Music editing in the aspect of interdisciplinary connections (according to pages of foreign studies)

Statement of the problem. Editing of a musical work and editorial activity as such is an integral part of the music-historical process. This is the area of musicological activity that, being at the junction of composer creativity and performing interpretation, can tell a lot: to point out the peculiarities of the genre in a certain historical period, to reveal the level of technical skill of the musicians, the canons of the performance style and sound image of the instrument, to mark figurative and substantive priorities. Since the second half of the 20th century, research on the topic of music editing has been spreading, in which the emphasis is placed on the interdisciplinary connections of musicology and philology (Brett, 1988; Bent, 1994; Grier, 1996; Hammond, 2007). In Ukrainian musicology (Hryschenko, 2015; V. & I. Khodorovski, 2016; Zymohliad, 2016: Pankova, 2013; Ekman, 2018; Zapevalova, 2021 and other), music editing was mostly considered on the materials of piano works through the analysis of the work of musician-editor on a music piece. Objectives, methods, and novelty of the research. However, we note the insufficiency of disclosure of this direction that requires further in-depth study. This determines the relevance and novelty of the article, which include systematized analytical results of research of the second half of the 20th‒beginning of the 21st century on the issues of music editing, in the aspect of connections between musicology and philology. The purpose of the article is to systematize the research materials of a number of foreign authors on the study of the phenomenon of music editing from the standpoint of interdisciplinary connections. The article uses the historical method, which reveals the peculiarities of the origin and formation of the process of music editing and its development as a phenomenon; methods of terminological analysis, generalization and systematization, in connection with the study of the positions of researchers in the disclosure of the above-mentioned problems. Results and conclusion. When developing the idea of interdisciplinary relations – musicology and philology in the field of editing – a Canadian Researcher J. Grier (1996 ) considers the ‘methods of critical assessment’ and ‘composition socialization’ to be the most effective for musicology. The literary term ‘philological monument’ projected by J. Grier onto a musical composition of the past, which consolidated in musical and performing practices on the rights of a canon, is equally important and relevant. In the work by S. L. Hammоnd (2006: 2), which covers the investigation of madrigal vocal art within the context of 15th‒17th century culture, the significant role of the figure of editor is emphasized, which could be played by a performer, a composer, a music teacher, a music publisher or a poet (the translator of the Italian texts). Each of them could complement the original work by their own vision acting as a co author. Consequently, changes and adjustments contributed by the editor were made for the contemporary consumers in order to popularize the musical works. The necessity of musical material distribution, often under the conditions of other cultural traditions, its adaptation to the performance realities of the other period, the pursuit for the interpretation of author’s intentions reflected in the creation of editorial versions directed on socialization of compositions and their further spread.

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