About the concept «musical intoning»
The concepts «intonation» and «musical intoning » characterized in etymological, historical and theoretical aspects are examined in the article. The author notes that wide spreading of the named concepts in musical practice for a period of several centuries goes with a real absence of universally recognized scholar definitions in special literature, both the native and foreign. The comparative analysis conformably to quite a number of authoritative encyclopaedic sources (from the XIX–XXth centuries) taken by the researcher is the obvious corroboration of the said. The mentioned analysis correlates with dictums of the prominent scholars in various époques, from the Renaissance to our times (J. Tinctoris, H. Riemann, B. Yavorsky, B. Asafiev, A. Ogolevetz, V. Medushevsky and others). At the same time the named dictums assist to definite the phenomenon of intoning as a natural ability of a subject or, more widely, the specialized line of sound activity translating music from a potential being to the real one. In a view of the researcher, musical intoning wittingly isn’t reduced to the colloquial-professional technical task («to be in tone»). A category status of intoning is conceived more heavy as one of intonation. Intoning appears in the evident (as reproduction) and concealed (or latent, mental, non-sounded) forms; it surely accompanies a creative activity of composers, performers-interpreters, listeners, etc.
intonation, intoning, intonar activity, evident and concealed forms of intoning.