Aesthetics, musical |

Musical aesthetics is a discipline that studies the specifics of music as an art form and is a section of philosophical aesthetics (the doctrine of sensory-figurative, ideological-emotional assimilation of reality by a person and art as the highest form of such assimilation). E. m. as a special discipline has existed since the end. 18th century The term “E. m.” was first used by K. F. D. Schubart (1784) after the introduction by A. Baumgarten (1750) of the term “aesthetics” (from the Greek aistntixos – sensual) to designate a special section of philosophy. Close to the term “philosophy of music”. The subject of E. m. is the dialectic of the general laws of sensory-figurative assimilation of reality, the special laws of art. creativity and individual (concrete) patterns of music. lawsuit. Therefore, the categories of E. m. are either built according to the type of specification of the general aesthetic. concepts (for example, a musical image), or coincide with musicological concepts that combine general philosophical and concrete music. values ​​(e.g. harmony). The method of Marxist-Leninist E. m. dialectically combines the general (the methodological foundations of dialectical and historical materialism), the particular (theoretical provisions of the Marxist-Leninist philosophy of art), and the individual (musicological methods and observations). E. m. is connected with general aesthetics through the theory of the species diversity of arts, which is one of the sections of the latter. creativity (artistic morphology) and includes in a specific (due to the use of musicological data) form its other sections, i.e., the doctrine of historical, sociological, epistemological, ontological. and axiological laws of lawsuits. The subject of study of E. m. is the dialectic of general, special and individual patterns of music and history. process; sociological the conditioning of music. creativity; arts. knowledge (reflection) of reality in music; substantive embodiment of music. activities; values ​​and assessments of music. lawsuit.

The dialectic of general and individual historical. patterns of music. lawsuit. Specific patterns of the history of music. claims are genetically and logically connected with the general laws of the development of material practice, while at the same time possessing a certain independence. Separation of music from syncretic the claim associated with the undifferentiated sensory perception of a person was determined by the division of labor, in the course of which the sensual abilities of a person were specialized and, accordingly, the “object of hearing” and the “object of the eye” were formed (K. Marx). The development of societies. activities from non-specialized and utilitarian-oriented labor through its division and allocation are independent. types of spiritual activity to universal and free activity under communist conditions. formations (K. Marx and F. Engels, Soch., vol. 3, pp. 442-443) in the history of music (primarily European traditions) acquires a specific character. appearance: from the “amateur” (R. I. Gruber) character of ancient music-making and the absence of a division into a composer-performer-listener through the separation of musicians from listeners, the development of composer standards and the separation of composition from performance (since the 11th century, but X. G. Eggebrecht) to the co-creation of the composer – performer – listener in the process of creation – interpretation – perception of individually unique music. prod. (from the 17th-18th centuries, according to G. Besseler). Social revolution as a way of transition to a new stage of societies. production in the music history gives rise to a renewal of the intonational structure (B.V. Asafiev) – a prerequisite for the renewal of all means of making music. Progress is a general historical pattern. development – in music is expressed in the gradual achievement of its independence. status, differentiation into types and genres, deepening the methods of reflecting reality (up to realism and socialist realism).

The relative independence of the history of music lies in the fact that, firstly, the change of its epochs may be late or ahead of the change in the corresponding methods of material production. Secondly, in every era on the muses. creativity is influenced by other claims. Thirdly, each musical-historical. the stage has not only a transitory, but also a value in itself: perfect compositions created according to the principles of music-making of a certain era do not lose their value at other times, although the principles underlying them themselves may become obsolete in the process of subsequent development of the muses. lawsuit.

