TO THE PROBLEM OF MUSICAL THINKING: FROM THINKING ON AN INSTRUMENT TO THINKING WITH AN INSTRUMENT

Abstract

The purpose of the work. The article explores the conditions and factors of the formation of musical and instrumental thinking and its influence on the general principles of musical cognitology. The methodology of research consists in the application of logical-semantic, historical-cultural, organizational, generalizing and musicological methods in their systemic unity. The scientific novelty of the work is to identify a specific algorithm for the development of musical thinking in the aspect of the specificity of instrumentalism, in particular in the movement from «thinking on an instrument» to «thinking on an instrument» in the context of the supersymbolic culture of the modern information society. Conclusions. It is proved that a musical instrument acts not only as an instrument for expressing a musical idea, but also as a thinking instrument for an instrumental musician and composer who owns an instrument (or relies on the sound absorption of a like-minded instrumentalist). Deepening the instrumentalization of composers, the absolutization of timbre with the semantization of specific «untranslatable» textural formulas in the search for a new sound, the strengthening of the role of the executive factor contribute to the birth of a new stage of thinking with sounds — thinking with an instrument, when the latter «tells» the composer the direction of figurative and intonational and dramatic development.