IMAGE FUNCTIONS OF REPRESENTATIONS OF TIME AND SPACE IN THE MUSIC-CREATIVE PROCESS

Abstract

The purpose of the research is to develop the concept of image temporal representation in music as concrete-compositional and conditionally alienated, to reveal the prerequisites for the actualization and symbolic expression of the temporal nature of music, and to define the main figurative connections - temporal vectors of musical time. The methodology of the work is determined by a combination of philosophical-aesthetic and textological musicological approaches, with an emphasis on the typological aspect of semantic characteristics. A certain psychological perspective of musicological concepts that relate to the process of musical influence and perception is revealed. The scientific novelty of this article is due to the discovery of temporal vectors of the musical text in a specific composition and in music as a whole as an intertextual sphere; it is proved that it is expedient to single out three main types of figurative connections (modalities) that objectify musical movement in time or time that becomes artistic in musical movement. The meaning of the sound image or «auditory intent» in music is revealed as a formative factor that has immanent, psychological, and compositional features, that is, from two sides - human and musical. The conclusions reveal that there is something in musical understanding that is equally essential for all times, that is, it is above the historical specifics and belongs to the imaginary autonomous world of music, its own artistic reality, which exists outside the laws of physical time. At the same time, it is the directly performed musical movement in time, the sonorous form of music with its spatial indicators, that objectifies the main time vectors - figurative connections that acquire symbolic positions. The value of semantic representation through verbal evaluation as the final stage of understanding in music consists in a more representative conceptual and logical integration of figurative content, which contributes to the development of language and speech resources of musical communication. It is especially convincingly revealed in the era of romanticism, but it is supported even after it – precisely as a discussion of the content and meaning of the temporal and spatial organization of music in its various dimensions, as an attempt to understand the mission of musical language.