Dialectics of general and separate laws of social determination of muses. creativity. Historical music accumulation. the claim of social functions (communicative-labor, magical, hedonistic-entertaining, educational, etc.) leads to the 18-19 centuries. to offline arts. the meaning of music. Marxist-Leninist aesthetics considers music, designed exclusively for listening, as a factor that performs the most important task – the formation of a member of society through its special specialized impact. According to the gradual revelation of the polyfunctionality of music, a complex system of social institutions was formed that organized education, creativity, distribution, understanding of music, and management of muses. process and its financial support. Depending on the social functions of art, the system of musical institutions influences the arts. characteristics of music (B. V. Asafiev, A. V. Lunacharsky, X. Eisler). Art has a special influence. characteristics of music-making methods of financing (philanthropy, state purchases of products), which are in connection with all areas of the economy. Thus, sociological. the determinants of music-making add up to a system where economical. factors turn out to be the level of the general (determine all aspects of the life of society), the social structure of the audience and its arts. requests – the level of the special (determine all types of artistic activity), and societies. the organization of music-making – at the level of the individual (determines the specific features of musical creativity).

The dialectic of general and individual epistemological. patterns of music. lawsuit. The essence of consciousness is in the ideal reproduction of practical methods. human activity, which is materially-objectively expressed in language and gives a “subjective picture of the objective world” (V. I. Lenin). Art carries out this reproduction in art. images that dialectically unite living contemplation and abstract thinking, directly. reflection and typifying generalization, individual certainty and disclosure of regular tendencies of reality. Material-objective expression of arts. images are different in different types of claims, since each of the claims has its own specificity. language. The specificity of the language of sounds is in its non-conceptual nature, which was formed historically. In ancient music, associated with word and gesture, art. the image is objectified conceptually and visually. The laws of rhetoric that influenced music for a long time, including the Baroque era, determined the indirect connection between music and verbal language (certain elements of its syntax were reflected in music). Classic experience. compositions showed that music can be freed from the performance of applied functions, as well as from the correspondence of rhetoric. formulas and proximity to the word, since it is already independent. language, albeit of a non-conceptual type. However, in the non-conceptual language of “pure” music, the historically passed stages of visualization-conceptuality are retained in the form of very specific life associations and emotions associated with the types of muses. movement, intonation characteristic of thematics, portray. effects, phonism of intervals, etc. The non-conceptual content of music, which is not amenable to adequate verbal transmission, is revealed through music. logic of the ratio of elements prod. The logic of the deployment of “sound-meanings” (B. V. Asafiev), studied by the theory of composition, appears as a specific music. perfect reproduction formed in societies. the practice of social values, assessments, ideals, ideas about the types of human personality and human relations, universal generalizations. Thus, the specificity of the muses. reflection of reality lies in the fact that art. the image is reproduced in the historically acquired music. the language of the dialectic of conceptuality and non-conceptuality.

Dialectics of general and individual ontological regularities of muses. lawsuit. Human activity “freezes” in objects; thus, they contain the material of nature and the “human form” that transforms it (the objectification of the creative forces of man). The intermediate layer of objectivity is the so-called. raw materials (K. Marx) – formed from natural material already filtered by previous work (K. Marx and F. Engels, Soch., vol. 23, pp. 60-61). In art, this general structure of objectivity is superimposed on the specifics of the source material. The nature of sound is characterized, on the one hand, by height (spatial) properties, and, on the other, by temporal properties, both of which are based on physical-acoustic properties. sound properties. The stages of mastering the high-pitched nature of sound are reflected in the history of modes (see mode). Fret systems in relation to acoustic. laws act as a freely changeable “human form”, built on top of the natural immutability of sound. in the ancient muses. cultures (as well as in the traditional music of the modern East), where the principle of repetition of the main modal cells dominated (R. I. Gruber), mode formation was the only one. imprinting creativity. the strength of the musician. However, in relation to later, more complicated principles of music-making (variant deployment, diverse variation, etc.), intonation-modal systems act as still only “raw material”, quasi-natural laws of music (it is no coincidence, for example, in ancient E. m. modal laws were identified with the laws of nature, space). Theoretically fixed norms of voice leading, form organization, etc. are built on top of the modal systems as a new “human form”, and in relation to the later emerging in Europe. culture of individualized authorial composition again act as a “quasi-nature” of music. Irreducible to them is the embodiment of a unique ideological art. concepts in a unique product. becomes the “human form” of music-making, its complete objectivity. The processuality of the claims of sounds was primarily mastered in improvisation, which is the most ancient principle of the organization of muses. movement. As the regulated social functions were assigned to music, as well as its attachment to verbal texts that were clearly regulated (in content and structure), improvisation gave way to the normative-genre design of the muses. time.

