ABOUT THE LOGOS NATURE OF MUSICAL PERFORMING (AN ATTEMPT OF PHILOSOPHICAL AND CULTUROLOGICAL COMPREHENSION)

Abstract

It is known that musical-performing speech as a phenomenon of "intonated meaning" (B. Asafiev) has, in the sense of a range of figurative incarnations, a universal nature. This feature is unique. It is due to the genetic essence of musical intonation, its abstract character. The ability of musical performing, decoding the graphic structure of the musical text, in the non-verbal and non-visual way to bring to the recipients the plurality of meanings of artistic imagery makes it a phenomenon both artistic and social at the same time. Of the whole spectrum of types of artistic activity of man, this ability distinguishes musical performance and requires a thorough scientific reflection. According to Olexander Kozarenko, such a nature of musical performance is due to its logical essence.The concept of musical logos was not yet understood by musical science. Therefore, the disclosure of such a subject involves the following modeling of the structure of scientific research.The first stage is the history of the concept Logos (etymology, philosophical and religious discourse, history of application, aspects of cultural functioning). The second stage is the modern interpretation of the Logos as an intelligence. The third stage is musical performance as a realization of highly intellectual game activity ("Homo ludens" by J. Huizinga): – the game in art reaches its root system of ritual; – paradoxes of the Christian-theological discourse of the game (Dies ludens - Eclesia ludens - Homo ludens by H. Raner); – multilevel structure of musical intelligence, where the analytical-rational and spontaneous-emotional in the mutual germination are combined. The fourth stage – logos musical-performing speech as a sound-intonational embodiment of a holistic and organic meaning, characterized by the intellectual-emotional balance of the musical image.