MUSIKAL-AUDITORY NOTIONS AS THE MAIN FORM OF MUSICAL THINKING OF A PERSON
| Autor: | Ryabova, Olga |
|---|---|
| Jazyk: | ukrajinština |
| Rok vydání: | 2016 |
| Předmět: | |
| Zdroj: | Aesthetics and Ethics of Pedagogical Action; No. 13 (2016); 60-68 Естетика і етика педагогічної дії; № 13 (2016); 60-68 |
| ISSN: | 2226-4051 2616-6631 |
| DOI: | 10.33989/2226-4051.2016.13 |
| Popis: | The article deals with some peculiarities of musical-auditory notions as the main form of musical thinking and observes their intonational essence in the context of intensive musical activity of a person. The author emphasizes the great importance of the musical thinking studies of B. Asafyev, M. Aranovsky, B. Teplov, Y. Zagarelly and others, takes into consideration general laws of psychology as well, in accordance with the above-mentioned researchers’ works: musical thinking is an artistic thinking within the framework of the art of music. The form of musical thinking is the musical- auditory notions that are formed in the process of musical activity as a result of interpretation of acoustic impressions.The author points out that the sound nature of music art causes the peculiarities of music impressions, being formed on the ground of the personal music-listening experience. Sound images are produced by the music previously perceived. The essence of these images is music inflection that, in the course of comprehension of music phenomena, becomes the base for the musical-auditory notions emergence.The author states that the musical-auditory notions formation, motive and visual images appear on the ground of personal sensory perceptions and cognitive experience in the course of music activity. Based on the musicological works the author defines the substance of the musical-auditory notions as intonational process that reflects the features of musical thinking in the sociocultural context of the historical development of musical art. У статті висвітлюються особливості музично-слухових уявлень як складного комплексу образів памʼяті, що утворюється у процесі активної музичної діяльності особистості. Спираючись на дослідження Б. Асафʼєва, М. Арановського, Б. Теплова, Ю. Цагареллі та ін., автор розглядає музично-слухові уявлення як основні форми музичного мислення особистості й виявляє їх інтонаційну сутність у соціокультурному контексті історичного розвитку музичного мистецтва. |
| Databáze: | OpenAIRE |
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