The philosophical and musical instrumentalism - the sources and main aspects

The article substantiates the basic point of the artistic activity of man - the unity of the meaning-fulness of things and the substantiation of meaning, the combination of the activity of cognition and the activity of realization. The philosophical and cultural concept of P. Florensky is considered about the threefold nature of human activity, in which musical instruments occupy a special place as instruments of creative activity possessing the integrity of reality and meaning, preserving unity with myste-rially, sacral-archaic and religious thinking. It is in artistic creativity that the practical side - the embodiment by the mind of one's ideas - of the theoretical side - the comprehension of activity - is combined, this connection indicates the integrity of the person's consciousness, and the organic articulation of his activities. The highest sphere is defined by Feurg - the art of the God-doing, penetrating all kinds of human activity and developing from the cult, and culture-making is determined by the ideal basis of human thinking. Ideal-creative aspirations in mental operations that form the semantic essence of human activity which Florensky explains by the rootedness in religious consciousness are considered. "Meditative instrumentalism" religious in its basis of thinking, V. Medushevsky calls "syncresis", indicating a fundamentally new stage of this kind of thinking in relation to the pre-civilization syncretism of the laundry-thinking-behavior-ritual-words. The approach to the problematics of thinking from the "musikiystvo" of Antiquity makes it possible to assert that music makes the higher cosmic expediency of the world structure tangible in sounds, embodied in a monochord-canon where an infinite series of numerical proportions organizes the division of an oscillating string. The mind as Pythagorean numerical mysticism and Socratic "maevtika", "generation of thought", contain in this concept logical-intellectual indicators and extralogical components. Accordingly, the phenomena of "scientific knowledge" and what was later called artistic activity, from Antiquity and up to the Renaissance, formed "interpenetration of qualities", which in itself marked the unity of the logical, intellectual and extra-logical principles. It is emphasized that music from ancient times was intended to distinguish from the context of everyday life certain special, selected situations that have a surplus meaning. These situations led people out of the visible world and, as it were, switched to the invisible world, but for him more significant, because he controlled the visible, stood behind him. There was a mythological consciousness, which included a considerable part of the unconscious. Such situations were the magic cult, the ritual associated with them, the dance, the sound of instruments, singing. In such surplus situations, the integrity of reality and meaning is possessed by both "mythologized" thinking and sounding tools - instruments.

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