Musical Cosmogony
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Abstract
From the times of antiquity the art of music has perceived its
invisible mutuality with the planetary world. The musical
cosmological perceptions of the world of the Ancient Greeks were
rooted in their myths about the Cosmos and the confrontation
between Chaos and Harmony. On this basis Pythagoras and his
followers developed the teaching of the harmony of the spheres.
The problem of the ethical and aesthetical value of music
was connected in Ancient Greek thought with the normative
structures of modes and rhythms. In subsequent eras the musical
cosmogony of Antiquity received a multitude of possible
variations and metamorphoses. Medieval musical thought aspired
towards abstract constructions, allegories and parallels: a rise
of interest towards musical cosmogony can be observed during
the Baroque era. The greatest contribution at that time was made
by Johannes Kepler, one of the founders of the astronomy of
the Early Modern Period, the author of a work on music theory,
“Harmonices Mundi.” In terms of its expression in sound, the idea
of endowment of earthly existence with cosmic attributes began
to mature from the beginning of the 20th century. A pioneer in
the field of world musical cosmogony was Alexander Scriabin.
A continuation of this tendency in art could be seen in the serial
music of Anton Webern, as well as the abstractions of total
serialism of the post-war avant-garde composers (Pierre Boulez
et al). Cosmism asserted itself in full starting from the 1960s,
with the appearance of principally new sound techniques. Among
the first major composers who actively incorporated electronics
into their music was Karlheinz Stockhausen. Brilliant examples
of sonoristic writing belong to Krzysztof Penderecki. The musical
art of the last few decades has insistently fixated the perspective
of the irrevocable ousting and absorption of the human earthbased
civilization by a non-personal universal matter. The given
vector of the historical process was consistently disclosed in
his symphonies by Avet Terteryan. Alfred Schnittke established
contact with ideas of contemporary artistic cosmogony, among
whose entire musical output this problem received the most
versatile type of development in his Second Symphony.
Keywords: Musical cosmogony, the idea of endowment of
earthly existence with cosmic attributes
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