Conceptualization of the phenomenon of time in contemporary philosophical and aesthetic thought and musical creativity
This article analyzes the phenomenon of absolute and relative space-and-time, their modifications in the musical culture of the 20th century, updates the concept of musical time as it is in philosophical, aesthetic and musical context of the phenomenological strategies of avant-garde temporality. The relevance of the topic is due to the lack of knowledge within the modern aesthetics and musicology. The research objective is to reveal the fundamental processes of musical time functioning. While researching the issue, the authors fulfilled the following tasks: to show the meaning of music as the regulated relation of sound to time and time to sound; to identify the chronotopical representation of meaning in the process of interpreting music; to analyze the musical image as a specification of a “piece” of meaning in its unique composition embodiment. The Humanities tried and still try to find the most objective and common understanding of the phenomenon of “time”. Nevertheless, nowadays it is impossible to avoid subjectivity when discussing any notion as any understanding of the world is subjectified through the human consciousness. The filter of human consciousness is the main one for artistic time to play and time understanding in the art as well as for ontology and epistemology of time in art.