Eng During last 365 days Approved articles: 1865,   Articles in work: 315 Declined articles: 768 
Library
Articles and journals | Tariffs | Payments | Your profile

Back to contents

The Cognitive Approach as a Perspective Basis for Modern Scientific Developments in the Field of Musical Art
Khokhlova Anzhela Leonidovna

Doctor of Art History

Deputy Director for Scientific and Methodological Work, Ministry of Culture and Tourism for the Kaliningrad Region, "Educational and Methodological Center" State Budgetary Institution of the Kaliningrad Region 

236000, Russia, Kalininradskaya oblast', g. Kaliningrad, ul. Kosmonavta Leonova, 17-V

a.hohlova@gov39.ru

Abstract.

The object of the study is the Theory of Interpretation in musical art. The subject of the study is the cognitive model of interpretation in musical art.  Particular attention is paid to the interpretation research of musical text from the standpoint of cognitive scientific paradigms, which implies knowledge of the laws and ways of evolution of musical culture, understanding of the functions, structure, content and language of musical art, analysis of the mechanisms of musical thinking. Expansion of the opportunities to learn about musical art is accompanied by a process of cognitive immersion into the nature of musical knowledge itself.  The methodological basis of the work is a cognitive approach that allows considering interpretation in musical art as a phenomenon connected with processes of musical thinking, consciousness, memory, and cognitive activity in general.  The novelty of the study is as follows:  the author developed and proposed a method of cognitive analysis of a musical text that allows covering the phenomenon under study as an artistic integrity in broad interrelations with the knowing subject, his/her intellect, experience, level of mental activity, as well as with the surrounding world. Main conclusions of the study: The cognitive model of interpretation in musical art is a methodological tool in the focus of which the facets (associated with assimilation of special knowledge, with methods of their mental organization, with formation of artistic ideas and their embodiment in acoustic, verbal and nonverbal forms) of musical conception of the cognitive process of the subject are manifested . Methodological foundations of the cognitive approach allow us tohighlight some new key points indicating the significant perspectives in understanding the semantic structure of interpretation in musical art in its multiple links with the knowing subject, his/her intellect, experience, and level of mental activity.

Keywords: formation of meaning , interpretive dominant , cognitive analysis, cognitive model of interpretation, anthropological paradigm, musical content, semantic marker, music text , musicology , cognitive approach

DOI:

10.7256/2453-613X.2017.4.25119

Article was received:

05-01-2018


Review date:

01-01-2018


Publish date:

27-02-2018


This article written in Russian. You can find full text of article in Russian here .

References
1.
Lakoff G., Johnson M. Philosophy in the Flesh. The Embodied Mind and Its Challenge to Western Thought. New York: Perseus Books. 1999. 550 p.
2.
Amrakhova A.A. Kognitivnye aspekty interpretatsii sovremennoi muzyki: Na primere tvorchestva azerbaidzhanskikh kompozitorov: dis. ...dokt. iskusstvovedeniya: 17.00.02. M., 2005. 325 s.
3.
Konson G. Tselostnyi analiz v kontekste nauchnoi metodologii // Muzykal'naya akademiya. 2010. 2. S. 140-150.
4.
Vorontsova I.V. Sol'fedzhio novogo veka: ot zvuka k smyslu // Voprosy muzykoznaniya. Teoriya. Istoriya. Metodika. M.: MGIM im. A.G. Shnitke, 2012. Vyp. 5. S. 140144.
5.
Barthes R. Texte // Encyclopedia universalis. Vol. 15. 1973. P. 78.
6.
Bart R. Tekstovyi analiz odnoi novelly Edgara Po: per. s fr. // Izbrannye raboty: Semiotika. Poetika. M.: Progress, Univers, 1994. S. 424-456.
7.
Lotman Yu.M. Struktura khudozhestvennogo teksta. M.: Iskusstvo, 1970. S. 17-49.
8.
Bakhtin M.M. Estetika slovesnogo tvorchestva. M.: Khudozhestvennaya literatura, 1979. 412 s.
9.
Kristeva Yu. Bakhtin, slovo, dialog i roman: per. s frants. // Frantsuzskaya semiotika: ot strukturalizma k poststrukturalizmu. M. IG Progress, 2000. S. 429.
10.
Popper K. Znanie i psikhofizicheskaya problema: V zashchitu vzaimodeistviya: per. s angl. M., LKI, 2008. S. 20-21.
11.
Moskona L. V''vedenie v kategorialno-metodologicheskiya analiz na muzikoznanieto: Avtoref. dis. ... na soisk. uchen. step. kand. iskusstvovedeniya: 17.00.02. Sofiya, B''lgarska akademiya na naukite, 1978. 24 s.
12.
Aranovskii M.G. Muzykal'nyi tekst: struktura i svoistva. M.: Kompozitor, 1998. 347 s.
13.
Eko U. Otkrytoe proizvedenie: Forma i neopredelennost' v sovremennoi poetike. SPb.: Akademicheskii proekt, 2004. 384 s.
14.
Potebnya A.A. Slovo i mif. M.: Pravda, 1989. S. 167.
15.
Petrov V.O. Igrovye stsenicheskie situatsii v instrumental'nom teatre // Arkhitektonika sovremennogo iskusstva. Zhanrovo-vidovye transformatsii. Akademiya Russkogo baleta imeni A.Ya. Vaganovoi. SPb., 2016. S. 187-195.