The Study of Structural Organization of Monophonic and Polyphonic Musical Texts as an Issue of Musical Scholarship
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Abstract
The article demonstrates the results of study of the artistic possibilities of the textural component in the
organization of monophonic and polyphonic musical texts. The formation of the perceptions of musical scholarship
in regard to most general manifestations of the model of “monophony-polyphony” in solo and ensemble musical texts
is examined. The period of Western European Baroque music presents itself as the primary historical and stylistic
context, being a time of active formation of the musical language of the solo and ensemble traditions of instrumental
music, as well as its inter-text. At the center of the author’s attention are the works of musicologists studying the
structural (Ernst Kurth, Leo Mazel, Mikhail Papush and Kira Yuzhak) and semantic (Mark Aranovsky, Liudmila
Shaymukhametova) organization of the musical text. The process of scholarly comprehension of the role of the textgeneration
and the formation of meaning is demonstrated. The “materialization” of the intonational-lexical units of
the musical text through the musical-sonar material and the techniques of their textural organization are examined as
capable of carrying out potentially the meaning-generating role. The system of representation of scholars about the
correlation of the individual and the diversified, the part and the whole, which lay at the foundation of interpretation
of the monophonic and polyphonic as structurally similar varieties of organization of musical material and the musical
text. The gradual process of maturation of the theory of the musical text with the corresponding system of terms in line
with the conceptions of musical texture is demonstrated.
Keywords. Monophony and polyphony, texture, musical material, Musical text, structural and semantic
organization.
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