Normative-genre objectivity dominated in the 12th-17th centuries. However, improvisation continued to exist in the work of the composer and performer, but only within the boundaries determined by the genre. As music was liberated from applied functions, genre-normative objectivity, in turn, turned into “raw material”, processed by the composer in order to embody a unique ideological art. concepts. Genre objectivity was replaced by an internally complete, individual work that cannot be reduced to a genre. The idea that music exists in the form of finished works was consolidated in the 15th-16th centuries. The view of music as a product, the inner complexity of which requires detailed recording, previously not so obligatory, took root in the era of romanticism so much that it led to musicology in the 19-20 centuries. and in the ordinary consciousness of the public to the application of the category “Music. work” for music of other eras and folklore. However, the work is a later type of music. objectivity, including in its structure the previous ones as “natural” and “raw” materials.

The dialectic of general and individual axiological. patterns of music. lawsuit. Societies. values ​​are formed in the interaction: 1) “real” (i.e., mediated activity) needs; 2) the activity itself, the poles of which are “the abstract expenditure of physical strength and individual creative labor”; 3) objectivity that embodies activity (K. Marx and F. Engels, Soch., vol. 23, pp. 46-61). In this case, any “real” need at the same time. turns out to be a need for the further development of societies. activity, and any true value is not only a response to this or that need, but also an imprint of the “essential forces of a person” (K. Marx). Aesthetic feature. values ​​- in the absence of utilitarian conditioning; what remains of the “real” need is only the moment of the active-creative unfolding of human forces, i.e., the need for disinterested activity. Muses. activity has historically been formed into a system that includes intonation patterns, professional norms of composition and principles for constructing an individually unique work, acting as an excess and violation of norms (intrinsically motivated). These stages become the levels of the structure of the muses. prod. Each level has its own value. Banal, “weathered” (B. V. Asafiev) intonations, if their presence is not due to individual art. concept, can devalue the most impeccable in terms of craftsmanship. But also claims to originality, breaking the internal. the logic of the composition, can also lead to the devaluation of the work.

Estimates are added up based on societies. criteria (generalized experience of satisfying needs) and individual, “invalid” (according to Marx, in thinking in the target form) needs. As societies. consciousness logically and epistemologically precedes the individual, and musical evaluative criteria precede a specific value judgment, forming its psychological. the basis is the emotional reaction of the listener and the critic. Historical types of value judgments about music corresponded to certain systems of criteria. Non-specialized value judgments about music were determined by practical. criteria common to music. lawsuits not only with other lawsuits, but also with other areas of society. life. In its pure form, this ancient type of assessments is presented in ancient, as well as in the Middle Ages. treatises. Specialized, craft-oriented musical evaluative judgments initially relied on the criteria for matching the muses. structures to the functions performed by the music. Later emerged art.-aesthetic. judgments about music. prod. were based on the criteria of unique perfection of technique and depth of art. image. This type of assessment also dominates in the 19th and 20th centuries. Around the 1950s in Western Europe music criticism as a special type put forward the so-called. historical judgments based on the criteria of novelty of technology. These judgments are considered as a symptom of the crisis of musical and aesthetic. consciousness.

