Aesthetic Sphere Research Articles

Clinical and morphological specifics, pathogenetic ways of skin manifestations in SARS-CoV-2 infection

To date, the most studied clinical and morphological changes characteristic of SARS-CoV-2 virus are its pulmonary manifestations and cardiovascular involvement. However, the evaluation of COVID-associated skin changes and the analysis of their mechanisms are also important for us, because the skin manifestations of the infection can change the patient's appearance for the worse, i.e. affect the aesthetic sphere and significantly reduce the quality of life. The study of not only skin manifestations of COVID-19, but also their morphological substrate and pathogenetic basis allows us to apply the most effective methods of treatment and provide adequate management of patients even in the post-coital status. According to the information collected to date, the most frequently reported skin manifestations of SARS-CoV-2 are pseudo-frostbite, maculopapular and vesicular lesions, urticaria, lividoid and necrotic lesions, hemorrhagic purpura (vasculitis), and conditions from the group of other unclassified skin lesions. Despite the variety of clinical variants of SARS-CoV-2-associated skin changes, morphological stigmas are often stencil-like: these are areas of lymphohistiocytic infiltration of perivascular localization, the presence of fibrinoid necrosis foci in the vessel walls, the formation of occlusive thrombi, erythrocyte extravasation. Mechanisms of damage to epidermis and dermis within COVID-19 infection may be due to the influence of complement components, activation of cytotoxic lymphocytes and NK-cells, excessive synthesis of proinflammatory cytokines, in particular, interleukin 6, as well as interferons, hyperergic reactions. In addition to routine morphological, immunohistochemical examination of skin biopsy specimens from patients with different forms of skin manifestations of SARS-CoV-2 infection is an important tool in the diagnostic confirmation of COVID-associated dermatologic pathology, especially in patients with a suspected history of this disease or with problematic laboratory results.

Kierkegaard, Social Media, and Despair

ABSTRACTThis essay offers a Kierkegaardian analysis of and response to the harmful effects of destabilization that can be caused by engaging with certain technological media. It argues that the intellectual technological ethic that is at work in social media platforms reflects two types of despair discussed in Søren Kierkegaard's Sickness Unto Death. It advises using a Kierkegaard‐inspired Socratic rhetorical strategy of communication that ironically employs technology for depicting this despair and awakening individuals to its presence in their lives. Moreover, this essay suggests that the edifying themes of “misery” and “guilt” can be communicated indirectly and thereby offer one intervention that could possibly help the current technological age move from the immediate aesthetic sphere of existence to the religious sphere. Considering the important role of upbuilding in Kierkegaard's oeuvre, the final portion explores how even someone who does not identify with a religious tradition or community may encounter what Kierkegaard terms the paradox of the eternal in time in ways that foster the development of authentic selfhood.

Objective form: the brief story of a critical struggle

Amidst debates in the sixties regarding late modernisation in peripheral countries, Roberto Schwarz came to define objective form (1991) as a construct that provides the rhythmic and invisible links between the social-historical domain and the aesthetic. It consists, said Schwarz, of a form comprising ‘a practical and historical substance’ acting also as the ‘social core of the art form’ (1997). By connecting the preexistent social experience to the aesthetically built form, the objective form works as a social contract legitimating the aesthetic form. Socially and historically ordered by a collective and impersonal subject, such construct distinguishes itself from postmodern eclecticism disconnected from the historical process. The objective form offers critical intelligibility before the historical-social matter, but only if taken as a form that is intrinsic to the aesthetic sphere. Thus, the problem of the aesthetic condensation of the social rhythms is therefore concretely and ceaselessly reoccurring—in production and reception—whenever necessary to retrace the reciprocal links between social-historical and artistic forms. Accordingly, the exercise of aesthetic intuition and the critical act in the infighting with the art materials are required to synthesise the structures of the social-historical matter—otherwise inapprehensible in the intrinsic connections to the perception and reflexion about the historical objectivity and dynamics. There are things that only in art emerge and make it an indispensable tool for dialectical historical reflexion. In this sense, this paper will revisit some critical responses that Brazilian art (Antonio Dias, Amilcar de Castro, Mendes da Rocha) gave to the civil-military coup of 1964 and to the late accelerated economic modernisation that ensued. And finally, it will also revisit the contemporary installation Big Wheel (2019, Carmela Gross)—a negative architectural construct that totalised Brazil’s tragic moment with rare clarity and epic poignancy.

