PROGRAMME MUSIC AS A PHENOMENON OF HISTORICAL DISCOURSE

Abstract

Problem statement and its relevance. The concept of «programme music» is one of the most widespread terminological constructions. The wide range of chronological and genre circumstances of its involvement has prompted an extremely intensive use in the literature, which covers a wide range of content parameters. The stability and rootedness of the concept led to the loss of its «genetic» features and, as a result, the loss of clear parameters of definition. The consideration of «programmability» in the historical process of the concept's evolution should become a tool for specifying the parameters of the discourse, which will make it possible to understand the processes of intermedialisation in contemporary art.
Analysis of research and publications. The problem of «programme in music» is one of the oldest in aesthetic and theoretical studies. As a result, a very significant body of relevant research has been formed, in which programme is considered in terms of its application in different genres, in relation to verbal prototypes, the role of the title, the
peculiarities of perception of programmability, its functionality, etc. However, the evolution of terminology as such has not yet been reflected in the national literature.
The novelty of this paper. Its purpose is to study the stages of formation of the concept of programme music itself, based on the information provided in foreign reference literature. Since terminological definitions are interdependent with substantive indicators, one of the main tasks of this publication is to formulate the main provisions in the issues accompanying software in its historical evolution. The methodological basis is provided by the comparative studies and the systematic approach.
Research methodology. The methodology of the article is based on the method of historical comparative studies and a systematic approach.
The practical significance. The terminological and historical materials provided can be used both for further theoretical developments of programming in music and for use in educational practice.