In the history of E. м. it is possible to distinguish major stages, within which typological. the similarity of concepts is due either to the general forms of the existence of music, or the proximity of the social prerequisites of culture that give rise to similar philosophical teachings. To the first historical-typological. The group includes concepts that arose in the cultures of slave-owning and feudal formations, when the muses. activity was primarily due to applied functions, and applied activities (crafts) had an aesthetic. aspect. E. м. antiquity and the Middle Ages, reflecting the lack of independence of music and the lack of isolation of art from other spheres of practice. activities, she was not a department. sphere of thought and at the same time was limited to axiological (already ethical) and ontological (already cosmological) problems. The question of the influence of music on a person belongs to the axiological ones. Rising to Pythagoras in Dr. Greece, to Confucius in Dr. In China, the concept of healing through music is later reborn as a set of ideas about the ethos of music and muses. upbringing. Ethos was understood as the properties of the elements of music, similar to the spiritual and bodily qualities of a person (Iamblichus, Aristides Quintilian, al-Farabi, Boethius; Guido d’Arezzo, who gave very detailed ethical characteristics of medieval modes). With the concept of music. ethos is associated with a broad allegory that likens a person and a society of muses. instrument or sound system (in Dr. In China, the strata of society were compared with the tones of the scale, in the Arab. world 4 bodily functions of a person – with 4 lute strings, in other Russian. E. m., following the Byzantine authors, soul, mind, tongue and mouth – with a harp, a singer, a tambourine and strings). Ontologist. the aspect of this allegory, based on the understanding of the unchanging world order, was revealed in the idea, going back to Pythagoras, fixed by Boethius and developed in the late Middle Ages, of 3 consistent “music” – musica mundana (heavenly, world music), musica humana (human music, human harmony) and musica instrumentalis (sounding music, vocal and instrumental). To this cosmological proportions are added, firstly, natural philosophical parallels (in other Greek. E. м. ice intervals are compared with the distances between the planets, with 4 elements and main. geometric figures; in the Middle Ages. Arab. E. м. 4 basis the rhythms correspond to the signs of the Zodiac, the seasons, the phases of the moon, the cardinal points and the division of the day; in other whale. E. м. the tones of the scale – the seasons and the elements of the world), secondly, theological similitudes (Guido d’Arezzo compared the Old and New Testaments with heavenly and human music, the 4 Gospels with a four-line musical staff, etc.). P.). Cosmological definitions of music are associated with the doctrine of number as the basis of being, which arose in Europe in line with Pythagoreanism and in the Far East – in the circle of Confucianism. Here the numbers were understood not abstractly, but visually, being identified with the physical. elements and geometry. figures. Therefore, in any order (cosmic, human, sound) they saw a number. Plato, Augustine, and also Confucius defined music through number. In other Greek. In practice, these definitions were confirmed by experiments on instruments such as the monochord, which is why the term instrumentalis appeared in the name of real music earlier than the more general term sonora (y of Jacob of Liège). The numerical definition of music led to the primacy of the so-called. Mr. theorist. music (muz. science) over the “practical” (composition and performance), which was retained until the era of European. baroque. Another consequence of the numerical view of music (as one of the seven “free” sciences in the system of medieval education) was a very broad meaning of the term “music” itself (in some cases it meant the harmony of the universe, perfection in man and things, as well as philosophy, mathematics – the science of harmony and perfection), along with the lack of a common name for instr. and wok. playing music. At the same time, wok was rated higher.

Ethical-cosmological. synthesis influenced the formulation of epistemological. and historiological music problems. The first belongs to the doctrine of the muses developed by the Greeks. mimesis (representation by gestures, depiction by dance), which came from the tradition of priestly dances. Music, which occupied an intermediate place in the juxtaposition of the cosmos and man, turned out to be an image of both (Aristide Quintilian). The most ancient solution to the question of the origin of music reflected the practical. the dependence of music (primarily labor songs) on magic. a ritual aimed at ensuring good luck in war, hunting, etc. On this basis, in the West and East without beings. mutual influence, a type of legend was formed about the divine suggestion of music to a person, transmitted in a Christianized version as early as the 8th century. (Bede the Venerable). This legend is later metaphorically rethought in Europe. poetry (the Muses and Apollo “inspire” the singer), and in its place the motif of the invention of music by the sages is put forward. At the same time, the idea of ​​natures is expressed. origin of music (Democritus). In general, the E. m. of antiquity and the Middle Ages is a mythological-theoretical. synthesis, in which the general (representations of the cosmos and man) prevails both over the special (clarification of the specifics of the art as a whole), and over the individual (clarification of the specifics of music). The special and the individual are included in the general not dialectically, but as a quantitative component, which is consistent with the position of the muses. art-va, not yet separated from the practical-life sphere and not turned into independent ones. kind of art. mastery of reality.

