PHENOMENOLOGICAL IN MUSIC: ONTOLOGICAL ASPECT

Abstract

The phenomenological in music is considered, its semantic and essential configurations are determined. The phenomenological is interpreted as something that expresses the highest level of existence of phenomena, opposite to the physical and refers to the astral, mental, and spiritual planes. At the same time, it is emphasized that the existence of music determines both the phenomenological and the physical principle. In the latter case, we mean music in which the level of imagery and artistic generalization do not go beyond (conditionally) ordinary human experiences. The binary structure of the musical work is substantiated – the ratio of phenomenological and physical planes. It is noted that the semantic and essential essence of one of the specified plans and the semantic aspect of a certain image, actualized in the creative process, are translated to the created musical work and endow it with the same characteristics. It is stated: a) phenomenological implies the integrity of phenomena in their semantic, species, essential given; b) a musical piece and making music involve a dialogue between the semantic integrity formed on the astral, mental or spiritual plane and actualized one of its semantic aspects. A person perceives the first and second due to the presence of the corresponding bodies (planes of being) in him. Regardless of whether musical works belong to a certain era, periods of cultural development, or the level of development of the composer’s consciousness, the phenomenological sphere is always present in musical works. Emphasis is placed on the semantic gradation of the phenomenological, which can be determined on the basis of various principles. Four generalized types of musical works (music) are proposed, the content of which determines the strengthening or weakening of the phenomenological and physical nature in them: 1) the dominance of the phenomenological, the specific weight of the physical is insignificant, recedes into the distant background; 2) the dominance of the physical, the specific weight of the phenomenological is insignificant, recedes into the distant background; 3) strengthening of the phenomenological, physical to a certain extent retains its features; 4) strengthening of the physical, phenomenological to a certain extent retains its features. Attention is drawn to the need to take into account positive and negative aspects of its image palette in the analysis of music.