TERMINOLOGICAL APPARATUS OF RUSSIAN MUSICOLOGY OF THE XIX CENTURY: ON THE QUESTION OF THE WAYS OF EMERGENCE AND EXPRESSIVENESS

Abstract

The article deals with the emergence of the musical and terminological apparatus of Russian musicology (in its European sense, that is in connection with the norms of functioning and existence of music that came to Russia from Western Europe); here its origins are also characterized. Beginning to take shape in the 1830s - 1840s and generally formed by the 1860s, Russian musical-theoretical terminology originated in the field of criticism and journalism. The author reveals the connections of musical and analytical activity with the word, as well as the gradual transition of research interest from music related to the word to non-programmatic instrumental music (A. N. Serov). The author points to the primacy of the formation of musical-theoretical terminology in relation to the formation of methods of musical-theoretical analysis as such, to the movement from General aesthetic problems to more specific ones. Lexicography actively contributed to the formation of Russian scientific and musical terminology. It was handled by V. Odoevsky, A. Serov, and the less well-known M. Rezvoy - the first major musical lexicographer in Russia. The article pays attention to the combination of scientific and artistic features in musical terminology, as well as to the special content of terms that can have either easiness and naturalness, or clumsiness and heaviness of their meaning and sound.