Perception in musicology: towards the problem of the term using
The attempt to adapt the term «perception» in musicology by leaning on the methods of the named concept using in the modern humanities sphere is taken in the article. The different scholar approaches to the sense of perception are examined in the process of culturologic and study-ofliterature researches analysis. The named sense as the form of inter-cultural dialog (social-cultural perception, or historic one), and the perception of the text by somebody has apprehended, and the interpretation of the text when it’s re-comprehended (creative perception). In crossing of sense fields that are generated by these interpretations, the author sees fit to draw up the universal definition which facilitates the studies of perception displays in musical culture. The interactions between the mentioned phenomenon and closely-related ones: an interpretation as the form of construction applying to an artistic object and stipulating the preservation of a system order inherent in the original text and creative conception; re-interpretation as the form of re-creating with respect to a new aesthetic object (an origin is totally re-comprehended in this form); a reflexion which assumes actualization of personal senses and values in the perceptive and comprehensive process as applied to an artistic text; inter-textuality as the method of organization conformably to works that have got some adopted intonation vocabulary – are investigated. Though all enumerated phenomena are bound up with mechanisms of assimilation and re-comprehending applying to the texts of culture, specific nuances peculiar to the term «perception» in musicology are discovered. The author also elucidates the research strategies as applied to perception in musical scholarship with respect to the dialog of cultures problem.
perception, intercultural dialogue, author, artistic text, music, interpretation, re-interpretation, inter-textuality.