PHENOMENOLOGY OF MUSICAL UNDERSTANDING: THE CASE OF ROCK MUSIC

Abstract

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.