The second historical type of music-aesthetic. concepts, the characteristic features of which finally took shape in the 17-18 centuries. in Zap. Europe, in Russia – in the 18th century, began to emerge in E. м. App. Europe in the 14th-16th centuries. Music became more independent, an external reflection of which was the appearance next to E. m., which acted as part of philosophical and religious views (Nicholas Orem, Erasmus of Rotterdam, Martin Luther, Cosimo Bartoli, etc.), E. m., focused on music-theoretical. questions. The consequence of the independent position of music in society was its anthropological. interpretation (as opposed to the former, cosmological). Axiologist. problems in the 14th-16th centuries. saturated hedonistic. accents Emphasizing applied (ie. e., first of all, the cult) role of music (Adam Fulda, Luther, Zarlino), the theorists of Ars nova and the Renaissance also recognized the entertaining value of music (Marketto of Padua, Tinctoris, Salinas, Cosimo Bartoli, Lorenzo Valla, Glarean, Castiglione). A certain reorientation took place in the field of ontology. problems. Although the motives of the “three musics”, the number and the primacy of “theoretical music” associated with it remained stable until the 18th century, nevertheless, the roll towards “practical. music” prompted the consideration of its own. ontology (instead of its interpretation as part of the universe), i.e. e. its inherent specifics. ways of being. The first attempts in this direction were made by Tinctoris, who distinguished between recorded music and improvised music. The same ideas can be found in the treatise of Nikolai Listenia (1533), where “musica practica” (performance) and “musica poetica” are separated, and even after the death of the author exists as a complete and absolute work. Thus, the existence of music was theoretically anticipated in the form of complete author’s works, recorded in the text. At 16 in. epistemological stand out. problem E. m., associated with the emerging doctrine of affects (Tsarlino). At the scientific the soil gradually became and historiological. problem E. m., which was associated with the emergence of historical. consciousness of the musicians who came into contact in the era of Ars nova with a sharp renewal of the forms of muses. practice. The origin of music is becoming more and more natural. explanation (according to Zarlino, music comes from a refined need for communication). In the 14-16 centuries. the problem of continuity and renewal of the composition is put forward. In the 17-18 centuries. these themes and ideas of E. м. received a new philosophical basis, formed by rationalistic and educational concepts. Gnoseological comes to the fore. problems – the doctrine of the imitative nature and affective action of music. Sh. Batcho declared imitation to be the essence of all arts. G. G. Rousseau connected the music. imitation with rhythm, which is similar to the rhythm of human movements and speech. R. Descartes discovered the causal-deterministic reactions of a person to stimuli of the external world, which music imitates, producing the corresponding affect. In E. м. the same problems were developed with a normative bias. The purpose of the composer’s invention is the excitation of affects (Spies, Kircher). TO. Monteverdi assigned compositional styles to groups of affects; AND. Walter, J. Bononcini, I. Mattheson associated certain means of composer writing with each of the affects. Special affective demands were placed on performance (Quantz, Mersenne). The transmission of affects, according to Kircher, was not limited to handicraft work, but was magical. process (in particular, Monteverdi also studied magic), which was understood rationally: there is “sympathy” between a person and music, and it can be reasonably controlled. In this representation, relics of comparison can be traced: space – man – music. In general, E. m., which took shape in the 14th-18th centuries, interpreted music as an aspect of a special – “graceful” (i.e., e. artistic) image of “human nature” and did not insist on the specifics of music in comparison with other. claim by you. However, this was a step forward from E. м.

