Richardo Taruskino fenomenas
The phenomenon of Richard Taruskin

Summary/Abstract: One of the most well-known and influential contemporary musicologists, Richard Taruskin possesses not only great breadth of erudition and an original style of thinking, but also a colourful, easily recognizable manner of writing. What gave a push to the exceptional quality in the work of this academic, and why do his writings engender such interest and so many controversies in the musical world? The offered article seeks answers to these questions.The Taruskin phenomenon is studied using Thomas Kuhn’s theoretical concepts of the structure of scientific revolutions and processes of scientific enquiry. The article discusses whether it is possible to transfer Kuhn’s principles from the sphere of “normal science” into the sphere of the humanities and the necessity of certain related corrections, assumptions and caveats in so doing.The article concentrates on Taruskin’s characteristic and harmonious synthesis of performance experience and analytical talent. Various aspects of such synthesis are reviewed, including:◆ Taruskin’s specific interest in early music (with parallels to the work of Jacques Handschin, a musicologist of the first half of the 20th century);◆ breadth of Taruskin’s views on musical activity, which avoid the limitations of both the empirical performance approach and the abstract theoretical (schematic) approach;◆ his natural, “lively” perception of music, based on a deep understanding of the multivariance of its interpretational substance; and◆ a colourful, convincing manner of writing, maximally oriented towards bringing the results of scientific enquiry to its addressee – the reader, akin to the communicational direction of the artistic activity of the performer.The article concludes that in their novelty and originality, Taruskin’s works are becoming an important factor in renewing musical science. From the point of view of Kuhn’s conception, Taruskin’s input is expressed in his ability to elicit and elaborate upon the anomalies in the current system of scientific views, and thus to form the basis for significant modifications and changes to existing scientific paradigms.The article also gives examples of Taruskin’s treatment of issues in Lithuanian musical history and points to the “presence” of Taruskin in musicological works in Lithuanian.

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