The ratio of mimetic and creative tendencies in the performance of an instrumental work

The ability of human consciousness to express emotionality is an integral part of a person as an individual. Finding answers to these questions in various spheres of human knowledge has been a subject of reflection since time immemorial. The philosophy of Ancient Greece defines the moment of transition from a mythological worldview to an anthropocentric one: a person has the ability to manage his own life. Before the theocentric civilization that dominated the Middle Ages, a person began to think about questions that were previously beyond his control. These include questions of his own consciousness. The “instruction from above,” previously considered inexplicable and not requiring explanation, eventually acquired such a terminological designation as “apeiron.” Undoubtedly, rational and irrational principles have interacted differently in human consciousness at all times. In this regard, it is quite acceptable to equate the irrational principle in human consciousness with the emotional one. It is known that music as an art form is, in most cases, based on irrational approaches. Consequently, we have the opportunity to subdivide works of art not by genre, but by emotional zones. The same opposition corresponds to the opposition of mimesis and catharsis in the teachings of Aristotle. Mimesis here does not simply copy external properties, but is aimed at the inner world of a person. Another principle - catharsis - is aimed at moral elevation, purification, self-expression (in this case, through art). All mechanisms of organizing the whole are also aimed at the emergence of catharsis - for example, the mathematical program of Pythagoras, based on the dominant role of number, and this numerical principle is the basis of the “music of the spheres” (the sound of the planets during their movement). Let us call inexplicability and inaccessibility to reason the properties of both the emotional and irrational principles. In this regard, it is proposed that there are two tendencies in the performance of a work, opposing each other according to the principle of “past - future" - the mimetic and creative tendencies. The mimetic tendency is the text of the work itself, the creative tendency is its performance. It is difficult to exaggerate the importance of music in relation to emotion, and therefore - in relation to the processes of perception and the content of the work. Each image in the artistic text represents a certain emotional charge received by the listener. The author declares no conflicts of interests.

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