Revolution. turmoil con. 18 in. led to the emergence of a set of muz.-aesthetic. the concept of the third type, which still exists in a modified form within the bourgeois. ideology. Composer E. м. (from G. Berlioz and R. Schuman to A. Schoenberg and K. Stockhausen). At the same time, there is a distribution of problems and methodology that is not characteristic of previous eras: the philosophical E. м. does not operate with specific musical material; conclusions of musicological E. м. become an aspect of the theoretical classification of musical phenomena; composer E. м. close to music. criticism. Abrupt changes in music. practice were internally reflected in E. м. bringing to the fore the historical and sociological., as well as, in beings. rethinking, epistemological. problems. On the epistemologist. the ground is placed on the old ontological. the problem of similarity of music to the universe. Music acts as an “equation of the world as a whole” (Novalis), since it is capable of absorbing any content (Hegel). Considering music “epistemological.” analogue of nature, it is made the key to understanding other arts (G. von Kleist, F. Schlegel), e.g. architecture (Schelling). Schopenhauer takes this idea to the limit: all the claims are on one side, music on the other; it is the likeness of the “creative will” itself. In musicological E. м. X. Riemann applied Schopenhauer’s conclusion to the theoretical. systematization of composition elements. In a horse. 19th-20th centuries onto-epistemologist. the assimilation of music to the world degenerates. On the one hand, music is perceived as a key not only to other arts and culture, but also as a key to understanding civilization as a whole (Nietzsche, later S. George, O. Spengler). Happy Birthday. On the other hand, music is considered the medium of philosophy (R. Casner, S. Kierkegaard, E. Bloch, T. Adorno). The reverse side of the “musicalization” of the philosophical and culturological. thinking turns out to be the “philosophization” of composer creativity (R. Wagner), leading in its extreme manifestations to the preponderance of the concept of the composition and its commentary over the composition itself (K. Stockhausen), to changes in the sphere of music. a form that gravitates more and more towards non-differentiation, that is, Mr. open, unfinished structures. This made me re-establish the ontological the problem of objective modes of existence of music. The concept of “layers of the work”, characteristic of the 1st floor. 20 in. (G. Schenker, N. Hartmann, R. Ingarden), give way to the interpretation of the concept of product. as a overcome concept of the classic. and romantic. compositions (E. Karkoshka, T. Knife). Thus, the entire ontological problem E. м. is declared overcome on the modern. stage (K. Dalhousie). Tradition. axiologist. problem in E. м. 19 in. also developed with epistemological. positions. The question of beauty in music was decided mainly in line with the Hegelian comparison of form and content. The beautiful was seen in accordance with form and content (A. AT. Ambrose, A. Kullak, R. Vallašek et al.). Correspondence was a criterion for the qualitative difference between an individual composition and handicraft or epigonism. In the 20th century, starting with the works of G. Shenker and X. Mersman (20-30s), artist. the value of music is determined through a comparison of the original and the trivial, the differentiation and underdevelopment of compositional technique (N. Gartman, T. Adorno, K. Dahlhaus, W. Viora, X. G. Eggebrecht and others). Special attention is paid to the influence on the value of music of the means of its distribution, in particular broadcasting (E. Doflein), the process of “averaging” the quality of music in modern “mass culture” (T. Adorno, K.