Discussions on the social role of political lyrics and "tendentious" poetry in German literary criticism of the Pre-Mart era

The article is devoted to the discussion by the German literary community of the 1830s – 1840s of the artistic and social role of political lyrics. The work seeks to present the diverse opinions of prominent publicists, literary theorists and writers of the era, such as Ludwig Berne, Heinrich Heine, Robert Eduard Prutz. The author shares the well-established idea in German historiography that the literary and critical discussion of the Pre-March era gives a more complete picture of the genesis of the political consciousness of the Germans and the socio-political processes that took place in Germany. The author's attention is focused on the discussion concerning the aesthetic and ideological-political ideas of the literary community about the place of poetry in the space of culture, its functions and the claims of writers to direct participation in political life. The methodological basis of this work is the theoretical achievements of the scientific research areas of the "history of concepts" and intellectual history. The central idea of the article is the assumption that the time of the sharp politicization of German artistic culture in the 1830s and 1840s coincided with the revision of the previous principles of artistic creativity, accelerated it and at the same time complicated it, giving both processes a more conflictual and nonlinear character, fixing and exposing the absence among German authors of liberal democratic views that stood at the forefront of literary theory, general, clearly formulated aesthetic guidelines. In these decades, new principles have been approved in the evaluation of literary works affecting socio-political issues. There is a legitimization of political poetry at the theoretical level, but the contradiction between the spheres of politics and aesthetics is not completely removed. And literary discussions are gradually moving out of the artistic and aesthetic sphere into the sphere of practical politics: moderate liberal views collide with democratic radicalism, national patriotic ideas enter into a polemic with cosmopolitan ones.

Музыкальное искусство России начала ХХ века: Антитезы

The essay examines the transition from the Classical era to the Modern (the turn and the beginning of the XX century, 1890s-1920s) in Russian musical art. It is noted that for this period, the key driving contradiction was embodied in the opposition “the old world – the new world”, based on the dialogue of the ending and the ascending era. The paper gives a brief description of the trends inherent in the Russian musical art of the Classical era, its final phase, which received various expressions (this was reflected in such antitheses as “degradation, degeneracy – the great petrification”, “the golden sunset – the black twilight”). Special attention is paid to the phenomena of the emerging era, i.e., the Modern. As a result, the author comes to the conclusion that the prevailing trend in the formation of the new world, in addition to the retention and consistent development of established norms, turned out to be a cardinal renewal of the entire system of life views, including the artistic and aesthetic sphere: as for musical technology, qualities such as rigidity, contradiction were put forward; within the framework of semantic aspects, fullness of strength and increased vitality, as well as an optimistic mood were manifested, which would be later associated with the elaboration of heroic imagery and the development of revolutionary heroics.

A Study on the ‘Philosophy of Decoration’ in the Seljuk Period (5th to 6th Centuries CE) Emphasizing the Dome of ‘Taj Al- Molk’ of the Isfahan Grand Mosque

The Seljuk period (5th–6th Centuries CE) is one of the most important historical periods of Islamic Iran in various arts formed and developed in accordance with Islamic beliefs. Bricklaying decoration is one of the most valuable types of Persian Architectural decorations, and The Seljuk period is the era of extraordinary development and progress of this art and the ‘Taj Al-Molk’ Dome of the Isfahan Grand Mosque is known as its masterpiece. In fact, the flourishing of bricklaying decoration and its relationship to Seljuk’s cultural and religious beliefs in the sphere of aesthetics is the subject of this article. Historical, descriptive-analytical methods have been used to investigate historical documents and field observation. The result shows the cultural aspects that affect the artists’ extraordinary use of decorating elements in Seljuk architecture. A confirmation of a ‘Philosophy of Decoration’ based on a common language in the aesthetic perception of pure Islamic-Iranian art as could see in ‘Taj Al-Molk’ Dome with the usage of highly evolved decorative elements such as Bricklaying tiles, Geometric patterns, and Kufic scripts. Muslim artists used decoration as a decisive role in connecting the material world (physical world) to the world of ideas in order to express their thoughts and mystical and religious ideals. With the help of elements such as rhythm, coordination, harmony, balance, etc., they realize their philosophical principles in action and create a new philosophy that transforms the material into a visualization of unity in multiplicity, as a major ideal of the “Philosophy of decoration”. A manifestation of the attributes of the Only God, who shaped the world being, as the Source of beauty.

