Interpretology as an integrative science
The article is meant to demonstrate the ways and mechanisms for implementing a musical science into the Ukrainian training system for Master degree holders in performance. Problem statement. Nowadays the informative-communicative borders of the academic science are getting wider, as well as the genre-stylistic priorities in a performance repertoire. Besides, today we encounter a new ontology of soundcreating and modelling of academic knowledge about the ways of music playing (choral studies, guitar playing studies, concertmaster studies, etc.). Furthermore, regional performance schools are getting more and more popular. All abovementioned make the interpretology issues novel and urgent. The experience of the Interpretology and Analysis of Music Department of the Kharkiv National Kotlyarevsky University of Arts (2004-2017) serves as the material for the research. Objectives. The aim of the article is to demonstrate the necessity of the structure for a musical science to be implemented into the state educational system for Masters in performance, as well as to define the cognitive models which promote this process. The top priority of the musical cognitive science is forming an academic thinking among performers and verbalizing of a personal experience in interpretation of music in an academic text. Research methods. The author used the cognitive, systematic, etymological, and spiritual analysis which reflect a specific character of the subject area of interpretology as an integrative science about music on its modern stage. Core material. The union of the theory and music history, aimed at revealing of the wholeness of content and form (“the cohesive analysis” after Mazel-Zuckerman) is transformed into another way of teaching a science, namely interpretology which has its own system of value concepts reflecting the quality and novelty of “thinking by music” in the socio-cultural circumstances of the 21st century. Hence the author’s definition of interpretology – a technology of the Presence of homo musicus for producing a spiritual reflection. The difference of interpretology is in the re-structuring of the elements in musical communication. Its research interest is focused on a subject of the activity, namely an interpreter. The object of cognition, which is an artistic world of music, is reflected in the mirror of the interpreter’s personality and the result of their communication is a performer’s concept imprinted in the “live text” of the culture. The subject of creativity (a singer, an instrumentalist, a creative collective) in light of the analysis of their spiritual, psycho-physiological, emotional, and intellectual qualities, which influence their performance style, make the content of the discipline Phenomenology of Personality. It is one of the most popular cognitive models (as the energy of many wonderful musicians creating the aura of creativity “locally” is bubbling up in regional schools of performance art). The content of the synergic approach (model) reflects the experience of combining of three activity levels of an interpreting personality: the technology of playing the instrument (singing), psychology of a communicative act, and a spiritual experience. A new quality of interpretation gets born on the highest level of maturity of a performance concept. It is verticalization, the completeness of the communication in the system “composer – performer – listener”. With a synergetic look at art, a classic (ñartesian) and new metaphysical patterns of creativity get reconciled in the 21st century. They are getting extended in the chronotope of music history as elements of a single chain. A dialogue of a subject and object (within the borders of art) makes a “core” value in the evolutionally-unfolding world. Conclusions. The demand for interpretology as a science studied in higher school is caused by several reasons. Firstly, it is the impartial synchronization of the terminology in music studies with achievements in humanities and exact sciences. Secondly, it is the urgent demand for systematic works on the matters of the performance art analysis. Finally, it is an in-depth analysis of the function of music as a production of a spiritual reality. The study demonstrated cognitive ways of this process. For example, the synergetic approach as one of the mechanisms of cognition and interpretation of a music composition draws attention to the spiritual nature of a performance creativity. Thus, the content of interpretology is cutting-edge cognitive sections of music studies, oriented not at composers and music experts only, but mostly at performers who are the creators of “live texts” in national (regional) and globalized culture. “Music as an analogue of personality”, “Ontology and metaphysics of music”, “Creativity as reflection”, “Theory of performance style”, “Genre system of performance art” – each of these subsections has its own subject field and serves as a cognitive model. Firm assimilation of these areas of knowledge will enable performers to do research according to modern requirements