Abstract

The article presents the strategy of the philosophical and culturological interpretation of the symphonic works of the famous Ukrainian composer Alyona Tomlenova based on the fundamental concepts of «cosmism» and «cosmologism», whose origins lie in ancient world outlook. Our task is to identify the theoretical and world-view foundations of musical cosmism, which are embodied in the cycle of symphonies of A. Tomlenova. We emphasize that cosmism is a universal phenomenon. In each culture, it takes a specific configuration and form, creates its own intellectual field. In general, we define cosmism as a desire to comprehend Cosmos and express it in philosophical theories, artistic and anthropological intuitions, and in personal existential experience. We presume that musical cosmism is, on the one hand, the development of such a complex, controversial, multifaceted phenomenon as cosmism, on the other hand, the result of the search for a new universal language and symbolism in the very music of the XX-XXI century. A deep study of musical cosmism remains to be done. Our research strategy is to look for the essence of musical cosmism and cosmology as the conceptual core of this phenomenon, not to turn to theoretical abstractions, but rather to the work of individual musicians for whom the “cosmac theme” becomes organic.