ТЕОРЕТИКО-МЕТОДОЛОГІЧНЕ ПІДҐРУНТЯ ІНТЕРПРЕТАЦІЇ МУЗИКИ: ДОСЛІДЖЕННЯ, АНАЛІЗ, ПЕРСПЕКТИВИ

Abstract

The modern stage of musical culture development is characterized by extraordinary diversity and intense interaction of various styles and genres, which actualizes the scientific research on the methodological foundations of musical interpretation at the junction of philosophical and cultural sciences and art studies. The aim of the article is to carry out an analysis of the theoretical and methodological basis of music interpretation based on philosophical-hermeneutic and musicological approaches. Scientific novelty. The article analyses the interpretation phenomenon through the modern musicology prism. The definition of a musical work is proposed as a synergistic phenomenon in which multiple interpretive versions are combined, arising as a result of decoding the artistic text in the continuum of musical culture. In conclusion to the article, it is noted that analysis of the theoretical and methodological aspect of interpretation as a musical creativity component requires attention to fundamental, generalizing research in the field of philosophical hermeneutics, aesthetics, history and music theory. The application of a philosophical-hermeneutic approach will contribute to the enrichment of the research methodological arsenal into the problems of musical interpretation, both in terms of their deeper understanding and disclosure of their meaning, and in terms of searching for adequate forms of their performance. Hermeneutic interpretation reveals the meanings and socio-cultural meanings of art works, contributing to the development of the spiritual and creative nature of the individual, its formation as an effective subject of culture. The theory of interpretation which developed in Ukrainian musicology emphasizes the achievement of understanding, in the process of which an interpretive work emerges version, which, in turn, becomes a “creative process” (V. Moskalenko). The presented article based on the main achievements in modern interpretology and proposed a definition of a musical work as a synergistic phenomenon. New opportunities for musical interpretation are associated with the use of digital technologies, their widespread introduction into compositional and performing practice. It is about technologies of digital recording’s sound structures, sound signals’ computer processing, their synthesis and combinatorics, as well as the acoustic sonorous space of works in “new simplicity”, “quiet music” and other directions, fundamentally devoid of affects and directed “inwards”. This direction of further musicological research is defined as promising.