Philosophy of Music in the Image of the World: From Antiquity to the Modern Time

The article presents philosophical views on music in the context of the transformations of the worldview from Antiquity to the Modern Time. In this research author also mentions the contemporary issues, and uses her own philosophical concept of the music, which can be described as following: the value of music as a substance and the way of the valuable interaction of a person with the world affirm the essence of musical being, in which the invariable principle of Harmony, the principle of Chaos-Form movement, is preserved (see "The Value of the Music: Philosophical Aspect"). Music expresses the fluid essence of the world and changes of being in space and time. Philosophy of music as a field of philosophical knowledge considers music from ontological-epistemological and phenomenological-axiological prospectives, as something more than just a form of art. It explores the deep, ultimate foundations of the existence of music as such and the philosophical and aesthetic foundations of musical art. Since ancient times music has been a representation of the world in the human conscience and served as the harmonic equivalent of cosmological philosophy, mathematics, astronomy, and astrophysics (Pythagoras, Plato, Aristotle, Aristoxenus, Porphyry et als.). The scientific view on music was enriched in the Modern Time by the expanded view on the cosmo-sound space reflected in musical art, which at the same time transforms the mathematical ideas of geometricity, squareness etc. The tendency to create integral world music in the musical practice of the XX-XXI centuries explains the attempt of mankind to present music by modern methods of composing musical art as an expression of fear towards the secret Harmony of universal existence, and, on the other hand - as a form of search for salvation and mental balance, intuitively reflecting what is happening in natural science, which more and more points to the abyss of unknowable universe, and the unstable place of man in the world.

BIBLIOGRAPHICAL ANALYSIS OF THE STUDIES ON THE PHILOSOPHY OF MUSIC IN TURKEY

Philosophy of music constitutes a wide area of research as a branch of music. It is observed that studies on the subject have increased in recent years. Since the philosophy of music has an interdisciplinary feature, it has been observed that there are writers from different fields. The aim of this research is to examine the scientific studies (graduate theses and articles) on the Philosophy of Music in Turkey by the bibliographic method. The research is based on the descriptive model and literature review and was performed using the bibliographic method. The study is important in terms of giving researchers a detailed framework and providing clues about the literature. In the research, YÖK (Council of Higher Education) National Thesis Center was used to scan the theses, and Dergipark, ULAKBİM (Turkish National Academic Network and Information Center), and Google Scholar databases were used to scan the articles. As a result of the research, 30 theses related to the Philosophy of Music in Turkey were reached. It was determined that 6 of the theses are doctoral studies and 24 of them are graduate studies. A total of 93 articles on the Philosophy of Music, 62 of which were published in international and 31 in national journals, were reached. When the areas of expertise of the researchers were examined, it was seen that they were among the fields of “Music” (30), “Philosophy” (21), “Music and Philosophy” (4), and “Theology and Philosophy of Religion” (11). However, it was determined that there are writers/researchers from different fields of study such as Communication, Political Science, Business, Economics, Geography, History, Art History, Painting, Literature. Key words: Music, philosophy, philosophy of music, bibliography

“Suddenly We’re in a Different Era”

Chapter 3 examines Moody Church in Chicago, the oldest extant megachurch in America, where many congregants believe that God relates to humanity in different ways during different historical eras. In this chapter, I show how dispensationalism—a theological development popularized by founding church father Dwight L. Moody—continues to influence the congregation’s theology of worship today. Dispensationalists believe that some of God’s commands carry through from one dispensation to the next, while others can be modified, added to, or discontinued. Relatedly, Moody adheres to a “bundled” philosophy of music: some songs stand the generational test of time, others from a previous era have been phased out, and new repertoire is regularly introduced.

Hans Keller and the Media of Analysis

Developed in the late 1950s, Hans Keller’s method of “functional analysis” (FA) sought to analyze music in audible form, without verbal argument or conceptual labels. Keller composed analytical interludes which repeated, recontextualized, and recomposed recognizable thematic and rhythmic elements from the compositions he studied, and placed them in between the movements of those works in live performances or radio broadcasts. Drawing on early twentieth-century music analysis, mid-century media theory, and recent studies of analysis for performance, this chapter reads Keller’s early analyses against a series of annual updates he published, chronicling FA’s development from a polemical philosophy of music criticism to a dynamic mode of wordless musical argument.

The Sutra of Druma, King of the Kinnara and the Buddhist Philosophy of Music

This chapter discusses a little-known Buddhist scripture, the Sutra of the Questions by Druma, King of the Kinnara (Daiju kinnara-ō shomon-gyō), translated into Chinese by Kumārajīva in the early fifth century. This sutra is unique in that it proposes a powerful, and sympathetic, philosophy of music rooted in the Mahayana doctrines of emptiness; it also offers a template for Buddhist rituals involving music and dance that have been performed in Japan since the eighth century as part of the Gagaku and Bugaku repertory.

Value-based orientations as a normative-regulatory mechanism for the formation of professional worldview of future music teachers

The transition period of modern society can be observed in various aspects, particularly in the value-normative one. The study of the Genesis of the formation of personality’s value-based orientations in the current conditions of reforming educational sector in Ukraine and its integration into the European Higher Education Area are becoming prioritized. The research methodology is complex, combining theoretical and empirical methods. Theoretical study of the problem of values in philosophical-historical and psychological-pedagogical discourses creates a methodological basis for expanding the subject field of interdisciplinary branches of scientific knowledge: pedagogical axiology and philosophy of music education. The interdisciplinary context of the conceptual range of these disciplines makes it possible to modernize the value-based orientation in the content of art education. The problem of spiritual and value-based formation of the personality by means of music is actualized, which creates the prerequisites for the formation of a phenomenon of holistic professional worldview of future music teachers. The analysis of structural components of the outlined phenomenon shows that the normative and regulatory basis of professional worldview is a system of value-based orientations of the individual.

Early (Avant-garde) Symphonies by Valentin Silvestrov As a Sound Universe

"In the article under consideration are the ways of symphony genre transformation in the early works of Valentin Silvestrov (Ukraine). For the first time, the First, Second, Third, and Fourth symphonies by the genius composers of the 20th century are analyzed as a certain stylistic system. These compositions are endowed with the features of avant-garde poetics, and as a subject of musicological reflection, they are associated with a rethinking of the semantic paradigm of the genre. V. Silvestrov's early symphonies stand out from the classical practice of European symphonies. Scientific awareness of their phenomenal nature necessitated a methodological choice aimed at the most accurate identification of the philosophical concept of the new sound universum of V. Silvestrov's music. Deep correlation of the image of a human being as a factor of the symphony poetics (the influence of philosophical concepts of human ontology in the 20th century with the transformation of the genre canon) is considered. This refers to the nonmusical dimension of the genre semantics. The study of V. Silvestrov's early symphonies reveal a new philosophy of music through gradual movement – modulation: from the neo-baroque First Symphony and ""cosmic pastorals"" Musica Mundana of the Second Symphony through the history anthropologisation in the Third Symphony ""Eschatology"" to the monodrama Musica Humana in the Fourth Symphony. The dichotomy of Musica Mundana – Musica Humana is not accidental: in V. Silvestrov's creative method, remains relevant, which is confirmed by the dramaturgy of his latest work – the Ninth symphony (2019). Keywords: V. Silvestrov's early symphonies, evolution of style, worldview, Musica Mundana, monodrama. "