Self-reflection as the intention of composer's musicology

This research is dedicated to Art and one of the aspects of musical science - composer's musicology. Many different problems of composer's musicology attract musicologists today. Concept composer musicology is actual in science and the arts. Composer Musicology is the polysemantic concept. The first structural and semantic position is composer musicology - a substructure of a musical science-critical activity, scientific branch of musicology. Composer is the main and sole agent of it. The second position is associated with the idea of composing musicology as extra-musical substructure of intellectual and artistic activity of the composer, which acts as a non-specific part of his legacy in the form of scientific papers and literary works. It is actualized the theme of self-reflection of the composer, which finds expression in verbal, introspective painted, discourse composer. The issue of self-reflection of the composer is vast, diverse and relevant as there is creativity, art and science. Word composer may exist in various forms. Purpose of the article - the explication of verbal forms of self-reflection of the composer-musicologist. We use scientific and analytical methodology, synthesizing the various approaches of the humanities. This is a new scientific approach to musicology. The concept of culture (M.M. Bakhtin), the theoretical position of composer musicology (N.S. Gulyanitsky, T.N. Naumenko); theory of reflection (N.I. Kuznetsova), the poetics of postmodernism (V.N. Kuritsyn). Space represents the composer's self-reflection system of verbal statements of different genre and structural content. For musicians who have chosen the double and sometimes even triple specialization are organically roles of composer, philosopher, art, music writer, critic, theorist, musicologist, teacher, scientist, which is subject to not only a musical perspective, but are close to modern mathematical theory of Synergetics, Computer techologies. This kind of information support of the author of his work. The system covers the genre structure, typical of musicology and related exclusively to the compositional strategies. This paper attempts to identify ways to study the composer's self-reflection as a tool for theoretical and aesthetic self-interpretation provided by a variety of verbal formulation of copyright materials.

Keywords

Authors

References