, previously unused method in the presentation of artistic images, in which it became possible to display real reality by the most diverse and possible means of musical expression. And under these conditions, the theory of affect and musical rhetoric have lost their artistic potential. The main methods of our research are the methods of search and comparative analysis, which made it possible to determine the structural components of the object, their features of origin and development, as well as to identify their scientific and theoretical foundations that determine the aesthetic and philosophical state of the musical and performing art in different cultural and historical eras.