Transgression and transcendence in music. Ontological analysis

The musical material can be developed in two modes of being essentially distinguished from each other: transgression and transcendence. In the mode of transgression the basic content of music is not the musical theme, but its refraction in a stream of variations. The primary goal here is to conduct a theme from the closed and steady condition to make it mobile, fluid, constantly arising and disappearing, lost in infinite transitions and semitones. Invariant structures are erased in a stream of variations. In the mode of transcendence there is a statement of the theme. Themes of a piece of music in this case get function of the centres coordinating movement of variations and components of their invariant structure. Distinction of modes consists in accents: whether we isolate the theme as the main structural element or the accent on its transgression is transferable. During the history music is developed in two modes simultaneously. At the initial stage of the European music transgression of the theme is carried out by means of polyphony. Realization of the theme by various voices transforms it in simulacrum as the original is erased: the theme exists only in a set of the simulating voices refracting it. Outside of this complex mobile pattern, formed by suppression of lines it does not exist. Transition in classicism to diatonic changes the transgression movement of music. Transgression of the theme is developed by movement of the theme, its numerous variations, development of collateral themes. In romanticism the theme becomes a substance, which expresses the sense other than music. Music turns to means for expression of every possible content of emotional sphere: feelings, experiences, moods. The last, in turn, should refer to the subject as to the source and carrier of all these experiences. However, having adhered music to the sphere of the transcendental subject, romanticism at the same time released it from ''fetters'' of classicism. Music of the 19th century is characterized by close interaction of transcendence and transgression modes with a tendency to their association. Further development of music is marked by an opposite orientation: opposition of the modes. On the one hand, there is a powerful liberation and disclosing of transgression in musical avant-guard. The melody in its traditional understanding disappears - it is replaced by a twelve-sound number which varies during all the product in different ways. On the other hand, domination of an independent musical theme reaches maximum, the expression of becomes becomes the phenomenon of a hit. Music is entirely reduced to simple melodies which exist only for itself and completely settle the content of the musical product. An attempt of overcoming of the break is taken by the composers of post-avantguard orientation combining serial techniques of avant-guard with classical tonality. It is possible to draw a conclusion that transgression and transcendence are two ways of life of music whose interaction is shown differently in various periods of development of musical art. Specificity of this interaction is in close connection with the metaphysical orientations of the epoch shown in philosophical systems and other kinds of art.

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