DISCLOSURE OF CONTENT OF EMOTIONAL PERCEPTION OF A MUSIC WORK

One of the most important direction of studying artistic perception is investigating the peculiarities and regularities of the emotional perception of a music work. In music the emotional-feeling processes that are uncovered within the period of time and favor the fruitful, processing character of sounds and sound relations are implemented, that is why a music work is perceived successively. The aim of the article is to uncover the content of the emotional perception of music by children and adults. A music composition is a certainly tuned and organized artistic structure, which carries in itself a powerful charge of emotional influence on the listener. The notion “feeling» in the context of the studied aesthetic conception is not necessary to perceive only as emotiveness. The works of art cause a catharsis transformation of feelings in man. They have got something in themselves which overcomes ordinary feelings, and this something that enlightens them. L. Vyhotskyy analyses art as an extension of the social feeling that is objectified, passed out to us, materialized and embodied in the external subjects of art. S. Rubinstein believes that the emotional and aesthetic attitude as an aesthetic feeling acts as a specific means of artistic development of reality. The researcher L. Kadtsin emphasizes that the undisturbed feelings, namely imagination as a form of consciousness, is the initial moment of perceiving the content. The important objectives of theory and practice of music upbringing, in Ye. Nazaykinskyy's opinion, is selecting the operations, detecting their system, forming some new types of actions that correspond to the development of musical culture, musical language, forms of communication and functions of musical perception. In the composition of a musical work V. Medushevskyy separates two forms: external – analytical (height, volume, timbre, articulation) and internal – intonational and dramatic (intonational motivation of signs of the analytical form from the side of the content). B. Teplov sees the primary and general musical ability – musicality. The main feature of musicality is the experience of music as an expression of some aesthetic content. It includes the ability of emotional sensitivity to music and the ability to thinly differentiated perception (we mean the developed musical hearing). A. Sokhor believes that the emotional image in music is not a phenomenon of the external world, but of the emotion that it generates, according to the nature of which we can judge about its source. V. Sazhnikov, investigating the problem of artistic musical performance, notes that not every musical performance can meet the artistic criterion, but only that which is determined by the creative musical image. Most of the authors point out that not every emotional attitude to works of art acts as an indicator of aesthetic emotionality. Conclusions. The fulfilled analysis gives an opportunity to separate two points, which essentially determine the peculiarities of emotional and aesthetic attitude to works of art: 1) the attitude associated with the perception of music as a special emotional subject; 2) the attitude that acts as an act of empathy: involving an individual into the universal aesthetic human culture.