Методологічні основи сучасних етномузикознавчих досліджень

Abstract

Метою пропонованої статті є спроба окреслити методологію сучасних етномузикознавчих досліджень, зокрема - ритмоструктурного й семіотичного аспектів, що можуть використовуватися в процесі дослідження етнічної музики регіонів України. Розглянуто методологічні принципи досліджень, зокрема ритмоструктурного К. Квітки і Б. Луканюка та семіотичних методів дослідження традиційної пісенності В. Гошовського та А. Іваницького.

In modern research methodology etnomuzykoznavchyh out the following areas: 1) further development rytmostrukturnoho method started in the writings of K. Flowers, F. Kolessa, Mr. Sokal; 2) development of semiotic approaches the study of traditional singing Goshovsky B., A. Ivanytska. Rytmostrukturnyy direction was initiated S.Lyudkevych and then gradually in the reserve utverdzhuvavsya K. Flowers, however – the largest development reached in the second half of the twentieth century in the writings of W. and B. Lukanyuk Goshovsky. The methodological principles of modern etnomuzykoznavchyh research, including rytmostrukturnoho K. and B. Flowers Lukanyuk semiotic research methods and traditional singing Goshovsky B. and A. Ivanytskiy. Analysis of scientific heritage K. Flowers evidence of the exact orientation of scientific research methods: use of simulation rhythmic structure, combination of folk music typology geographical distribution aspects of music types. On the concept of K. Flowers – folklore is the result of two natural processes – ethnogenesis and evolution of mankind. As for the accuracy of notation K. Flower first drew attention to perfection fixing invariant patterns in chants. This invariant – rytmotypolohichnoyu form – for it was the type of song. His form components such tunes as musical and rhythmic form and skladochyslova structure – and the foundation that enables testify autochthonity culture. The result of theoretical work collectively and C. The flowers have a theory rytmostrukturnoyi typology, aimed at resolving issues of ethnogenesis migrations of peoples, assimilation phenomena. According to A. Ivanytskiy, rytmostrukturna model – a «theoretical abstraction song form (and its segments). It is a generalized expression of structural patterns underlying song form and composition of its parts». Along with rytmostrukturnym modeling system uses two modal analysis - zvukoryadno-interval (F. Kolessa, S. Lyudkevych, K. flower) and system interference scales (V. Goshovsky A. Ivanitskii). The difference between the system scales from interference zvukoryadno-interval is that «the melody is not limited to a single scale, and pre-differentiated (divided into sections that become the foundation of modal constructions». So we stressed the need for further advanced in a number of studies etnomuzykoznavchyh methods, among them - two main - rytmostrukturnoho type and semiotic methods used in the broader context of musical intonation, historical and cultural approaches.