philosophyВестник РГГУ Серия «Философия. Социология. Искусствоведение»RSUH/RGGU BULLETIN. Series Philosophy. Social Studies. Art Studies2073-64012073-6401Russian State University for the Humanities (RSUH)10.28995/2073-6401-2025-1-122-142philosophy-772Research ArticleФИЛОСОФИЯ. ИСТОРИЯ ФИЛОСОФИИ. ИСКУССТВОВЕДЕНИЕ. ТЕМА НОМЕРА: ИСКУССТВЕННЫЙ ИНТЕЛЛЕКТPHILOSOPHY. THE HISTORY OF PHILOSOPHY. ART STUDIES. ISSUE TOPIC: ARTIFICIAL INTELLIGENCEМузыкальный мир. Феноменологический анализMusical World. Phenomenological analysisКосиловаЕ. В.KosilovaE. V.

Елена В. Косилова, доктор философских наук, доцент

119234, Москва, Ломоносовский пр., д. 27

Elena V. Kosilova, Dr. of Sci. (Philosophy), associate professor

bld. 27/4, Lomonosovskii Avenue,Moscow, 119234

implicatio@yandex.ruМосковский государственный университет имени М.В. ЛомоносоваРоссияLomonosov Moscow State UniversityRussian Federation20251504202501122142Copyright © Косилова Е.В., 20252025Косилова Е.В.Kosilova E.V.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://philosophy.rsuh.ru/jour/article/view/772

В статье вводится понятие музыкального мира в феноменологическом смысле слова. Любой мир имеет непосредственное отношение к субъекту, как и субъект к миру. Может быть физический мир, но и мир людей, и мысленный мир, и музыкальный мир. Одновременно субъект и живет в своем мире, и носит свой мир в себе. Акт любого понимания, в том числе музыкального, совершается через мир и посредством мира. В структуру любого мира входит данное, не-данное и ценности. Предлагается анализ структур музыкального мира. Это не музыкальные произведения, а музыкальные идеи, музыкальные смыслы. Единица музыкального смысла – музема. Примерами музем могут служить лад, мотив, мелодия, ритм. Ценности музыкального мира носят специфически музыкальный характер, например, предпочитаемые лады, интервалы. Описываются музыкальные миры двух типов: с преобладанием секунд и с преобладанием терций/кварт, что приводит к совершенно разной по духу музыке. Кроме того, важной характеристикой музыкального мира является конфликтность и динамичность. Они сопоставляются с характером мышления западного человека. Ставится вопрос, каким образом музыкальный мир субъекта может оказывать влияние на миры его отношений, мышления и т. п.

The article introduces the concept of musical world in the phenomenological sense. Any world has a direct relation to the subject, as well as the subject to the world. There can be a physical world, but also a world of people, a mental world, and a musical world. At the same time the subject both lives in its world and carries its world within itself. The act of any understanding, including musical understanding, is realized through the world and by means of the world. The structure of any world includes the given, the non-given and the values. An analysis of the structures of the musical world is offered. They are not musical pieces, but musical ideas, musical meanings. The unit of musical meaning is the museme. Examples of museme are harmony, motif, melody, rhythm. The values of the musical world are specifically musical, such as preferred harmonies, intervals. Two types of musical worlds are described: the seconds-dominated and the tercets/quarts-dominated, resulting in very different kinds of music. In addition, an important characteristic of the musical world is conflict and dynamism. They are juxtaposed with the nature of Western thinking. The question is raised how the subject’s musical world can influence the worlds of his relationships, thinking, etc.

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The authors declare that there are no conflicts of interest present.