THE EMOTIONAL FOUNDATIONS OF MUSICAL STYLE

Abstract

The article examines the emotional nature of the category of style as one of the fundamental phenomena of musical culture. The study aims to clarify how culturally conditioned models of emotional experience influence the formation of stylistic systems in music and how they are related to the artistic forms of musical thinking in different historical periods.The scientific novelty of the research lies in interpreting musical style through the category of historically shaped emotional experience. From this perspective, style appears as a specific mode of artistic organization of feelings embodied in musical intonation, dramaturgy, and principles of form-building. Changes in stylistic paradigms throughout music history are interpreted as reflections of transformations in culturally determined modes of experiencing emotions that shape the artistic thinking of a particular era.The Baroque theory of affects formed an extensive rhetorical system of musical expression in which emotions were structured into specific types and embodied in stable intonational formulas. The aesthetics of Classicism was oriented toward achieving emotional balance and order, which found reflection in proportionate forms and a transparent musical language. In Romanticism, the significance of individual emotional experience increased, leading to intensified expressivity, an expansion of the intonational vocabulary, and a growing emphasis on subjectivity. ХХ-century music reveals the complex and multidimensional psychological structure of modern emotional experience, resulting in the emergence of new principles of sound organization and a diversity of stylistic strategies. In the culture of the ХХІ-century, increasing attention is devoted to the inner world of the individual and to mechanisms of emotional sensitivity. This tendency is connected with the active development of interdisciplinary studies of emotions, the dissemination of the concept of emotional intelligence, and a growing interest in the psychological dimensions of artistic creativity. The proposed approach makes it possible to reinterpret the nature of stylistic change in the history of music. Such a perspective expands the methodological possibilities of historical musicology, deepens the understanding of the interaction between the emotional sphere of culture and the forms of musical art, and opens new directions for further scholarly research