Symphonism, Dialectics, Historicism
A new type of worldview, called historicism, developed in the public consciousness of Europe at the turn of the eighteenth – nineteenth centuries. The basis of a new understanding of history was associated with the laws of dialectics, including the principles of universal interconnection and interdependence, the unity of opposite principles, the three stages of any development process. G. Hegel was the first who used these principles to understand history. K. Marx and F. Engels introduced dialectical-materialistic interpretation of the historical process. Creative heritage of L. Bethoven is rightly considered to be a phenomenon similar to Hegel’s dialectical theory but in the sphere of music art. The development of artistic image and sound Beethoven`s sonata-allegro forms corresponds to the basic principles of dialectics, which allows the composer to recreate the real inconsistency and continuity of historical and individual existence. The subsequent evolution of musical art in the nineteenth century demonstrates the process of further “dialectization” of form and content of musical works. It is manifested in the intonation unity of multi-sectional works, as well as in the attraction to the one-section, the increase of the degree of figurative-intonation contrasts and subsequent image transformations. This deliberate process of transforming the original music images by revealing their internal (intonation) inconsistencies in modern musicology is usually characterised by the term symphonism. Comparison of the considered terms and the phenomena designated by them testifies that historicism and symphonism have the common bases which is the laws of dialectics, and therefore can be considered as the phenomena united in the essence. The unity of symphonism and historicism indicates simultaneity and the same vector for the evolution processes of music and rational thinking.
historicism, dialectics, worldview, symphonism, sonata-allegro form, contradiction, conflict.