Features of Vocal and Choral Training of Future Music Teachers

The article reveals the peculiarities of vocal and choral training of future music teachers. The current stage of modernization of higher education in Ukraine, which is connected with the integration of our country into the European educational space, actualizes the problem of the quality of professional training of future music teachers. Vocal and choral activity is one of the most important activities of a future teacher-musician, and the training of highly qualified specialists in this field is one of the priority directions of art education. A promising direction of vocal and choral training of future specialists in the field of musical art during higher education is the arrangement of a certain sequence of teaching professional disciplines and its complex integrity, which includes the disciplines of the cycle of choral conducting, methods of teaching choral conducting, disciplines of choral studies, choral class, practical work with the choir, choral arrangement and reading of choral scores, voice production, vocal teaching methods, practical assimilation of school repertoire, etc. A feature of vocal and choral training of students of higher education institutions of artistic direction is the presence of basic structural components in it, which include conducting and choral and vocal and performing components. The conducting and choral component prepares students for the activities of a leader of a student choir, capable of organizing and implementing work on choral works at an appropriate methodical level, and capable of creating choral groups for children of various age groups in institutions of general secondary and extra-curricular education. in the workshops of which students will be able to form and develop their own aesthetic sphere, enrich their internal culture, master the values of vocal and choral art, develop their musical, singing, and artistic abilities. The vocal-executive component prepares students for the demonstration of vocal, vocal-choral works and their fragments during vocal-choral work in educational institutions, and without it, the full functioning of the conducting-choral component is impossible. Independent work of students is also an important component of the professional training of future specialists in the field of musical art.

ИСКУССТВОВЕДЧЕСКОЕ САМООПРЕДЕЛЕНИЕ РУССКИХ ФИЛОЛОГОВ-ФОРМАЛИСТОВ

The article considers the limits of self-definition of Russian formalist philologists as art researchers. It is demonstrated that formalism was in a state of double crisis: the crisis of ambitions of symbolism and the crisis of positivist art criticism. The crisis of symbolism forced the formalists to look for a new positivist code to substantiate their work, while the crisis of positivism itself required the use of particular aesthetic narratives. The era of general aesthetics came, which evolved from a project in the vein of B. Croce into a shared self-definition of art as probing the gap between the possible and the actual. Formalism, with its pathos of the reality of the word, could not entirely renounce the domain of the possible, which was conceptualized as the core aesthetic sphere, including the production of personal reactions to what was happening. Only the contextualization of formalism within the linguistic turn, drawing on the ideas of Bakhtin and Gadamer, allows us to realize the input of the movement not only to the methods of certain humanities, but also to the specification of art in the 20th century.

Two Samples of Queer Ecology in Romanian Contemporary Literature. From Silenced Witness to Redeemer

This paper will analyse the intersection between two components (queer and ecological) by reviewing two texts, both describing themselves as “ecological queer,” therefore, settling a new paradigm in Romanian literature, aiming beyond the aesthetic sphere. The examples are Copiii ecosistemului (The Children of the Ecosystem) by Ilinca Mănescu and the anthology Luminișuri (Glades), published under Cenaclul X. The main stake of the thesis is to identify and detail the similarities between the two ideologies, as a new phenomenon in Romanian literature and anthropology (as these critical lenses have been used before in world literature). A central convergence comes as a result of capitalism and colonialism, expanding the violence in human and non-human forms. To simplify, the queer community and nature are victims of the same system, which explains the constellation between the two. The interdisciplinary conjunction “ecoqueer” stands against heteronormativity and embraces the diversity of nature, and this article will focus on its development in the Romanian literary space, through the two examples, concerning both poetry and prose. Furthermore, this literary form has been exported from the West to the East-Central European periphery, highlighting Romanian literature’s status as a semi-peripheral literature, but on the other hand benefiting from this import and broadening the progressive ideology in the cultural space.

