MUSIC SEMIOLOGY: CATEGORIES AND METHODS
A. I. Samoilenko, Svitlana Osadcha, Olha V. Ohanezova-Hryhorenko, L. I. Povzun, Oleksandr L. Oliinyk, Ju. O. Grybynenko, Alla Dmitrievna Chernoivanenko · 2020
Samoilenko A. I.specific linguistic basis.This phenomenon requires special study criteria, primarily the development of a historical and semiological approach. Historical knowledge of timeMan learns from history; history, since this is the history of mankind, «learns» from man.Behind this rhetorical expression there lies the drama of a person's relationship with the time scales of life.It is a very common opinion that history has not taught anyone anything yet ...However, can we trust it?If we compare the generic cumulative humanity with a holistic living organism, then historical knowledge appears to be its nervous system, which permeates all parts of the body, stimulates the activity of all organs and transmits signals from them to the central control organthe brain, the functions of which in the structure of historical knowledge are assumed by its methodology.The most essential in the methodology is the clarification of the appropriateness of knowledge, that is, the answer to the question of where it leads to and what it exists for.There is well known Plato's thought that correctly posed questions is half the training, that is, half the answer to them.Therefore, we will try to identify those derivative questions that arise when trying to answer the main methodological question about the modern significance of historical knowledge in its involvement in ideas about the humanitarian culture and its spatial and temporal coordinateschronotopic dimensions.This also means finding the necessary and sufficient number of such questions, determining their order and categorical weight.Today, there is a need to create a dictionary of the modern historian as a broad-based humanitarian, not indifferent to the issues of the artistic functioning of culture, as an important aspect of its self-determination in the course of history.From the side of the history of art, in particular the history of music, there are significant clues regarding the true content and purpose of historical processes in their inseparability from the existence of culture, from the existence of the human person.It is no coincidence that really large historians have not passed questions about the artistic creation and personalities of artists.Connected with the study of special artistic and creative matter, a musicologist can come closer than other art critics to the deep semantic content of human historythe phenomenon of humanity, which from the time of Confucius to the era of Bakhtin appears to be a true "factor X" in the historical evolution of man.