Preceding the publication of MFAP* (1930) and Intonation (1947), Asafiev published two Articles discussing music’s intrinsic connection to the self and the factors which impacted the final result of chosen ‘tones and tonalities’ used within the work itself and which, by extension, cultivated within the perceivers as an ‘intonational vocabulary’ which determined taste preferences and its respective socio-cultural acceptance. Of the two Articles, the first, ‘Speech Intonations’, published in 1925 and later included in its own monograph released in 1965 with included musical examples [PDF’s here], is important to intellectually ‘rediscover’, as posited within its borders is a closer examination of what the Musicologist’s role is in deciphering music’s complex network of relational energies, stated as three zones of influence on ‘production’ [sounding body], namely ‘objective’ elements [physical facts (Viljanen 2016), i.e., acoustic and sensory laws], ‘subjective’ elements [personal experiences, i.e., health, personal beliefs, love] and ‘social laws’ [self-reflections of the stated music]. These three points must be considered when ‘studying’ music, as the Formalist studying of the sound's superficial construction can never, despite the erudite Pedagogue's best intentions, transform cogitation on music from ‘crystallized fossil’ which can only ‘see’ the objects to ‘an experience of the epoch’, birthed by actively ‘hearing’ the world. Thus, when Asafiev called for an ‘intonational reformation’, prompted by Soviet Russia’s increasing animosity towards Western, bourgeois infestation [i.e., Shostakovich’s Lady Macbeth of Mtsensk was chastised for its purposeful dissonances and jazz influence which ostensibly only catered to the ‘perverted tastes of formalist aesthetes’ (Brook 2001) ], he was referencing the necessity to infuse ‘Western rationality’ into ‘Eastern intuition’ from a place not of strict dependency, but rather fitted in as a bolster to Russia’s own ‘system of sound relationships’, i.e., the ubiquitous mannerisms in folk music [“flowery monophony and a kind of homophony" (Orlova 1984) ], its singing quality [pesennost, “songful, sang, fluid, lasting” ], and instinctual melodicism [melos, “sounding tension of action with external expression” ].
Returning to the polemical term of ‘bourgeois’, instead of fully catering to the changing tides of Soviet ideologism, he reinterpreted terminology to represent exactly what he wanted them to embody, an example being found in PFSS* (1923) where he defines ‘petty bourgeois’ as a mode of perception rather than intrusive ideology, “with a uniform view...they differentiate one composer from another from an undetermined perspective, because they are not able to cultivate the nature of their musical perspective to be...through a method of hearing [...]”. Through this focus, the argument then boils down to level of cultivated taste, and Taranda (2014) supplies a cogent response to the contemporary dilemma of observational ignorance and anti-intellectualism, “But when it comes to art or science [the counter being appearances], then the acquisition of good taste is the result of hard work on yourself, constant development, together with maintaining skills at the right level [...]”, and reworded, proper discrimination takes real effort, it is not bestowed at birth. How does this then feed into Musicological practice and Institutional methodologies? Asafiev had understood the parallel as, in 1925 when appointed to the former St. Petersburg Conservatory as Professor [then Musicology faculty head], he had quickly ‘democratized’ the classroom and created living ‘workshops’, not passive lectures, which taught the students how to coherently respond to music, in essence ‘how they should think’ not what they should think. If this were to be implemented in America, a methodology following the Dalton Plan’s student-first approach, imagine what impact it would have on the future of critical-thinking.
Specifically for the Musicological field, Asafiev had stated, “The task of a researcher is to examine the interrelation...of form and content in music leads in this way to an analysis of the complicated series of relationships”, the tenants in question being 1) acoustics and auditory sensations [ sound and its effects], 2) musical material and composer(1) [the music as shaped by the composer’s interaction with his environment from both formal and ideological perspectives], 3) composer(2) and work of a