DE LA MIMESIS LA PROGRAMATISM: ANALIZA CONCEPTELOR MUZICOLOGICE
FROM MIMESIS TO PROGRAMMATISM: THE ANALYSIS OF MUSICOLOGICAL CONCEPTS

Summary/Abstract: This article analyzes the transition from the concept of mimesis to that of programmatism in music, providing conceptual clarifications. Defined as a paradigm that transcends musical expression beyond mere representation, bringing it closer to pure expression, musical programmatism has been a widely debated phenomenon over the last 150 years, celebrated by some and challenged by others. However, a universally accepted theory of programmatism has yet to be developed, as there exist various perspectives on both the phenomenon and the concept. In the music of the 19th to 21st centuries, the program, intended to materialize the author's ideas, takes on various forms, necessitating constant refinement within the field of musical science. The increasing number of works featuring different types of programs motivates musicologists to expand and modernize the terminological framework, introducing new meanings and novel approaches. This reflects the evolving nature of programmatic music itself. In this context, we present a comprehensive analysis of the musicological concepts associated with musical programmatism, highlighting the challenges, significance, and evolution of this field in music. Additionally, we propose our own classification of programmatism, paving the way for a more profound exploration of this aspect in music.

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