Sacred foundations of A. Scriabin's fret system in relation to O. Messian's modality

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The purpose of the article is to understand the archetypal root of the whole-tone constructions of Fret structures of A. Scriabin and A. Messian in reflecting the detachment from the harmonic system that is relevant for the twentieth century in favor of a linear-melodic approach, determined by the archaic structures of the Indo-Iranian melodic basis. The methodology of the research is a cultural and historical concept in the traditions of A. Losev, in which certain means of expressing art are tested by the cultural genesis and cultural ideas of the time. We use analytical, comparative-historical, and genre-nominative musicological approaches based on aesthetic, cultural, and philosophical positions. The hermeneutical lines of the intonation approach in musicology in the traditions of B. Asafyev and B. Yavorsky in Ukraine, which are in contact with the verbal-centrist approach to music in the French tradition and are clearly expressed by J.-J. Rousseau and his followers of the level of Y. Kristeva, are also important for the work. The scientific novelty is determined by the primacy of the author of the study in the statement of the origins of the sacred determination of Fret thinking and O. Scriabin, and O. Messian in the cultural incentives of Indo-Iranian archaism. This stimulated "scythism" in the Slavic art world of the early twentieth century and Celtic-eastern references to the developments of C. Debussy, determining the Indo-philosophical orientation of Fr. Messian's franciscanism. Conclusions. Cultural and social sources of interval-fret constructions by A. Scriabin and A. Messian point in both cases to the Iranian-Indian basis of European archaism, which in the French composer finds a frank bias towards Hindu-philosophical and rhythmic borrowing. IN O. Scriabin paradoxically closes the search for Scythian-Iranian roots of archaic semantic positions, multi-vector discussed in the circles of Russian Futurists (led by N. Kulbin) and Polish Symbolists. The semitone-whole-tone melodic basis, which encourages support for the quart in A. Scriabin and K. Debussy, fueled the discovery of a new modality of A. Messian, which established in the vanguard of the second wave Scriabin's "nerve" as a mysterious and liturgical interpretation of the musical expression in "Light" by K. Stockhausen, the memorial symbolism of L. Nono and absurdist abstractionism of the works of P. Boulez, others.