THE DUAL NATURE OF PRODUCING CONSCIOUSNESS IN THE EMERGENCE OF A MUSICAL WORK: THE INTERTEMPORAL TANDEM "COMPOSER-PERFORMER"

A musical work, regardless of the time and territory of its creation, has a dual nature: it always contains the initiatives of the producing consciousness of the composer and the initiatives of the producing consciousness of the performer. It is not for nothing that it has been repeatedly stated that the main feature of consciousness is intentionality: orientation towards a certain object, object. I.e., we may not know anything about the object, but if we highlight it with the help of our initiative, it becomes the object of our consciousness. So, according to J. According to Searle, intentionality is inherent only in the consciousness and activity of conscious beings, including speech acts and language in general. Physical objects themselves do not have intentionality. Some philosophers of the naturalistic trend (D. Dennett, for example) It is argued that an intentional attitude is an interpretation of the behavior of an object that is guided by its own beliefs and desires. In the foreground, it is not so much the object of attention as the subject that is in the foreground, it is the attention that directs. Intentionality is a natural property of human consciousness; this is probably how human consciousness differs from its artificial copies. Perhaps it is in intentionality as a property of consciousness that the answer to a significant question of our time has not yet been found. A striking example is John Searle's experiment "The Chinese Room", from which it follows that under no circumstances will a computer understand like a human. Of course, in history there are examples of the functioning of two components of the producing consciousness in one person: the vocal skill of M. Glinka is known, the piano concert art of F. Chopin, F. Liszt, S. Rachmaninov is known, not to mention the notorious virtuosity of V.A. Mozart. For modern concert practice in the framework of such a trend as neoclassicism, the unity of the composer and the improvising pianist is already practically a tradition. This forms the dual nature of a piece of music. We observe an intertemporal tandem of "composer - performer", united by the work as a fact of the language of various means of expression. The producing consciousness is heterogeneous, it has such a property as duality - and the duality is intertemporal: the intertemporal tandem "composer - performer" presupposes the presence of duality not only of consciousnesses, but also of epochs.