Музикалният стил в пресечната точка между субективното и обективното
Musical style at the intersection point of subjective and objective

Summary/Abstract: One of the most essential questions determining the essence of style, which gets manifested in the process of creation and represents it at all levels of musical art, is the synthesis between the objective and the subjective. The issue of what is paramount as far as style is concerned, namely objective factors or a creator’s individuality, has fascinated a number of philosophers. Over the years, there have been some dramatically opposing interpretations on this topic. The famous words of George-Louis Leclerc de Buffon: “In fact, style is the person” that proclaim the subjective factor and Eduard Hanslick’s thesis that “style pertains to the concepts really grounded solely in the objectiveness of artistic work” illustrates two totally opposite viewpoints. This paper surveys the problems dealing with the interaction of the subjective and the objective in style formation, plus its subsequent development and establishment in musical culture. The research problematizes given aspects of today’s widespread conceptions of the objective in the context of stylistic issues by highlighting some contradictions related to the interpretation of musical thinking, musical language, and social world perception as objective style-forming factors as well as the perception of music as a process directly bearing on the objectification of musical-aesthetic tastes.

• Details
• Contents