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Musical Semiotics: an interdisciplinary aspect

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Due to the relevance of the process of updating the modern educational system of Ukraine, especially its aesthetic field, attention is drawn to the problem of the qualitative transformation of music and pedagogical education. The introduction of a semiotic component into the process of preparing future teachers of musical disciplines is intended to enrich its analytical focus, both in theoretical and practical formats. This practice looks promising in the training of music teachers and music performers. The purpose of this article is the requirement to study the essential features of the “semiotics” concept in an interdisciplinary context, that is, from a philosophical, philological, cultural and art criticism position with their further correlation with the characteristic features of the “musical semiotic” concept. As a result of the analysis of various literary sources, setting out the provisions of the concepts by scientists who are influential in the field of semiotic theory in the above-mentioned areas, single characteristic features of the “semiotics” concept have been identified. In the process of correlating these essential features of semiotics with the concept of “musical semiotics”, it is concluded that they fully coincide in the definition of both phenomena. But at the same time, based on the specifics of music art, special characteristics of musical semiotics are also revealed. First of all, these include the special place of the artistic image in the semiotic analytical process, as well as the distinction between the concepts of “language” (“musical language”) and “utterance” (“musical utterance”), rather than the more traditional holistic analysis of musical language. It is necessary to build a further study of musical semiotics and actively implement its capabilities in the process of training musicians-teachers and performers with these features in mind.
Borys Grinchenko Kyiv Metropolitan University
Title: Musical Semiotics: an interdisciplinary aspect
Description:
Due to the relevance of the process of updating the modern educational system of Ukraine, especially its aesthetic field, attention is drawn to the problem of the qualitative transformation of music and pedagogical education.
The introduction of a semiotic component into the process of preparing future teachers of musical disciplines is intended to enrich its analytical focus, both in theoretical and practical formats.
This practice looks promising in the training of music teachers and music performers.
The purpose of this article is the requirement to study the essential features of the “semiotics” concept in an interdisciplinary context, that is, from a philosophical, philological, cultural and art criticism position with their further correlation with the characteristic features of the “musical semiotic” concept.
As a result of the analysis of various literary sources, setting out the provisions of the concepts by scientists who are influential in the field of semiotic theory in the above-mentioned areas, single characteristic features of the “semiotics” concept have been identified.
In the process of correlating these essential features of semiotics with the concept of “musical semiotics”, it is concluded that they fully coincide in the definition of both phenomena.
But at the same time, based on the specifics of music art, special characteristics of musical semiotics are also revealed.
First of all, these include the special place of the artistic image in the semiotic analytical process, as well as the distinction between the concepts of “language” (“musical language”) and “utterance” (“musical utterance”), rather than the more traditional holistic analysis of musical language.
It is necessary to build a further study of musical semiotics and actively implement its capabilities in the process of training musicians-teachers and performers with these features in mind.

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