Обґрунтування специфіки оркестрового мислення: теоретичний аспект

Abstract

Relevance of chosen topic. Seemingly endless space of research devoted to musical thinking includes much lesser studied sphere of orchestral thinking. Despite problems of orchestration and orchestral style being quite discussed, that is proven by numerous scholarly works, the scholars do not pay sufficient attention to rather complicated term “orchestral thinking”, mainly concentrating their efforts on the problems of technical and artistically-aesthetical aspects of orchestration. It causes relevancy of given article. The aim of the article is to comprehend term “orchestral thinking” and to suggest its scholarly definition. Research novelty of the article lies in the fact that orchestral thinking is proven to be a complex phenomenon, capable of reflecting culturally-worldview and axiological paradigms. It is in this aspect that researcher definition of this term is suggested. This approach allows to interpret orchestral thinking not only in technical aspect, but also in worldview, artistically-aesthetic, philosophic, in other words, in the realm of spiritual existence of personality. Methodological basis of the research is constituted by systematic, integrative, analytical and functional methods. Conclusions. Sufficient amount of research on problems, connected with orchestral thinking does not mean that it is exhaustively studied. Orchestral thinking is relatively poorly studied topic; but its study in aspect of worldview premises of culture-context allows to draw attention not only on technical problems of orchestration, but also to formulate a problem about it being determined by meanings and premises of culture-context, as well as about its ability to reflect universals of certain type of thinking. In this aspect we suggest the following definition: orchestral thinking is a way of cognition and reflection of reality and forming holistic view on the world (human, time and space, motion, matter, material and spiritual components of existence, axiological system), a device for embodiment of culturally-contextual universals and modelling of system of relations between subject and world through orchestration and timbrally-textural intonation, which is done in space and time. Objectifying of holistic view in the world is done in timbrallytextural structure of the work through orchestral writing. We understand orchestral writing as an individual system of technological devices and principles, determined by composer’s orchestral thinking, musical language and common, basic rules of orchestration. Orchestral writing is aimed at realisation of timbral and textural structure of the work, conditioned by style, genre and artistic idea through functional interaction of elements constituting orchestral texture.