Encyclopedia of Relations: Observing through Embodiment and Movement Research

The present paper proposes a (post- and) eco-critical reading of Alexandra Pirici’s ongoing action, Encyclopedia of Relations, staged at the Venice Biennale in 2022. While it addresses a considerable gap within Romanian performance art studies, this article aims to offer a case study of how artistic practice can generate alternative modes of being together. With no doubt, as Rosi Braidotti stated at the Biennale conference, the art exhibited at the 2022 edition works collaboratively with theory to become an imaginative tool of research. Following this lead, the article discusses Pirici’s performative work that takes the task of exploring non-human relational modes through cognitive embodiment. This approach underlines how performance art practices move beyond the aesthetic sphere, projecting solutions to emerging environmental crises and offering a fresh perspective on knowledge production.

"[Co]existence as Intersensoriality in the Symphonies of Havasi Balázs "

"We often wonder about piano music. And we're not just wondering because it fascinates us, but because it forces us to ask questions about life and the hidden senses of the sounds. For several times the music fills our lives. But how does it fill it? Many times a poem written by William Sharp or by Michael Shewmaker is a question for me as a philosopher. Furthermore, a composed song for piano by Havasi Balázs, makes us think a lot about a poem, or about anything which fascinates our mind. But despite the mind, there are many perceptions which work together to have a right judgement on the perception of the music. If we want to find how the music fulfills our lives with significances, we have to bring a phenomenological method in understanding these meanings. The phenomenology has an unique answer, because it finds out to answer to how the things (these phenomenological objects) are becoming. In this article we will show how the compositions of Havasi Balázs are up to date through the aesthetic sphere of the phenomenology and how they are entities in the phenomenological field of perception nowadays. For these reasons, it seemed essential to us to offer a phenomenological perspective to the symphonies realised by Havasi Balázs. Keywords: Havasi Balázs, piano, contemporary classic music, phenomenology of sound, perception, conscience."

A Systematic Review and Research Agenda of Body Image and Fashion Trends

Purpose: Fashion is an important aspect of day-to-day life. There are various factors influencing fashion trends such as social, cultural, political, environmental, and psychological factors. A bigger interest in fashion has developed at present. This study is conducted to prove the importance of fashion trends to understand and develop the dynamic capacities to guarantee long-term Success the fashion. In clothing and apparel products, the aesthetic sphere is socially and culturally grounded. All groups have their likes and dislikes. This study explores clothing practices and personality traits among young college students. Daily choices of clothing depend on social, economic, and psychological reasons. Social recognition is a major part of an individual’s identity, attitude, and self-evaluation. Hence this article synthesizes many scholarly research articles on wearer perception, published in a few of the globally familiar journals. Design: The study was able to identify the key influencing variables and essential constituent aspects of the young adolescent’s fashion consciousness. This paper pertaining to the research agenda of body image and fashion trends, extensively evaluated personality traits of young adolescents for this study. Findings/ Results: This literature synthesis establishes that the concept of body image and clothing is highly interrelated. This study focuses on depicting the correlation between fashion adoption and personality traits. The researchers have found that the drive for a well-dressed fashionable presentation is highlighted among men and women. Social comparison and objectification together determine their confidence. Some expressed that they used to dress to confirm their selves young. Here we want to explore that fashionable clothing, accessories, makeover are the main means to meet their needs to be fashionable. Through clothing self-descriptions of a person can be presented. Discussion of the concept of self-presentation is included in this research taking into consideration of individual behavior according to their clothing, personal values, interest, religion, culture, and customs. Originality/ Value: Clothing practices reflect one's standard. Sociology is being used to study clothing and human confidence after being well-dressed. This review of literature focuses on the relationship between human behavior and fashion. Information in this review will be useful for the referrer to understand the social psychology of fashion. Body makeover illustrates the impact of changing standards of attractiveness on appearance in the presentation of one’s self. Paper Type: Literature Review

Approaches to the definition of the concept «professional orientation of the personality»