Actually epistemological. problems in con. 18th century influenced by the experience of offline music perception has been rethought. The content of music, freed from applied use and subordination to the word, becomes a special problem. According to Hegel, music “comprehends the heart and soul as a simple concentrated center of the whole person” (“Aesthetics”, 1835). In musicological E. m., the Hegelian propositions are joined by the so-called “emotional” theory of affects (K. F. D. Schubart and F. E. Bach). aesthetics of feeling or aesthetics of expressiveness, which expects music to express feelings (understood in a concrete biographical connection) of a composer or performer (W. G. Wackenroder, K. F. Solger, K. G. Weisse, K. L. Seidel, G. Shilling). This is how the theoretical illusion about the identity of life and muses. experiences, and on this basis – the identity of the composer and the listener, taken as “simple hearts” (Hegel). The opposition concept was put forward by X. G. Negeli, who took as a basis the thesis of I. Kant about the beautiful in music as a “form of the play of sensations”. The decisive influence on the formation of musical and aesthetic. Formalism was provided by E. Hanslik (“On the Musically Beautiful”, 1854), who saw the content of music in “moving sound forms”. His followers are R. Zimmerman, O. Gostinskiy and others. Confrontation of emotionalistic and formalistic concepts of muses. content is also characteristic of modern. bourgeois E. m. The first were reborn in the so-called. psychological hermeneutics (G. Krechmar, A. Wellek) – the theory and practice of verbal interpretation of music (with the help of poetic metaphors and the designation of emotions); the second – into structural analysis with its branches (A. Halm, I. Bengtsson, K. Hubig). In the 1970s a “mimetic” concept of the meaning of music arises, based on the analogy of music and pantomime: pantomime is “a word that has gone into silence”; music is a pantomime that has gone into sound (R. Bitner).

In the 19th century historiological The problematics of E. m. was enriched by the recognition of patterns in the history of music. Hegel’s doctrine of the epochs of the development of art (symbolic, classical, romantic) from plastic to music. art-vu, from “the image to the pure I of this image” (“Jena Real Philosophy”, 1805) substantiates the historically natural acquisition (and in the future – loss) of its true “substance” by music. Following Hegel, E. T. A. Hoffmann distinguished between “plastic” (i.e., visual-affective) and “musical” as 2 poles of the historical. development of music: “plastic” dominates in the pre-romantic, and “musical” – in the romantic. music claim-ve. In musicological E. m. con. 19th century ideas about the regular nature of music. stories were subsumed under the concept of “philosophy of life”, and on this basis the concept of the history of music arose as the “organic” growth and decline of styles (G. Adler). In the 1st floor. 20th century this concept is developed, in particular, by H. Mersman. In the 2nd floor. 20th century it is reborn into the concept of the “categorical form” of the history of music (L. Dorner) – an ideal principle, the implementation of which is the “organic” course of music. history, and a number of authors consider modern. music stage. history as the scrapping of this form and “the end of music in Europe. sense of the word” (K. Dahlhaus, H. G. Eggebrecht, T. Kneif).

In the 19th century first began to be developed sociological. problems of E. m., which initially affected the relationship between the composer and the listener. Later, the problem of the social basis of the history of music is put forward. A. V. Ambros, who wrote about the “collectivity” of the Middle Ages and the “individuality” of the Renaissance, was the first to apply sociological. category (type of personality) in the historiographic. music research. In contrast to Ambros, H. Riemann and later J. Gandshin developed an “immanent” historiography of music. In the bourgeois E. m. 2nd floor. 20th century attempts to combine two opposing positions come down to a construction of two “not always connected layers of the history of music – social and compositional-technical” (Dahlhaus). In general, in the 19th century, especially in the works of representatives of the German. classical philosophy, acquired the completeness of the problems of E. m. and focus on clarifying the specifics of music. At the same time, the dialectical connection of the laws of music. mastering reality with the laws of art. spheres as a whole and the general laws of social practice either remain outside the field of vision of bourgeois economics or are realized on an idealistic plane.

