Allonymy as the Paradox Phenomenon of Authorship in the Musical-historical Process
DOI:
https://doi.org/10.31318/2522-4190.2020.128.215199Keywords:
authorship, allonymy, mystification, stylization, intertextuality, conscious allonymy, unconscious allonymyAbstract
The relevance of the study is the need to deepen the analytics of the phenomenon of allonymy in musicology as a specific phenomenon, when the composition is signed by the name of another really existing or existed composer. The work reveals that there are few serious works devoted to fictitious authorship and they are more an exception then a rule. In art, in particular, musicological, context the phenomenon of allonymy as a particular case of mystification hasn’t been the subject of some scientific research till now.
Main objectives of the study is, having analyzed the principal cultural tendencies of the middle of 18th century, to prove and to demonstrate the link of phenomenon of allonymy with large-scale processes of the new understanding of the image of the world and human’s place in the Universe.
The methodology. The method of historical analysis became a necessary research instrument since it made possible retrospective explanation of cultural processes until the middle of the 18th century. The search of the general cultural genesis phenomenon of allonymy, that initiated the need to allocate mechanisms of classification of allonymy works according to some characteristics as phenomena of the similar things and as key sense-bearing components of the European culture as a semantic whole, was done by intensive use of the systemic method (for a comprehensive analysis of historical events). The comparative method helped to identify certain “borrowed style” of allonymy works.
Results and conclusions. The conclusion is made, that the history of allonymy goes back into antiquity. It’s quite possible that this practice occurred with the appearance of the concept of “authorship” and directly depends on philosophical and religious understanding of this term in different historical epochs. As a particular case of authorship in general is revealed, that allonymy covers a wide range of issues. Among them are theoretical aspects of the style, stylistics, stylization, stylistic indices historical epochs, national trends, composer’s schools, individual styles of composers. The study of the conscious allonymy, which is based on the technique of stylization initiated the need to allocate mechanisms of application of “borrowed style” within the framework of this phenomenon. The study of the unconscious allonymy works initiated the need to allocate mechanisms of intertextual interaction between musical works. Relying on the results of the analysis of different samples according to their peculiarities, identified as: conscious allonymy of the authors of the same epoch (N. Chedeville’s sonatas) and hypothetically unconscious allonymy (“signor Ber’s” sonatas), the specifics of these compositions in the context of the issues of authorship and author’s style, evolution of a genre and a place in the works of a real author were determined.
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