title: PHENOMENOLOGY OF MUSICAL UNDERSTANDING: THE CASE OF ROCK MUSIC
metadata.name: dc.contributor.author
metadata.value: KOSILOVA, ELENA
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2023-01-27T13:07:45Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2023-01-27T13:07:45Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2022-09
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: KOSILOVA E. PHENOMENOLOGY OF MUSICAL UNDERSTANDING: THE CASE OF ROCK MUSIC. Horizon. Studies in Phenomenology, 2022, vol. 11 issue 2, pp. 607–624.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/2226-5260-2022-11-2-607-624
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/38912
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The article deals with the problem of understanding the meaning of music on the example of rock
  music. The purpose of the article is to find a criterion for such an understanding. For this purpose,
  the question is considered as to what musical meaning is. Since rock compositions usually have a
  short length and one explicit melody, it can be said that musical understanding is the grasping of this
  melody. The question arises as to what it means to grab a melody, and whether it means the ability to
  sing it. Not necessarily, it turns out — rather, it means capturing its pattern. The idea that music is
  a language is rejected: music does not have external meaning. The article discusses several examples
  of the “translation” of one melody into another style or mode. In such a translation the hyletic data
  changes, but the pattern remains. This is associated with the preservation of musical meaning and
  musical thought. The most important criterion of musical understanding is the existential experience
  of the melody. To understand music, to grasp its meaning, the listener must be open, that is,
  be ready to perceive music as an aesthetic object. At the moment of listening, music is a saturated
  phenomenon, because it completely fills its horizon. Any other, alternative music is impossible. The
  problem of corporeality in the perception of music is examined. It is especially important in rock
  music, which usually has a clear rhythm. The pattern of the melody also has a spatial character,
  which refers to corporality. Here we can talk about a certain “resonance” of external music with the
  inner musical world of the listener.
metadata.lang: en_GB
metadata.name: dc.description.sponsorship
metadata.value: This research was prepared with the support of the Interdisciplinary Scientific and Educational
  School of Moscow University “Brain, cognitive systems, artificial intelligence”.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Horizon. Studies in Phenomenology;Volume 11; Issue 2
metadata.lang: -
metadata.name: dc.subject
metadata.value: phenomenology of music
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: rock music
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: saturated phenomenon
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: understanding of music
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: music and culture
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: PHENOMENOLOGY OF MUSICAL UNDERSTANDING: THE CASE OF ROCK MUSIC
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 06_Kosilova.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/38912/1/06_Kosilova.pdf
resources.format: Adobe PDF
resources.size: 628,95 kB