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A.Ya. Flier. A systematic model of the social functions of culture




A.V. Kostina, A.Ya. Flier. Ternary functional model of culture (continued)

V.M. Rozin. Features and constitution of musical reality

N.A. Khrenov. Russian culture at the turn of the XIX-XX centuries: the Gnostic "Renaissance" in the context of symbolism (continued)




I.V. Kondakov. The cat as a cultural hero: from Puss in Boots to Schrodinger's Cat

N.A. Khrenov. A Century later: the tragic experience of Soviet Culture (continued)

I.E. Isakas. Hypothesis. The Christmas tree is a symbol of the second coming of Christ


A.Ya. Flier. Is culture inevitable? (on the limits of the social usefulness of culture) (Philosophical dystopia)

A.A. Pelipenko. Culture as an inevitability (on the subjective status of culture)

Announcement of the next issue


Vadim Markovich Rozin,
Doctor of Philosophy, Professor,
Chief Researcher
Institute of Philosophy of the Russian Academy of Sciences

Features and constitution of musical reality

Abstract. The article analyzes the perception of music by a person from the standpoint of modern psychology. The emphasis is on the components of the psyche that contribute to a positive perception of music, the components of the psyche that, on the contrary, prevent this positive perception. At the end of the article, Marina Tsvetaeva's perception of art is described as an illustrative example.

Keywords: culture, music, psyche, perception, emotions, life experience, pleasure.


[1] Let us recall the title of B.Asafiev's classic work "Musical form as a process". It is worth paying attention to dialectics: form as a category is not a process, and at the same time, according to Asafyev, a process.
[2] Vershinina I.Ya. Comments on the book "Chronicle of my life – Igor Fedorovich Stravinsky".
[3] Aylamazyan A.M., Taskeeva E.I. Musical movement: pedagogy, psychology, artistic practice // Culture and Art. 2014. № 2.
[4] Rozin V.M. Nature and genesis of European art (philosophical and cultural-historical analysis). pp. 122-140, 253-257.
[5] Ibid. pp. 264-293.
[6] "We," writes Aida Aylamazyan, "have given the simplest example, but even it shows how difficult musical meanings arise and how unique the musical language of each piece of music is. The intonation, semantic content of individual means of musical expression (musical language) is born only in an integral musical work and the means of musical expression, taken out of context and a certain logic and structure of a particular musical work, lose this semantic content. In order to identify these meanings, activities should be carried out to compare various musical fragments and episodes, individual elements of the musical fabric and their compilation into one whole. It does not always unfold linearly, the meanings can be revealed at first only in separate fragments of a musical work, the process can unfold over time with repeated listening (sometimes for years)" (Aylamazyan A.M. On the mechanisms of musical experience: the experience of musical movement // Questions of psychology. 2013. No. 5. pp. 35-43).
[7] Benhabib S. The claims of culture. Equality and diversity in the global era. Moscow: Logos, 2003. pp. 17, 19, 43, 122.
[8] Cf.: "A person who wakes up through the mouth of Proust asks himself the question: why, when he wakes up, am I me and not another? "It's worth thinking about this," says Mamardashvili, "<...> we begin to understand that this mystical feeling is, of course, an attempt by a person to return and resume some elementary sense of life as something, by definition, unfinished and unfinished... So, we believe that Christ was crucified and his agony happened. And the mystical feeling is the feeling of being present in the whole world, in all the events of the world; they happen when I am present. And therefore, the crucifixion of Christ belongs to human history to the extent that it is a lasting or non-accidental event in which we should not sleep. This event lasts forever" (Mamardashvili M. Lectures on Proust. Moscow: Ad Marginem, 1995. p. 302).
[9] Jani-Zadeh Tamila, Kelle Walida Western European music [Electronic resource]. URL: www: (date of application: 03.09.2021).
[10] Compare with what Boris Asafyev wrote: "The most difficult, but also the highest, thing to achieve in this work on composer's hearing: to learn to hear (perceive with full consciousness and intense attention) music while simultaneously embracing all its "components" that are revealed to the ear; but so that everyone to realize the moment of sound movement in its connection with the previous and subsequent and immediately immediately determine whether this connection is logical or illogical, to determine by direct intuition, without resorting to technical analysis. This kind of comprehension of musical meaning marks the highest stage in the development of inner hearing and has nothing to do with formal analysis. A good exercise on the way to this is to play pieces of somewhat unusual forms for yourself, requiring from the ear an instant awareness of the “logic of the deployment of the sounding stream”, or rather, intonation – semantic – disclosure of music as living speech. It is very difficult to describe in words what kind of auditory perception the “narrative” is about here; only a musician who has risen above purely artisanal or even highly professional hearing on the basis of theoretical conditionalities can understand how this process of deeply conscious perception of music as meaning occurs, without referring to its grammar and syntax" (Asafyev B. Musical form as a process. Books one and two. L., 1971. pp. 234-235).
[11] "Among other things," writes Stagirite, "it is difficult to express in words how much pleasure there is in the consciousness that something belongs to you, because the feeling of self–love inherent in everyone is not accidental, but is embedded in us by nature... It is desirable, of course, and the good of one person, but more beautiful and divine is the good of the people and the state" (Aristotle. Politics // Aristotle. Op.: In 4 vols. 4. p. 410).
[12] Heidegger M. Works and reflections of different years. p. 72.
[13] Tsvetaeva M. Art in the light of conscience [Electronic resource]. URL: www: / (accessed 03.09.2021).
[14] Ibid.
[15] Ibid.
[16] Ibid.



ISSN 2311-3723

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