THE EMBODIMENT OF THE IDEA OF THE IDEA OF CONTEMPLATION AS A MANIFESTATION OF ORIENTAL THINKING IN THE WORKS OF EUROPEAN COMPOSERS (ON THE EXAMPLE, THE ANALYSIS OF “PAGODA” K. DEBUSSY)

Abstract

On the basis of the analysis of scientific literature, the article considers the evolution of the perception of Chinese culture, in particular the musical, culture of Europe from external orientation to penetration into its essential features from the boundary of the nineteenth and twentieth centuries. One of the key positions in this process in music belongs to K. Debussy, in some works of which there is a successful combination of non-European (oriental) influences and in fact “European”. This marks the beginning of the stage of deep knowledge of the East. Among the aspects that interested in European composers should be called the expansion of resources of the European musicallanguage system in the conditions of crisis (fluttering) the boundaries of the centuries through the use of modus, melodic, rhythmic principles of the Eastern, in particular, Chinese music, as well as reproduction of features of thinking, perception and contemplation. The purpose of the article is to study the means of embodying the idea of contemplation as an important aspect of an oriental way of thinking on the example of analyzing a work for piano “Pagoda” from the cycle of “Aestampa” K. Debussy. The novelty of the article is the study of the poetics of contemplation in the “Pagoda” by K. Debussy in the unity of visual and audio communication channels. The article uses the following research methods: historical-cultural, musical-linguistic, functional-systemic. As a result of the analysis of the piano work “Pagoda” by K. Debussy from the cycle “Aestampa” revealed a complex of means of poetics of contemplation (textured, harmonic, melodic, rhythmic, dramatic and formative), which interact in two channels of communication – visual and audio. The nature of the work with the Eastern cultural influences in the chosen work indicates a departure from external orientation in the direction of immersion in the specifics of innovative European thinking through the combination and successful synthesis of “European” and “oriental” at all levels of artistic integrity: artistic, compositional, technological.