Background. Goals In recent years, there is a growing interest in musical thinking, which is a key element of musicology and music philosophy, since music is a conscious, mental activity of a person and understanding the mechanisms of this activity, we can signifi cantly expand and deepen our understanding of music. The purpose of this study is to defi ne and supplement and clarify the concept of M. G. Aranovsky musical thinking our author’s approach, concretizing and clarifying the methodological and heuristic function of symmetry in musical thinking and its anthropological content. The work uses methods of comparison, analysis and synthesis. Musical thinking manifests itself in three forms of basic musical activity - composing, performing, listening, to which we also add theoretical (research) and pedagogical They are based on the processes of musical thinking and the fulfi llment of certain goals: the creation of an artifact, interpretation, reproduction, perception, analysis and theoretical understanding. The three spheres of realization of musical thinking are emotional-sensual, rational-logical and textual, semantic. These forms are closely intertwined and function on the basis of musical language, which is the foundation of any musical creative activity. The direct interaction of music and rationality is displayed in terms of “musical logic” and “architectonic musical ear”. Logic is the science of the most common laws of thought. These laws of thinking are expressed in the most abstract forms, patterns, rules that can be interpreted as conformity of something to specifi c norms, patterns. With regard to music, logic implies following certain standards and rules. Since the rational principle in music is closely associated with the irrational unconscious, the common logical norms that have been formed in a certain historical epoch within the framework of the dominant system of musical language are refracted through the individual stylistic features of the composer. A specifi c type of thinking - musical - generates the corresponding type of logic. Therefore, it is possible to express musical thinking by the sum of concepts - musical logic, musical speech and semantics of musical speech. M. G. Aranovsky identifi es four layers of musical logic: combinatorial, linguistic, contextual and artistic, i.e. those aspects (levels, edges) of the creative activity of a musician, in which there is logic. The lowest and at the same time fundamental level of musical logic is combinatorial, it is the sphere of primary elementary logical combinations of the simplest elements. However, the logic of this level extends to all scales of structures, from small motive links to sections of a one-part form. M. G. Aranovsky proposes to distinguish three types of logical combinations: 1. Identical - based on a constant repetition of structural units, where the formed elements are identical with each other (for example, AAAAAA). In terms of symmetry, this is a transformation of a simple movement along the time axis. It can again be noted as the simplest type of isomorphism, where only one characteristic changes - temporary. If we exclude it from consideration, then we can say that this is a “degenerate case” of isomorphism, which is an automorphism. 2. Equivalent - based on the modifi ed version of the repetition, in which there are both similarities and differences, i.e. incomplete identity is formed (for example, A1A2A3A4). From the point of view of symmetry, this combination of sequences represents the “unity” of the operation of symmetry, movement and violation of symmetry as such, i.e. in this sequence, some properties are repeated, while others change. This temporal process can be represented as isomorphism in the proper sense of the word, when some elements remain identical, while others change, and in general the objects are different, but similar. 3. Alternative - a combination of sequences of different units with complete exclusion of formal or obvious similarity (for example, ABC). Through symmetric transformations, this kind of logical combinations of primary elements can be described as an even greater symmetry violation, which preserves only the general “sequence of elements”, i.e. a small number of common properties, while these elements themselves are significantly different from each other. In this case, one can speak of a deep “transformation” of isomorphism, which can be called “metamorphism” (gr. Metamorphoómai - transformation of form). The basis of this transformation is a violation of the original symmetry in such a way that much more properties change than in the case of isomorphism. It can be schematically represented as A1 → B, A2 → C, etc. Thus, metamorphism can be considered both as a similarity, which has undergone a rather strong transformation, and as a symmetry violation, leading to a signifi cant complication of the structure. Thus, the result of this study is the position that, from the point of view of M. G. Aranowsky, the temporal process is the basis of musical thinking. The built-up chain “temporal process → musical logic → musical thinking” is the anthropological specifi city of human thought (in the musical sphere) associated with temporal processes in which a person is “immersed” and from which he cannot “exit” under any circumstances. Findings. we conclude that this chain can be called the “temporal-anthropological triad”. It represents the sequence “automorphism → isomorphism → metamorphism”. Each of its stages is different from the previous increase in the level of complexity. Of particular interest is the transition from isomorphism to metamorphism, since it is associated with the process of symmetry breaking. The mechanisms and principles of this disorder need further investigation.
The Second Sonata for Piano and Violin, Ópus 6 by George Enescu
