Abstract

The article discusses a methodological position that allows interpreting modes and, fist of all, musical modes as cosmographic and ethical objects without losing the approach to them as musical phenomena proper. The study is based on musical theoretical data relating to the period of Classical antiquity and the Middle Ages, as well as on the author's concept of modal ontology and the interpretation of modus as artistic content, developed by E.V. Nazaikinsky. In order to reveal the ontological prerequisites for the unity of the musical modus with a cosmographic or ethical phenomenon, the author analyzes the ancient Chinese system of tones lü, Indian ragas, ancient tetrachords, the voices of the Russian Orthodox znamenny chant. The features of the correspondence of these musical phenomena to the periods of the year or day, elements, archetypal states of the human spirit, social laws are revealed. In the course of the analysis, the question is formulated about the nature of the connection between musical modes and non-musical reality: was it exclusively conventional, established by virtue of tradition, or did it have other, essential reasons? The search for unconventional foundations of the unity of musical modes with natural and socio-ethical phenomena leads to its ontological interpretation. The relevance of this research method is argued in the process of critical analysis of the semiotic approach to musical modes as references or conventional signs of objects. It also demonstrates the unproductiveness of the psychoemotional interpretation of musical modes as stimuli that cause certain emotional states. The result of the research is the development of a specific musical-ontological approach based on the methodology of modal analysis. This analysis aims at a syncretic understanding of unity. In the light of this approach, it was concluded that the concept of musical modus not only clarifies the rhythmic and harmonic laws of the musical language, but also embodies the interconnection of the phenomena of music, human spirit, nature, and space.

Highlights

  • In order to reveal the ontological prerequisites for the unity of the musical modus with a cosmographic or ethical phenomenon, the author analyzes the ancient Chinese system of tones lü, Indian ragas, ancient tetrachords, the voices of the Russian Orthodox znamenny chant

  • In the course of the analysis, the question is formulated about the nature of the connection between musical modes and non-musical reality: was it exclusively conventional, established by virtue of tradition, or did it have other, essential reasons? The search for unconventional founda

  • Музыка и человек tions of the unity of musical modes with natural and socio-ethical phenomena leads to its ontological interpretation

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Summary

Introduction

Музыка и человек tions of the unity of musical modes with natural and socio-ethical phenomena leads to its ontological interpretation. Ввиду изложенного понятие музыкального модуса представляет исследовательский интерес не только для теоретиков и историков музыки, но и для философов, что связано с многогранностью этого художественного явления. В статье нами предложена трактовка музыкального модуса как точки пересечения ладового и этико-космографического измерений музыки.

Results
Conclusion

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