MUSICAL REFLECTIONS IN THE LOGO OF THE HISTORY OF MUSIC

Abstract

The purpose of the article is to study individual topics in the discipline “Logos of the History of Music” for applicants for higher education in specialty 025 “Musical Art” of the third educational and scientific level. The scientific novelty lies in the fact that an analysis of scientific literature on the problems of modern musicology was carried out, while sources translated from the Czech language were introduced into scientific circulation. The conclusions, based on the internal interaction of scientific ideas, definitions and experience, highlight issues in the discipline “Logos of the History of Music”. This concerns theory, history of music, practice in the musicological reflections of modern researchers to improve the categorical apparatus of scientific research of applicants; expanding the range of search information for your own research; conducting a dialogue between history and modernity with the solution of complex problems in the development of Ukrainian musical art from the standpoint of studying the works of researchers. The definition of “logos” with the meaning “word, speech” and the verbs “to collect, speak, count” is analyzed. Parallels are drawn between the content of the definitions “logic and logos” and it is determined that “logos” in logic leads to conclusions and the invention of cause-and-effect relationships. The introduction of the discipline definition “logos” into the name of the discipline is justified to emphasize the specifics of studying the history of music in the discourse of modern musicology. The specifics of the topic “Musicological reflections on the works of artists” are revealed. Using the example of scientific sources (I. Vezhnevets, A. Kravchenko, V. Stepurko), attention is paid to different accents in the study of personalities: creativity, teaching, regional studies, genre and stylistic features of creativity. The terminological apparatus of applicants has been expanded: “introversion of composer’s thinking, semiological analysis and musical portrait”. A model of working with individuals in relation to ethnohistorical levels (ethnicity, history, relationships, influence) is proposed using the example of the composer, performer, cultural and artistic figure of the Czech Republic, Holland, Sweden, Ukraine (Bukovyna) V. Grzhimali (junior) based on the works of I. Glebovitsky, A. Gostomskaya, I. Shtolby. His organizational role in the concert life of Chernivtsi, the leadership of the “Society for the Promotion of Musical Art in Bukovyna”, the “Male Singing Society” and the string quartet, his writing activity with the book “Dreissig Jahre Musik in der Bukowina” (1874–1904) are noted. His composing activity is represented by the opera “The Enchanted Prince,” staged on European stages and in Ukraine. Work with archival sources from various funds from personal family documents, manuscripts of musical criticism and musical works by M. Tutkovsky, M. Shipovich, S. Drimtsov is presented in the monograph by A. Gedz.