The article examines the approaches of various authors to the definition of the concepts of personality orientation and professional orientation of personality in psychological and pedagogical literature. The purpose of this article is to analyze the approaches available in psychological and pedagogical science to define the concept of personality orientation in order to identify common grounds and define the concept of professional personality orientation. Most scientists consider orientation as one of the most important characteristics of the personality structure and to a greater extent the definition of this concept is associated with such terms as needs, interests, motives, drives, goals, activity, attitude. The term orientation in the psychological and pedagogical literature retains uncertainty in its concept and can be interpreted quite broadly. In psychological and pedagogical approaches, the phenomenology of this concept can be based on various grounds: one can take as a basis the subject of orientation, which a person is aimed at in his activity; and, in fact, the object of orientation, which is influenced by his mental properties. The subject of orientation can be the operational sphere of activity: human actions to achieve their goals in accordance with the orientation; professional sphere, aesthetic sphere, humanistic sphere, personal characteristics of character, etc. Various vectors of orientation form a specific system that forms the psychological appearance of a person and directs her activity in the process of life. The classification of different types of personality orientation can be very diverse, as well as approaches to the interpretation of this concept. The component structure of personality orientation is also variable. Generalization of the data obtained allows us to conclude that professional orientation is an integral part of the general orientation of the personality, that its component hierarchical structure confirms the mobility, dynamism and responsiveness of professional orientation to development. The obtained results of the analysis allow us to design pedagogical conditions for the development of professional orientation among students.

Close, but No Cigar

Close, but No Cigar

ПЕРСПЕКТИВИ ВИКОРИСТАННЯ ОБ'ЄКТІВ КУЛЬТУРНОЇ СПАДЩИНИ У РОЗВИТКУ МІЖНАРОДНОГО ТУРИЗМУ

The article examines the essence of the concept of heritage, the importance of its preservation for future generations. The purpose, goals and approaches of heritage management were studied. After analyzing the existing organizational solutions, plans and projects for the development of cultural heritage objects in international tourism, it was determined that the effective development of international tourism is based on cultural heritage, it`s necessary to use not only traditional objects like monuments of history and culture, but also other elements of heritage like folk culture, traditions and crafts, language and literature, musical and artistic culture, historical urban environment, rural development and settlement system, ethno-cultural environment, natural environment by integrating them into the tourist product. Thus, careful planning of cultural heritage tourism contributes to sustainable regional development. It`s imperative to find the right way to deal with the issues and challenges that arise in the management and promotion of cultural heritage tourism, and once it will lead to a model of cultural heritage tourism development that will contribute gerring significant prospects for the overall tourism business in the region. National and international tourism was and keep remaining one of the main means of cultural exchange, an opportunity to gain professional experience, not only of what has survived from the past, but also of the current life of other groups of people. It`s increasingly recognized as a positive force contributing to the preservation of natural and cultural heritage. Tourism can capture the economic characteristics of heritage and use it to preserve it through resource generation, education development and policy influence. It`s a key economic problem for many countries and regions and can be an important factor in development if managed successfully. Tourism has become a complex phenomenon in full development. It plays an important role in the economic, social, cultural, educational, scientific, ecological and aesthetic spheres. Managing to overcome the conflicts that may exist between the expectations and aspirations of visitors and host communities in order to enhance them, it has got both a challenge and an opportunity. Tourism benefits host communities and provides them with an important means and rationale to take responsibility for the preservation of their heritage. Participation and cooperation between representative host communities, tourism operators, private owners, policy makers, planners and program managers, as well as facility managers, are necessary to implement a sustainable tourism industry and help to protect heritage resources for future generations.

ТВОРЧІСТЬ БОРИСА ВІАНА У КУЛЬТУРОЛОГІЧНОМУ ПРОСТОРІ ФРАНЦУЗЬКОЇ ГУМАНІСТИКИ 40–60-х РОКІВ ХХ СТОЛІТТЯ

In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.

"КРИЗА МИСТЕЦТВА" І "КРИЗА ЕСТЕТИКИ" В ДОСЛІДЖЕННЯХ ПОЛЬСЬКОЇ ГУМАНІТАРИСТИКИ ДРУГОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ

In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.

