Concerning the Issue of the Birth of a Masterpiece in the Context of an Individual Style. Mahler and Dostoyevsky
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Abstract
This work is aimed at researching the processes of formation of meaning in music. The basis of the methodology
is comprised of an analysis of the text and the meaning in the condition of the authors’ styles determined by
the reflexive type of consciousness and the type of individual creative thought corresponding to it. In the present
article the mechanisms of generation of meaning are presented as being active in human consciousness through an
apparatus of understanding, which transforms faceless meanings (concepts) into a personalized meaning. They are
projected within the composer’s creative process. With this aim in mind the author presents the concept of the “theme
of creativity” transposing the inner content of the reflexive layer of consciousness or the author’s “fundamental
existentiality” (according to Martin Heidegger) into the artistic form of the musical composition. The hypothesis is
brought out according to which genuine masterpieces are generated within the domain of the author’s fundamental
existentiality. An analysis of a set of musical compositions by Gustav Mahler, unified by Feodor Dostoyevsky’s
concept (“the tear of the child”), makes it possible to trace out the path of his transformations into a personal theme
of creativity as a gradual transfer from one locus of consciousness (meaning) to another (personalized meaning). The
conditions accompanying the creation of a masterpiece are presented, one of which is expressed in the coincidence
of the form of meaning with life motives (facts from the artist’s biography), which manifest the basis of formation
of the personal fundamental existentiality.
Keywords: masterpiece, fundamental existential, significance, meaning, meaning-bearing process, Gustav Mahler,
Feodor Dostoyevsky.
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