Metaphysics of the History of Music in the Scientific Area: Challenges of the Time

Abstract

The relevance of the article is determined by the desire to consider the understanding of the scientific discipline “The History of Music” in its metaphysical dimension. “Metaphysics of the History of Music” appears as a modern discipline that opens new layers of meaning. It deals with problems that combine the musical art with philosophy, anthropology, culturology, aesthetics, but its foundation is determined by the musicological view on the musical artifacts.
 Scientific novelty. For the first time, the principles of Aristotle's teaching appear as the methodological foundation of the new discipline “Metaphysics of the History of Music”. This allows us to consider the history of music as a special way of understanding existence. The intersections of synchronous and diachronic parameters of understanding musical texts open new horizons of awareness of his “I” to the man of the 21st century.
 The purpose of the article is to substantiate the essential characteristics of the metaphysics of the history of music as a new scientific discipline and to determine the peculiarities of the implementation of synchronous and diachronic dimensions of musical texts in a given problem field.
 The research methodology includes the use of metaphysical, historical, comparative methods.
 Main results and conclusions. The history of music gives man endless opportunities to ask himself about the essential principles of existence, so at the present stage he is looking for ways in a new direction, which could be called “Metaphysics of the History of Music”.
 “Metaphysics of the History of Music” establishes the connection of phenomena each time in a new way, which reveals incomprehensible (to the superficial view of) the laws of the musicaltemporal spiral. Then each fact doesn’t remain a part of the information “herbarium” but is clarified by a living perception of “here and now”.
 Due to this context, it is necessary to emphasize that the main factor in making such connection is the live reproduction of all possible combinations. The history of music must unfold in such way as to enable modern man not only to feel the true “taste” of musical events, but also to illuminate them by itself, that is, to create an act that M. Mamardashvili calls the “fullness of interaction”.
 Such direction of everyone's spiritual efforts corresponds to the acute challenges of the time. It defines a new position of a human being at the intersection of what is fixed in the narrative about what has “already happened” and what is unfolding through the meanings of the “here and now”. So, it’s established when nothing exists in the automatic mode of perception. In a model of linear coupling that is fundamentally not amenable to horizontal configuration, it is important to have a vertical dimension, which creates Homo Metafisicus as a person who asks essential questions.