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History of Science and Engineering

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SYMBOLISM AND THE CONCEPT OF THE IMMERSIVENESS OF THE CIRCASSIAN (ADYGHE) MUSICAL PICTURE OF THE WORLD
A.V. Gucheva

The main concepts of the theory of immersiveness in the study of the musical worldview of the Circassians (Adygs) are considered, including music and a musical instrument as elements of myth and the focus of an almost infi nite number of aspects of world perception, driven by a variety of conflicting and interacting units, expressed through a sign, image, symbols, sound and etc., which are one of the important aspects of the universal whole, as well as the whole, which splits into many structures and systems. In each unit, the whole is perceived as one, but, in fact, it cannot be separated as a part that contains all the multiplicity by the unlimited and innumerable integrity of the myth. This approach of research is due to the need to establish seemingly unrelated units in order, with their interrelations and open laws of worldperception and myth-perception of music/playing a musical picture of the world with such an important symbol of the mythological picture of the world as «water». This article discusses the expansion and deepening of the influence of the mysticism of sound in combination with the archaic flavor of meditation through kamyl in the context of the religious rites of the Circassians (Adygs) through their reconstruction/retrospection. The sources and semantic connotation of the symbols of the myth and the sound of the Adyghe pipe in a transcendent state for communication with deities are determined and the analysis of poorly studied religious and mystical levels in the context of musical and mythical pictures of the world is also carried out.
Keywords: immersiveness, musical and mythological pictures of the world, water, ritual instrumental playing, kamyl, deity, transcendent state.


DOI: 10.25791/intstg.7.2021.1300

Pp. 28-34.

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