The premises of the philosophical comprehension of musical creativity

The article considers the history of the formation of philosophical thought about the nature of music from antiquity to the beginning of the 21st century. Music was perceived both as a phenomenon in a number of other arts, and as a carrier of axiological truth, and as a unique language of knowledge. But it was precisely the combination of philosophical and musical perception that made it possible in the 20th century to come close to explaining the phenomenon of musical creativity. Through the rise of music over all the arts in Romanticism, the socio-utilitarian approach to studying the musical process by the German philosopher-sociologist, and the deterministic understanding of the musical structure by the Soviet philosopher-musicologist, the study of the foundation of musical creativity reached, it would seem, its peak in Losev’s aspiration of melos to the Logos. But the entire musical and philosophical experience of the 20th century forced the authors of this topic to come to conclusions about the still coming moment of the possible formulation of the essence of musical creativity as a special state and potentiality of the human spirit. By studying the religious, aesthetic, value, culturological, educational and other approaches in explaining the ontology and axiology of music, the St. Petersburg philosopher M. Uvarov managed to formulate what musical creativity is not, and such an apophatic approach has brought modern thought closer to comprehending the very creative act in music. Revealing the ontological and axiological understanding of music and creativity in antiquity, the Middle Ages and the New Age, among romantics and various schools and trends in the 20th century, and especially relying directly on the activities and reflections of composers, makes it possible to philosophically comprehend the nature of the creative process in musical art, which to the greatest extent continues to own the minds and feelings of people, despite the era of the Internet. Perhaps it is in our time that the comprehension of the essence of musical creativity will open a new page for both philosophy and music.