Questions of programmaticity as a preamble to the analysis of artistic aspects of jazz

Section 2. Ukrainian and World Musical Culture

Abstract

Statement of the problem. In recent years, the range of scientific explorations of jazz art has expanded considerably. However, the phenomenon of programmaticity within the sphere of jazz improvisational performance has not yet received proper scholarly elaboration (at least, our attempts to locate studies with such an analytical vector have, unfortunately, yielded no expected results). Objectives, methods and novelty of the research. Since the present article constitutes the first part of a trilogy devoted precisely to the exploration of these issues, its primary objective is to summarize and conceptualize the key components of the multifaceted scientific understanding of the notion of “musical programmaticity”. The methodological basis of the research comprises a set of scientific approaches, where the main analytical tools are historiographic, systemic-functional, and musical-semantic methods. The novelty of this study are determined by the fact that, for the first time, the analytical conceptualization of the fundamental theoretical positions and hypotheses (formed throughout the historical evolution of the theory of musical programmaticity) has been systematized for subsequent application to the analysis of jazz improvisational creativity. Research results and conclusion. The research has led to several axiomatic conclusions:1) programmatic music represents a kind of manifesto of the emancipation and self-sufficiency of instrumental creativity; 2) the programmatic conception is determined by the influence of extramusical factors; 3) the originality of a creative programmatic intention is realized through techniques of symbolizing the artistic-imagery meaning within the intonational text of a musical works; 4) the engagement of semiotic methodology has contributed to expanding the understanding of programmaticity as an informational message, however, the linguo-semiotic method has not become an all-encompassing (or all explanatory) tool for comprehending the complex, multilevel phenomenon of musical programmaticity; 5) it is precisely a comprehensive, multivectoral approach – grounded in a broad spectrum of diverse scientific strategies – that appears to be the most effective in studying the phenomenon of musical programmaticity. Based on the analysis of the development of scientific theory, which is aimed at studying the phenomenon of "musical programmaticity," it becomes possible to formulate a strategy for research in subsequent articles on the functioning of programmaticity in jazz creativity.