All R. 19 in. elements of musical aesthetics are born. concepts of a new type, in a swarm thanks to the dialectical and historical materialistic. the foundation had the opportunity to realize the dialectic of the general, the special and the individual in music. claim-ve and at the same time. combine the philosophical, musicological and composer branches of E. м. The foundations of this concept, in which the determining factor has become historiological. and sociologist. problems laid down by Marx, who revealed the significance of the objective practice of a person for the formation of aesthetic, incl. h and music, feelings. Art is considered as one of the ways of sensual assertion by a person in the surrounding reality, and the specificity of each claim is considered as a peculiarity of such self-assertion. “An object is perceived differently by the eye than by the ear; and the object of the eye is different from that of the ear. The peculiarity of each essential force is precisely its peculiar essence, and, consequently, the peculiar way of its objectification, its object-real, living being” (Marx K. and Engels F., From early works, M., 1956, p. 128-129). An approach to the dialectics of the general (objective practice of a person), special (sensual self-affirmation of a person in the world) and separate (originality of the “object of the ear”) was found. Harmony between creativity and perception, the composer and the listener is considered by Marx as the result of historical. development of society, in which people and the products of their labor constantly interact. “Therefore, from the subjective side: only music awakens the musical feeling of a person; for a non-musical ear, the most beautiful music is meaningless, it is not an object for him, because my object can only be the affirmation of one of my essential forces, it can exist for me only in the way that the essential force exists for me as a subjective ability … ” (ibid., p. 129). Music as the objectification of one of the essential forces of man is dependent on the entire process of societies. practice. The perception of music by an individual depends on how adequately the development of his personal abilities corresponds to the wealth of societies. forces imprinted in music (etc. products of material and spiritual production). The problem of harmony between composer and listener was given by Marx in the Revolution. aspect, fitting into the theory and practice of building a society, in which “the free development of each is a condition for the free development of all.” The doctrine developed by Marx and Engels about history as a change in the modes of production was assimilated in Marxist musicology. In 20-ies. A. AT. Lunacharsky, in the 30-40s. X. Eisler, B. AT. Asafiev used the methods of historical. materialism in the field of music. historiology. If Marx owns the development of historiological and sociologist. problems E. м. in general terms, then in the works of Rus. revolution. democrats, in the speeches of prominent Russian. ice critics ser. and 2nd floor. 19 in. the foundations were laid for the development of certain specific aspects of this problem, related to the concepts of the nationality of the art, the class conditionality of the ideals of beauty, etc. AT. AND. Lenin substantiated the categories of nationality and partisanship of claims and developed the problems of the national and international in culture, to-rye were widely developed in owls. ice aesthetics and in the works of scientists from socialist countries. commonwealth. Art questions. epistemology and music. ontologies are reflected in the works of V. AND. Lenin. The artist is an exponent of the social psychology of society and class, therefore the very contradictions of his work, which make up his identity, reflect social contradictions, even when the latter are not depicted in the form of plot situations (Lenin V. I., Poln. Sobr. op., vol. 20, p. 40). Music problems. content on the basis of the Leninist theory of reflection were developed by owls. researchers and theorists from the socialist countries. community, taking into account the concept of the relationship between realism and the ideological nature of creativity, set out in the letters of F. Engels in the 1880s, and based on realistic. Russian aesthetics. revolution. Democrats and progressive arts. critics ser. and 2nd floor. 19 in. As one of the aspects of epistemological problems E. м. the theory of music is developed in detail. method and style associated with the theory of realism and socialist. realism in music claim-ve. In the notes of V. AND. Lenin, relating to 1914-15, put on the dialectical-materialistic. ontological soil. correlation of the laws of music and the universe. Outlining Hegel’s Lectures on the History of Philosophy, Lenin emphasized the unity of the specific. the laws of development operating in music, with the universal laws of the development of nature and the special laws of societies.

The beginning of the development of axiological problems of the new E. m. In Letters without an Address, Plekhanov, in accordance with his conception of beauty as a “removed” utility, explained the feeling of consonance and rhythmic. correctness, characteristic already for the first steps of the muses. activities, as a “removed” expediency of collective labor acts. The problem of the value of music was also posed by BV Asafiev in his theory of intonation. Society selects intonations corresponding to its socio-psychological. tone. However, intonations may lose their relevance for societies. consciousness, move to the level of psychophysiology, stimuli, being in this case the basis of entertainment, not inspired by the high ideological muses. creativity. interest in axiological problems of E. m. is again found in the 1960s and 70s. In the 40-50s. owls. scientists began to study the history of the fatherlands. music criticism and its music-aesthetic. aspects. In the 50-70s. in a special branch stood out research on the history of zarub. E. m.

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T. V. Cherednychenko