Музыкальная герменевтика, музыкальная семантика, музыкальное содержание: сравнение возможностей

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Abstract: The paper compares logical possibilities of the three actual trends in musical meaning’s research: musical hermeneutics, musical semantics and the contents of music. The purpose of the paper is to show the scope and borders for all of them as well as their scholarly potential. Additionally the paper is telling the story of their origin characterizing the key works of the leading scientists. The author argues that «musical hermeneutics» had been invented by H. Kretschmar in 1902; «musical semantics» dates back to B. Asafiev’s book «Musical form as a process» written in 1929; «musical contents» is suggested by V. Kholopova in 1980 when the corresponding manuscript had been created. The paper gives the definition for each of the mentioned fields of science explaining its essence: hermeneutics — comment and interpretation; semantics — sense and meaning; contents — expression and significance. The method of research in the paper is based on comparative value of each of the mentioned operational systems and scientific schools referring to their ability for the revelation and explanation of music’s essence as a whole as well as of compositional styles and separate works. Scientific novelty is scholarly discourse as such dealing with comparison of musical hermeneutics, musical semantics and musical contents. As far as the new scientific conclusions are concerned it’s possible to mention the non-scientific character of H. Kretschmar’s and A. Schering’s hermeneutics as well as real scientific character of musical semantics’ and musical contents’ concepts. Nonetheless hermeneutics being an empirical took may be useful for musical practice: fantasies of musical performers and music teachers willing to stimulate their students’ imagination are running in this direction rather often confirming the fact.

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