Работы автора

The evolution of musical terminology is a dynamic process influenced by historical, linguistic and social factors. While initially confined to professional discourse, musical terms have been increasingly used in non-professional contexts, necessitating further investigation into this phenomenon. This study aims to analyse the development of English musical terminology, focusing on its transformation from specialised technical vocabulary to broader cultural and communicative usage. The research employs a combination of comparative-historical analysis, textual analysis and lexicographic examination. Drawing upon sources including seminal works by Charles Ives, Charles Stanford, John Mauceri and Norman Lebrecht, the study explores how musical terms function across genres and registers. The findings reveal three primary categories of musical terms: universal, unique and author. Universal terms maintain consistent meanings across musical traditions, unique terms emerge from specific musical schools and authorial terms reflect individual creativity. The research also highlights how determinologisation and dissemination processes influence the reinterpretation of musical terms in non-professional texts. The implications of this study emphasise the dynamic role of musical terminology as a bridge between professional and non-professional communication, implying its significance in both linguistic theory and global culture. The findings contribute to a deeper understanding of terminological adaptation in evolving communicative landscapes and pave the way to further research into the role of musical terms in interdisciplinary contexts.