129. On the Psychological Antecedents of Functionality in Music. A. P. Milka

Leningrad State Conservatoire Named after N. A. Rimski-Korsakov

Summary

The author of the present paper believes that substantiation of a number of propositions on the psychological manifestations of functionality in music is in line with one of the tendencies of modern musicology, namely: to include the activity of the listener's perception in the theory of music [5; 6]. In this respect musicology is considerably influenced by the work and experimental methods developed by the D. N. Uznadze school of psychology, within the framework of which at present a general theory of consciousness and the unconscious mind functions [7]. The interpretation of mode perception by recourse to the categories of the psychology of set [3] is a clear indication of this.

A further development of this tendency in present-day musicology will make possible the inclusion of the creative process - of both the listener and the composer - in the general theory of human activity, in conjunction with the relevant general theory of consciousness and the unconscious mind [7].

Литература

1. Афанасьев Б. В., Музыкальная форма как процесс, Л., 1966.

2. Гельмгольц Г., Учение о слуховых ощущениях как физиологическая основа для теории музыки, СПб., 1875.

3. Кечхуашвили К., К вопросу о психологической сущности ладового чувства. Сообщения АН Груз. ССР, т. 16, 5, 1955; Его же. К проблеме психологии восприятия музыки. Сб.: Вопросы музыкознания, т. 3, М., 1960.

4. Курт Э., Романтическая гармония и ее кризис в "Тристане" Вагнера, М., 1975.

5. Медушевский В., Строение музыкального произведения в связи с его направленностью на слушателя, М., 1971.

6. Назайкина Е., О психологии музыкального восприятия, М., 1972.

7. Шерозия А. Е., К проблеме сознания и бессознательного психического, т. I-II, Тб., 1969-1973.