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The contemplation of classical architecture-it is
contemplation of peace. And the process of registration in the music every time you deploy
as the state of unstable equilibrium. "Therefore, even the ideal classic
music (Mozart's music) is not reducible in the act of registration of the speculation
frozen motion, i.e. classical architecture" (ibid. P.164).
B. Asafiev emphasizes another fundamental property of music,
a certain hypnotic (magic) the influence on the psyche. Music
"being played, how would implementing a potential energy
the emotional current in the kinetic and makes the listener, if his taste or
the absolute aversion to this music did not cause reaction,
to obey the influence of a certain mood" (Glebov I. Value
music. P.20).
Here we are again faced with the process of understanding music. Music
the listener releases the accumulated emotional experience of the composer.
"Stay in the power of music formation gives a feeling of stay in the area
absolutely inacol than the usual visible and tangible world, and the main
therefore the submission of another time, another space, i.e.
such a system, where relations are fraught, based on only this relationship
characteristic of a measurement of time and space" (ibid.
P. 23). This is the structural view of the musical process Boris
Asafiev.
Boris Zotov (which is the pseudonym A. Finagina) offers
his works are no less interesting approaches. He believes that art
the work cannot exist outside of human consciousness. "Isaac
the Cathedral in the latter case, there is just a pile of stones, a Symphony of Tchaikovsky
-- scribbled notebook score sheets, a monument to Peter-is meaningless
sticking the stone... That is why, approaching the question about the essence of art,
always remember the duality of life art
works: one -- like a pile of stones, the other as St. Isaac's Cathedral"
(Zotov, B. The problem of form in music // musica De. -- PG, 1923.
P. 114-115).
Referring to the form, he notes that the form is an open idea, and the idea is
a more extensive form than created certain Parallels with B. Yavorsky.
Cannot A. no matter to do without the concepts of rhythm, but he lifts
it isbale-
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