Два типа музыкально-творческого процесса – две формы музыкального произведения

Abstract

The study aims to show the interaction of the external and internal forms of a musical work as purely musical and conceptual logos structures using the example of V. G. Korolevsky’s First String Quartet. The paper analyses the scientific state of the problem of musical-creative thinking, sheds light on the issue of coexistence and interaction of musical and conceptual thinking in a composer’s creative process, which leave their formbuilding trace in the sound matter of a musical work, these spheres of formbuilding are differentiated into external and internal forms, i.e. the focus of the objective (universal) and subjective (personal) meaning, as well as their fundamental difference is determined. Scientific novelty lies in the approach to the analysis of V. G. Korolevsky’s First String Quartet from the position of the internal form, the starting point of which is the paradigmatic structure of the typical content, or the objective meaning, its ending point is the form of meaning. As a result, it has been found that the form uniting Korolevsky’s Quartet on the inside is a labyrinth branching into two intonational directions, represented by the themes of the chorale and fugue, with a fairly clearly marked fork point – the theme of the cross.