vaganovВестник Академии Русского балета им. А.Я. ВагановойBulletin of Vaganova Ballet Academy1681-8962Vaganova Ballet Academyvaganov-2494Research ArticleТЕОРИЯ И ИСТОРИЯ ИСКУССТВАТHEORY AND HISTORY OF ART«Не ставя граней между мелодикой стиха и мелодией музыки»: концепция «звучащего вещества» Б. В. Асафьева и исследования «живого слова»“Without setting boundaries between melody of verse and the one of music”: the concept of “sounding substance’ by Boris Asafiev and research of the “living word"https://orcid.org/0000-0001-6267-2775БукинаТ. В.BukinaT. V.

Букина Т. В. — д-р искусствоведения, доц.,

 ул. Зодчего Росси, д. 2, Санкт-Петербург, 191023.

Bukina T. V. — Dr. Habil. (Art), Ass. Prof.,

2, Rossi St., Saint-Petersburg, 191023.

tbukina2002@mail.ruАкадемия Русского балета имени А. Я. ВагановойРоссияVaganova Ballet AcademyRussian Federation20242911202405110122Copyright © Букина Т.В., 20242024Букина Т.В.Bukina T.V.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://vaganov.elpub.ru/jour/article/view/2494

В центре внимания настоящей статьи находится концепция «звучащего вещества» Б. В. Асафьева, занимавшая заметное место в его теоретическом наследии послереволюционных лет. В представлении исследователя, звучащее вещество аккумулирует в себе ключевые коммуникативные, динамические и семантические параметры музыки, составляющие ее «антропологическое» измерение: органическую системность устройства, текучесть, сенсорную конкретность, инвокационные и суггестивные свойства. В работе высказывается гипотеза, что на становление рассматриваемой концепции оказали воздействие исследования устной речевой интонации, проводимые в начале ХХ века под эгидой так называемой «слуховой филологии». Важным фактором такого влияния послужили для Асафьева его тесные контакты с сотрудниками петроградского Института живого слова, который был на рубеже 1910–20-х годов одной из главных площадок развития «слуховой филологии» в России. В статье устанавливается преемственность между идеями специалистов в области «живого слова» С. Н. Бернштейна, Б. М. Эйхенбаума, В. Б. Шкловского, с одной стороны, и концепцией звучащего вещества — с другой.

The given article focuses on a concept of “sounding substance” by Boris Asafiev, which occupied a significant place in his theoretical heritage of postrevolutionary period. In the view of the researcher, the sounding substance accumulated the key communicative, dynamic, and semantic parameters of music that constituted its “anthropological” dimension: the organic consistency of the structure, fluidity, sensory tangibility, invocatory and suggestive features. The author puts forward a hypothesis that the given concept was largely affected by research of oral speech intonation carried out in the early 20th century under the aegis of so-called “Ohrenphilologie” (“auditory philology”). An important factor of such impact were Asafiev’s close contacts with philologists from the Institute of the Live Word, one of the leading platforms of the Ohrenphilologie in Russia of the 1910–20s. The paper establishes continuity between ideas of the specialists in Ohrenphilologie Sergey Bernstein, Boris Eichenbaum, and Victor Shklovsky on the one hand, and the concept of the sounding substance on the other.

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The authors declare that there are no conflicts of interest present.