THE CONCEPT OF THE SOUND IMAGE IN THE CONTEXT OF SCHOLARLY REFLECTION: MULTIVECTOR INTERPRETATIONS

Abstract

The article examines the concept of the sound image, which has received multifaceted scholarly interpretation. The aim is to summarize the scientific views and approaches to the concept of the sound image as developed in contemporary musicological literature, involving perspectives formulated in related fields of art studies, with the intention of expanding the understanding of this category as complex, multilayered, and interdisciplinary. The study applies general scientific and specialized methods and approaches, including analysis and synthesis, as well as systemic, comparative, and functional methods. The scientific novelty lies in the generalization of various viewpoints on the sound image, with an emphasis on articulating its interdisciplinary, multidirectional, and multilevel specificity. Conclusions. It has been established that the concept of the sound image in modern musicology functions as a phenomenon situated at the intersection of strictly musical (musicological, performance, and compositional) and interdisciplinary approaches. The analysis of scholarly sources revealed the diversity of its development and the effectiveness of its exploration in various dimensions: instrumental specificity, style, genre, and different artistic practices. The sound image appears as a multilevel construct – from metaphysical onto- sonological models to concrete manifestations in texture, timbre, and performance practice. It has been determined that the plurality of approaches to defining the conceptual boundaries of the sound image forms an extensive methodological field, including onto-sonological, stylistic-instrumental, genre-based, and cultural approaches. The wide range of research perspectives underscores the potential of the concept for further scholarly development. It is emphasized that the absence of a universal methodology for analyzing the sound image is conditioned by the objective multidimensionality and multilayered nature of the category. At the same time, contemporary scholarly works form the basis for future methodological synthesis, particularly within the frameworks of cognitive musicology, semiotics, cultural studies, and audiovisual studies.