АНТРОПОЛОГІЧНИЙ ПРОЕКТ ЦІЛІСНОСТІ ЛЮДИНИ В МУЗИЧНІЙ ПОЕТИЦІ І. СТРАВІНСЬКОГО
ANTHROPOLOGICAL PROJECT OF HUMAN INTEGRITY IN I. STRAVINSKY'S MUSICAL POETRY

Summary/Abstract: Emphasis is placed on the urgency of the problem of human integrity as a cultural and historical fact of society and art, in particular music. The aim of the article is to define the phenomenon of differential ontology and anthropology as a musical gestalt in the context of I. Stravinsky's musical creativity and reflection. The research methodology is a systematic, comparative approach, transcendental, phenomenological, dialectical methods that implement the program of seeing the anthropological semiosphere of music as a cultural unity. The scientific novelty of the article is that the implicit and explicit modes of anthropology of music in the work of I. Stravinsky are determined. I. Stravinsky has Ukrainian roots, his influence on the formation of European culture is still underestimated from the standpoint of Ukrainian mentality, cordocentrism, which was explicitly defined in the theoretical reflection of the author as the search for "whole man". The folklore and mythological motifs of the works created for the Diaghilev seasons are characterized, as well as the disposition "avant-garde - neoclassic", which becomes the main epicenter of the composer's thoughts on the musical phenomenon. Conclusions. It is proved that the stage synthesis in the works of I. Stravinsky has its own musical image, where the impetus to the search for the musical integrity of the work as an analogue of a harmonious, integral person dominates. The symbiosis of musical and choreographic constellations took place as a stimulus to universal harmony, and the musical fabric of the work was formed as a universal synthesis of sacred, mythological, creative intentions. Stage synthesis, which can be described as a kind of musical can not be separated from the choreographic, scenographic images that form a single whole. Stravinsky was a charismatic leader of the musical avant-garde of the twentieth century, who defined the Frying Pan line of "two hearts" - a profane and sacred element of the musical phenomenon as a universal ontology of the whole human artist.

• Details
• Contents