Русская философия музыки и опыт феноменологического восприятия: синестезия и психоделика
Studia culturae April 3, 2023 Peer reviewed DOI: 10.31312/2310-1245-2022-54-115-127 via Semantic Scholar
Summary
The article interprets musical synesthesia through the philosophy of music by N. O. Lossky and the phenomenology of M. Merleau-Ponty, using the listening experience of S. A. Kuryokhin as an example. It examines Lossky's three modes of intuitive knowledge—sensual, intellectual, and mystical—where the mystical mode transgresses into the Superworld, and parallels this with Merleau-Ponty's existential phenomenology. The theurgic synesthetic music of Scriabin and Kuryokhin's album "Sparrow Oratorium" are discussed, with Kuryokhin's work moving synesthesia into psychedelia, metanoia, and schizophrenic psychosis, where emptiness becomes the center of being and the ego dies for rebirth.
Study at a glance
| Design | theoretical or philosophical paper |
|---|---|
| Key finding | Musical synesthesia, as exemplified by Kuryokhin, can be philosophically understood through Lossky's mystical intuition and Merleau-Ponty's phenomenology, leading to experiences of ego death and rebirth. |
Abstract
The main object of the article is a philosophical interpretation of the phenomenon of musical synesthesia from the point of view of the philosophy of music by N. O. Lossky and the phenomenology of M. Merleau-Ponty. The original experience of listening to music by S. A. Kuryokhin is taken as an example. The first part of the work describes the tradition and formation of the Russian philosophy of music, and as a further research instrument, the main aspects of the philosophy of music by N. O. Lossky and the phenomenology of M. Merleau-Ponty are considered. Special attention is paid to three modes of intuitive knowledge: sensual, intellectual and mystical. Lossky writes that the first two modes are located and work in the world, while the mystical intuitive mode transgresses into the Superworld. A similar scheme of perception can be traced in the existential phenomenology of M. Merleau-Ponty. The state of this transgression, transsubjectivity, musical synesthesia can be traced in the theurgic synesthesiс music of A. N. Scriabin. In this context, the musical phenomenon of S. A. Kuryokhin is considered, especially his album “Sparrow Oratorium”, which, inherits the traditions of synesthesia, transgresses it to another level — the level of psychedelia, metanoia, schizophrenic psychosis. Kuryokhin's music evokes an experience where emptiness becomes the center of being, where, due to the death of the ego and rebirth, a person finds his true essence.