COGNITIVE ASPECTS OF MUSIC IN BELARUSIAN MUSICAL COMPOSITION
Abstract
The article is focused on the cognitive aspect of musical integrity. The basic idea behind the introduction is that the world embodied in music and music as a world are nothing, but a specially arranged musical meaning and the meaning of musical text. The main part of the article explores the composer’s thought development process using works by Belarusian composers, A. Litvinovsky and V. Kuznetsov. It is noted that compositions incorporate diverse cognitive models, musical concepts and meaning-making procedures, because the author, regardless of his style, always acts as the creator of a new musical world, using sound to unveil both the musical meaning and the spiritual substance of man and the life of the Universe. The most important stage in music analysis is to identify its cognitive model as the one containing a certain set of elementary, basic semantic units that perform different functions in the meaning-making process. Their interaction forms a conceptual system in which the leading place belongs to conceptually significant means of musical language and images. Concluding, the author notes that music contains no direct links with particular real-life images and concepts, even though a composition may have a name or program. Therefore, special interdisciplinary knowledge and methodological tools relevant to a product of creation are required to address the specific ratio between the musical and extra-musical as the core of the meaning contained in a composition.
Keywords
About the Author
T. G. Mdivani
Belarusian Culture, Language and Literature Research Centre, National Academy of Sciences of Belarus
Belarus
Belarus
D. Sc. (Art Hist.), Professor, Leading Scientific Researcher
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