Symbolism in the 19th Century, its Projections on the Age of Psychology of Unconscious and Musical Aspects of That Trend

Abstract

The purpose of the research is to identify proto-symbolist features in the legacy of T. Shevchenko, post-symbolist indicators in the 20th century and their musical expression. The methodological basis of the research is the intonation approach in the vision of the genetic unity of music and speech principles in the development of the concepts of B. Asafiev and B. Yavorskyi in the works of D. Androsova, O. Markova, I. Podobas, L. Stepanova, L. Shevchenko, with an emphasis on the hermeneutical perspective of this approach. The methods used are analytical and structural, focusing on the musicological specifics of thematic and constructive features of the compositions' presentation, and interspecies stylistic comparative to understand the interactions of artistic, scientific and religious tendencies in the thinking of representatives of proto-symbolism, symbolism as such and post-symbolism. The scientific novelty is the emphasis of the religious and cultural scope of symbolism, in which the artistic components are subject to the general cultural requirements of creativity, given the mystical charge of expressiveness derived from icon painting and old church music, which nourished the beginnings of this trend not from the capital formations, but from those that met the needs of the religious community of the state and the nation. In this regard, the centring of symbolism in Ukraine around Odesa, which in the 19th century was the imperial centre of publishing spiritual literature, primarily Orthodox, is organic. Conclusions. Symbolism appears in art in the phenomena of proto-symbolism of the late 18th and early 19th centuries, and is expressed in its methodological independence in the second half of the 19th and early 20th century, demonstrating post-symbolist manifestations in both modern avant-garde and traditionalism, as demonstrated in Ukraine by the compositions of B. Liatoshynskyi and V. Kosenko, for whom, like for many prominent artists, the appeal to the symbolist origins was not only a conscious act, but also a subconscious appeal in search of metaphorical saturation of artistic expression, which provokes the creation of symbolist "supercomplex" metaphorical images.