Miklina, N. N. Metapoetics of Music Art: The Problem Definition

Abstract: The subject under research is the possibility of application of the term ‘metapoetics’ to music art. The purpose of the research is to define the most efficient approaches to developing metapoetics of music based on the analysis of modern concepts in literature, music theory and philosophy. The results of the research show that being oriented at corresponding opinions in the sphere of literary studies, metapoetics of music has its own specific features that are defined by the non-verbal, non-artistic but procedural nature of music. These specific features are based on the importance of a metatext. In music art the metatext is a flexible and open system of metaelements of the music composition. This shows the prevailing role of the implicit approach to metapoetics of music as a need to focus, first of all, on a musical form as the unfolding meaning associated with the considerable generalized and abstract nature of images and events represented in music. In this regard, the most correct, well-biased and promising approach to metapoetical developments in the sphere of music is the philosophy of poesis as the dialectics of formation and development comleted with the method of transflection or transference allowing to define the emergent and transparent nature of a musical composition. The aforesaid approach takes into account all specific features of music and at the same time does not contradict to any methods declared in metapoetical researches and therefore possesses the necessary heuristicity, ethics of the mutual need and openness for new knowledge. The author’s provisions and conclusions can be used in cultural-philosophical, esthetical, musical theoretical and cultural researches as well as in research activities and academic work performed by university students, Master’s Degree students, post-graduate students and young scientists. The main research method used by the author is the integrated discursive approach aimed at covering different opinions, demonstrating respect attitude to authors and researches and searching for the truth at the crossing points of different views. The novelty of the research is the following: 1) integration of different views and concepts within the framework of the metapoetic discourse has allows to describe special features of metapoetics of music and define the most promising ways of its development; 2) the author shows despite the significance influence of Western European theories including Martin Heidegger’s views, Russian researchers often overcome the anthropological orientation in their works and describe an important role of both ‘horizontal’ and ‘vertical’ chronotopos of music as the poesis of co-existence; 3) the author proves that there is also the need for explicit metapoetics, i.e. the literary heritage of a composer and his epoch, not so much to clarify a composing method but rather to define philosophical and artistic views of a composer; 4) the researcher applies both implicit and explicit approaches to metapoetics of music accompanied with the method of transference in his academic and research activity with university music students and young scientists and these methods prove to be efficient. Conclusions: methodological and technical aspects of metapoetics of music prove the novelty and theoretical and practical importance of the research. However, the topics covered by the article only outline he path for further development of this interesting and important branch of knowledge.

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