Музично-критичний текст: функції, жанри, структура аргументації

Abstract

У статті розглянуто явище музично-критичного тексту. Розкрито поняття музичної критики, висвітлено історію її виникнення та сутнісні ознаки. Охарактеризовано функції музичної критики (інформаційну, інтерпретаційну, аксіологічну, комунікативну, освітньо-виховну, регулятивну, та прогностичну), жанри (інформаційні, аналітичні й художньо-публіцистичні), а також структуру аргументації у музично-критичному тексті (висвітлено поняття доказу, аргументації та їх трьох спільних елементів: тези, аргументу, доказового роздумування).

В статье рассматривается явление музыкально-критического текста. Раскрыто понятие музыкальной критики, отражено историю ее возникновения и сущностные признаки. Охарактеризованы функции (информационная, интерпретационная, аксиологическая, коммуникативная, образовательно-воспитательная, регулятивная и прогностическая), жанры (информационные, аналитические и художественно-публицистические), а также структура аргументации в музыкально-критическом тексте (освещено понятие доказательства, аргументации и их трех общих элементов: тезиса, аргумента, доказательного размышления).

This article overlooks the phenomenon of a musical-critical text. Its essential attributes, such as mobility, publicistic and evaluation of the phenomena are found out. The characteristic features of musical-critical text are stated. There was found a great understanding of the critical functions of musical-critical text in different times and for different reasons. For example, A. Sohor considered the social functions of musical criticism, based on the place it takes in the musical culture. Position of L. Melnyk is caused by the interpretation of musical criticism as an analytical segment of music journalism. The most detailed features of musical-critical text are highlighted by О. Zinkevych and Yu. Chekan. In particular, they identified the informative, interpretative, axiological, communicative, educative, regulatory, and prognostic features. Genre types of musical criticism are considered, their styles and compositional features are defined. It is noted that the informational genres of musical criticism include: announcement, post, reporting, interviews, summary; analytical ones aiclude – review, overview, article; artistic and journalistic ones include – sketch, portrait, essay, lampoon, pamphlet. It was determined that the main feature of informative genres is informativity and the dominant function is to provide information on the specific phenomenon of musical culture. In genres of artistic and journalistic type, literary quality of musical criticism is the most evident. The base for musical criticism are analytical genres, because they realized all the dominant features of musical-critical opus: evaluative, informative, and communicative. Yet still the main function remains the axiological one. Based on ideas and developments proposed by Yu. Chekan, the structure of musical-critical text is characterized. It is determined that evidence is a logical operation which proves the truth of any statement by any true and related judgments. The main function of the argument is to convince the recipient of the truth of the authors. Besides, in addition to logical methods other techniques of credibility are used: textual and non-textual. Despite the difference between evidence and argumentation, their structure is common. It includes three elements: thesis, argument and evidence-based thinking. Based on the content of information thesis are divided into simple and complex; based on the substance of information – into factual, evaluative and normative; based on the form of expression – into explicitly formed and implicitly formed. Arguments are judgments that emphasize the truth of thesis. They base upon the rational and the emotional bases. Arguments are divided into factual and evaluative. Evidence speculations show to the reader the link between thesis and arguments. They are realized in three ways: in the form of induction, deduction, and analogy. It was found that musical-critical text is a complex and unique phenomenon, which relies on a number of its own rules and laws, it has multidisciplinary and multifunctional nature and because of its identity, it is an integral part of music culture.