Emotiology in the Context of Musical Aesthetics: Towards the Problem Statement
Abstract
The article is devoted to the place and role of emotiology (Viktor Shakhovsky) in modern musical aesthetics. This is an interdisciplinary field of humanitarian knowledge focused on human emotions and their manifestation in various types of activities (mental activity included). Identifying parallels between the advanced scientific thought of the early 20th century and works in the field of musical emotivity (Ekaterina Prikhodovskaya) and philosophy of emotions (Yulia Lobanova), which were published in the first quarter of the 21st century, the authors emphasize the importance of the following point. Emotiology has a significant potential aimed at the development of subjectivity. The significance of the latter is recognized in the fact that subjectivity today turns out to be the main condition on which the outcome of the confrontation between Homo Emotionalis and artificial intelligence usurping its right to artistic creativity depends. At the same time, emotivity itself, which marks the transition of emotion as a psychological phenomenon into an integral component of artistic discourse, regardless of whether it is a musical, verbal or visual art, acts as a fulcrum in the formation of the experience of reflection or otherwise — subjectivity of consciousness.
Keywords: emotiology, musical aesthetics, musical emotivity, philosophy of emotions, Homo Emotionalis, artificial intelligence, subjectivity of consciousness, verbality, non-verbality, emotionality, rationality
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DOI: http://dx.doi.org/10.56620/RM.2026.2.167-182
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