UDC 7.01
DOI: 10.36871/hon.202302052
Authors
Olga A. Putecheva,
Kuban Medical Institute, 350015, Russian Federation, Krasnodar
Abstract
The modern cultural situation is characterized by the increasing role of mythology and mythmaking.
The relevance of the study of myth and the mechanisms of mythologization is associated
with its special role in music and theater, with the desire to know the deep, essential
connections and relationships, the common in the special. The purpose of the work is to comprehend
the mechanism of creative approach to the myth. In the XXth – early XXIst centuries,
artistic creativity is not only inspired by images, myth plots, but creates its own myth based
on archetypes in the system of mythological modelling.
The interaction of music and myth at the point of the ritual opens up new possibilities of
meaning and expression. The use of myth in its cognitive aspect gives music a stable structure,
fixing semantic points in the form of a plot, a story. Myth acquires the energy of a living voice
in sonic mysteries. In the work of the composer A. Bakshi, the musical formulas that contribute
to the expression of mythological content are actualized. The article identifies three approaches
to the use of mythopoetic structures: myth as a plot basis of musical image, work with sound
equivalents of archetypal components of myth, and creation of mythologizing sound structures.
In the first case, myth serves as the narrative source of one of the sections of the mystery
"Polyphony of the World", 2001. Mythological thinking becomes a way and method of working
with musical matter (performance "Hotel Room in the City of NN", 1994); finally, myth is created
by sound expression ("Sidur-Mystery", 1992). Aesthetically, myth is interpreted as an artistic and
semantic matrix, leading to the comprehension of the sonic material.
Keywords
myth, mythologization, musical and theatrical modelling, composer A. Bakshi, mythologizing sound environment
