Мифологема ужаса в структуре музыкального времени

Abstract

The topic of the article is music and time. But the problem posed is not limited to musical time. Music is associated with the Dionysian principle (as a cultural and historical archetype). Time is understood as the highest existential characteristic of being . The question, therefore, is: how can the fullness of being be expressed and what role can music play in this process, understood in the ultimate mythological-symbolic sense? The material presented in the article is significantly transformed by a side topic – the one of existential horror. The theoretical plot of the work in this case looks like this: horror (fear) is a state that reveals itself to a person facing the fullness of existence in the world, all of time, including the past (what has happened), the future (the possible, the fate of things being ) and the present (reality, disappearing in the rush of moments); Dionysian art is able to tame universal, cosmic horror and transform it into a kind of delight in falling into the abyss of existence; time carries within itself the key to the cognizing power of art and, above all, music – a temporary art that goes beyond visual images and verbal semantics. The structure of time coincides with the temporal scheme of modality (Kant), implemented in music as a procedural phenomenon. Time has colossal negative energy, erasing all certainty and stability. It is precisely this that explains the presence of existential horror in great musical creations. The article also touches on the issues of the antithetics of horror, the nature of the cleansing (cathartic) delight that accompanies the experience of beauty, and the presence of existential boundaries in the temporal dimension of the future (all of this also relates to the phenomenology of horror).