ХУДОЖЕСТВЕННО-ЭСТЕТИЧЕСКАЯ ГРАМОТНОСТЬ: К ВОПРОСУ О РАЗВИТИИ ПОНЯТИЯ

The article deals with the development of the concept of artistic and aesthetic literacy. The authors distinguish the types of functional literacy associated with the aesthetic sphere of the universe (culture in general, culture of an individual, education), and analyze the concept of “cultural literacy”. At the same time, viewing cultural literacy as metaliteracy within the framework of the modern anthropocentric paradigm, the authors propose to consider aesthetic (artistic and aesthetic) literacy as one of its components. The authors perceive “literacy” related to certain arts (visual arts, music, choreography, theatre, etc.) as local components of functional literacy in the field of art pedagogy. The analysis of approaches to understanding the structure and content of aesthetic literacy proposed by domestic and foreign researchers, including within the framework of international studies, shows that human interaction with the sphere of art is not limited in everyday life to any one type of art. The authors conclude that the content of artistic and aesthetic literacy, formed in the process of students’ interaction with art as a component of culture, is characterized by complexity, breadth of content, focus on effective adaptation and socialization of students in modern conditions, aestheticization of living and educational space.

Urphänomen (Original/Primordial Phenomenon)

The concept of Urphänomen (original, archetypal, or primordial phenomenon) is central to Goethe’s scientific studies. The neologism designates a phenomenon that is both real (experienced) and ideal (conceptualized). Thus, it testifies to Goethe’s specific epistemological mediation between idealism and empiricism and opens onto a notion of intuitive understanding. The term belongs in the context of Goethe’s theory of colors and accordingly leads avant la lettre to the optical writings of the 1790s. Furthermore, the term appears in the context of Goethe’s biological writings as well as in geognostic and meteorological considerations. In the Maximen und Reflexionen (Maxims and Reflections) as in the conversations with Eckermann, the Urphänomen is deployed in ethical and aesthetic spheres. The Urphänomen derives from an “Erfahrung höherer Art” (experience of a higher kind) and is defined as a phenomenon acquired through progressive experience, to which the variety of related appearances may in turn be referred step by step. Once recognized, the Urphänomen can serve as a key to further insights through its synthetic mediation of theoretical idea and empirical knowledge. This epistemic function renders it ambiguous because, on the one hand, it denotes a mental construct that allows for the cognition of further phenomena and, on the other hand, it simultaneously denotes an empirical experience in its Urform (primordial form).

Music Aesthetics as Philosophy of Music: Genesis and Topical Contemporaneity of Musicology

The purpose of this work is to reveal the natural principle of the precedence of the philosophy of music in music science, which removed musical aesthetics with its basis of the traditional philosophical and rationalist system of Cartesianism. ‘Culturologisation’ of modern musicology testifies to the absorption of non-logical properties of associative knowledge, which, according to Yu. Krysteva, is no longer rejected by science, being called the ‘hermeneutic-interpretive’ meaning of the object of the study. The methodological basis of the research is the intonation approach of the B. Asafiev school in Ukraine, as it was in the works of O. Zosim, O. Markova, O. Muravska, O. Kozarenko, Liu Bingjian, O. Roschenko with an emphasis on hermeneutic and stylistic-comparative analytical search engine. The scientific novelty of the work is due to the theoretical primacy in the musicology of Ukraine of the statement of the philosophy of music as a substitute for the sphere of musical aesthetics, which has prevailed since the 18th century, as a "speculative theory of music” relative to the traditional core of musicology, the theory and history of music. Conclusions. The movement of musical aesthetics into the bosom of the philosophy of music was carried out by the displacement, following practice, in musical science of the theatrical-secularised expression of general aesthetic antitheses in favor of the all-encompassing lyric as a specifically musical embodiment of beauty, and the dramatic and the comic appear in the degrees of incompleteness of the lyric presentation, which delimits the “aesthetic-sensual” in the musical sense. The focus of musical expressiveness on the aestheticism of the beautiful and lyrical in this approach generalises, despite its direct ecclesiasticism, the experience of spiritual music, for which the beauty of the lyrical, in the syncresis of the suprapersonal and personal, expression (compare with the “spiritual beauty” of music in Mikhail Psellus, 11th century) displaces meaningful antitheses, which theoretically coincides with the symbolism of Pythagoreanism-Neoplatonism in the philosophical-mental understanding of music as a touch to the Eternal.
 Key words: musical aesthetics, philosophy of music, traditional musicology, modern culture-oriented musicology, genesis of music science.