The Dynamic Musicology as a Current Trend in the Theory of Music

By Gagim, Ion | Review of Artistic Education, January 1, 2015 | Go to article overview

The Dynamic Musicology as a Current Trend in the Theory of Music


Gagim, Ion, Review of Artistic Education


Musicology is the science of the art of music. "The science of art" is a "curious" combination, because it is contradictory in its veiy essence, as it implies "interference" of the left hemisphere processes (= thinking) "in the internal affairs" of the completely different processes that occur in the right hemisphere (= experience). However, this syntagm, in spite of its inadequacy like, exists, because there is in reality the corresponding region of human knowledge. However, with all this, the problem, as contradiction, remains the same even when manifesting a strict sequence and requires examination. An inquiring mind can formulate the question: Is there a reverse option, we mean, "a symmetrical response" - "Art of Science" as an area of human knowledge / learning? If so, how does it look? And if not, why not? And can it exist as a matter of principle? And again, if it does, then how, and if does not, why not?

The question is not an amateurish, an ironic or a rhetorical one. It is formulated in fact, as touching nature of relations of these two mutually exclusive phenomena by their nature, "ice" and "flame". It turns out that «the ice" can judge "the flame" but "the flame" cannot yet judge "the ice". In general, can they be joined by whether its basis - we mean, organically and naturally - these two different emanations of the human mind? And, does the musicology, the field we are interested in, put the question in this way? After all, it concerns it in a directly way". Of course, the debate on this question may lead us to ancient times - to the era of the original human attempts to discover the world where he/she lives and his/her desire to formulate in certain concepts, his/her observations-conclusions. Therefore, this aspect of the problem is not the subject of today's discussion. Nevertheless, the question has the right to exist and we considered it necessary to put it as one of the justifications for the concept of our article.

Even if the theory of music does not put "officially" the question in such a way and does not look for an objective answer to it, it tries to do it involuntarily in practice and namely, to go beyond the scientific tends in order to explain a number of phenomena occurring in its subject field. For example, regarding one of the key categories - the "content of music ". However, another question arises: to what extent it is feasible, ie, to what extent it may be conducted by "algebra the operation on harmony"? It must be done in such a way, that its harmony, should not be "dissected", but on the contrary - that it should remain "safe and sound" and that it should manifest itself in all its color. After all, this is the essence of art!

There is a science of music and its achievements in discovering art of sounds. Its contribution to the creation of the music by the man, as a great spiritual phenomenon in the study of the mastering it in the theoretical and practical plans, etc. deserves the highest estimation. But at the same time, we should not forget that no matter how important and irreplaceable would be the science of music and no matter how far it has progressed in this regard, there is still here forever its "Sannikov Land" - "mysterious country, lost among Arctic ice". And maybe in this case, "the ice" and not the arctic ones, but the ice is ice, it gives nothing but the cold. How could we save "oasis" (in this case - the quintessence!), ie, the living breath of music in the circle of "cold ice" of its theoretical, scientific analysis / learning?

For musicology are characteristic the other contradictions too, as well as of the existing order. Let us turn to the concept of "musical analysis" (Analysis of Music). In most cases, (or usually) when acting appropriately, it is not an analysis (a description, a characteristic) of the music itself carried out (although it is called "musical"), but the shapes of the work. After all, there is a product as opus form, ie as "an object", and there is music of the work as a sound that cannot be "an object" in the known sense of the word. …

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