Metaphysical history of music: methodology of self-consciousness
Musical art as a self-consciousness of culture expressed in the highest form of intuitive-sensual cognition possesses immanent characteristics of self-expression, in accordance with its own ontological nature (according to A. F. Losev, “music is a myth, a symbol and a number”). That is why the problem of a holistic interpretation of music concept, as article states, cannot be considered outside the mythological-symbolic dimension framework of a musical piece. Metaphysical history of music inherits unique characteristics of a myth and a symbol – active instruments of cognition and self-cognition. “Verticalization” of methodology assumes attention to the personalized version of a musical myth, which creates new opportunities for the interpretation of composer’s ideas, meanwhile describing general laws of artistic consciousness. Taking the theoretical concepts of A. Losev, M. Bachtin, S. Averintsev as a basis, the author builds a system of principles of metaphysical methodology, designed to mark the mythological symbolical ways of music concept interpretation as well as the laws of its existence within the historical time frame of the Russian music of the nineteenth-twentieth centuries. The symbolic “vertical” of the “double existence” (the principle of mirror) denotes the new approach towards the principle of historicism that allows to reveal the specifics of the mythological models of harmonic and crisis-type consciousness, creating the sequential nature of the mythological cultural cycle.
metaphysics, history, music, self-consciousness, musical meaning, mythological-symbolical methodology, harmony, crisis.