The purpose given work emerges the delimitation of the subject to anthropology and culturology on attitude them to sciences of art and in analogies with scientifically-artistic complex trivium-quаdrivium of Muddle ages and Renaissance. The methodological base is a hermeneutic-cоmpаrаtive method, outgoing from the intonation approach, accepted in science, as from musicology-science of literature and linguistics up to the heory of the kinematograph as defined in works A. Kanarskiy, E. Kuc, O. Markovf, A. Sokolova and other. General science methods, analytical and historian-descriptive, which formed including methodological bases taken to study of the scientific areas to anthropologies and culturology (R. Bаrthes, Yu. Boguckiy, S. Krymskiy, O. Markova, V. Sheiko, O. Spengler), also essential for cognition of the sought regularities and generalizations. The scientific novelty of the study is defined originality of the theoretical principle of the delimitation considered scientific discipline, as well as novelty of the collations of the subject row of the study. Conclusions. Cultural science based on notion of the culture, derived by root importance of the term ("cult"!), defining quality and target purpose that "processing" (lat culture – "processing"), personifying ideal determination, but realization symbolism last emerges the art, given to primevel activity. The anthropology, as biological in the first place science with semiotic-rationalist directivity of the presentation to human essence, rests in logically-life relatedness subject-quality, forming production-consumer chain of actions, including ideal-cultural output. And culturology, as well as anthropology reproduce complex of collations of the different sciences in demonstrations of its specifics, reminding quаdrivium of Muddle ages-Renaissance in consent with nеоrenaissance and nеоbаrocco measurements of the epoches of the modern style and postmodern of XX–XXI sentures. Key words: anthropology, culturology, culture, sciences of arts, subject scientific and scholastic discipline
The purpose of this work is to reveal the natural principle of the precedence of the philosophy of music in music science, which removed musical aesthetics with its basis of the traditional philosophical and rationalist system of Cartesianism. ‘Culturologisation’ of modern musicology testifies to the absorption of non-logical properties of associative knowledge, which, according to Yu. Krysteva, is no longer rejected by science, being called the ‘hermeneutic-interpretive’ meaning of the object of the study. The methodological basis of the research is the intonation approach of the B. Asafiev school in Ukraine, as it was in the works of O. Zosim, O. Markova, O. Muravska, O. Kozarenko, Liu Bingjian, O. Roschenko with an emphasis on hermeneutic and stylistic-comparative analytical search engine. The scientific novelty of the work is due to the theoretical primacy in the musicology of Ukraine of the statement of the philosophy of music as a substitute for the sphere of musical aesthetics, which has prevailed since the 18th century, as a "speculative theory of music” relative to the traditional core of musicology, the theory and history of music. Conclusions. The movement of musical aesthetics into the bosom of the philosophy of music was carried out by the displacement, following practice, in musical science of the theatrical-secularised expression of general aesthetic antitheses in favor of the all-encompassing lyric as a specifically musical embodiment of beauty, and the dramatic and the comic appear in the degrees of incompleteness of the lyric presentation, which delimits the “aesthetic-sensual” in the musical sense. The focus of musical expressiveness on the aestheticism of the beautiful and lyrical in this approach generalises, despite its direct ecclesiasticism, the experience of spiritual music, for which the beauty of the lyrical, in the syncresis of the suprapersonal and personal, expression (compare with the “spiritual beauty” of music in Mikhail Psellus, 11th century) displaces meaningful antitheses, which theoretically coincides with the symbolism of Pythagoreanism-Neoplatonism in the philosophical-mental understanding of music as a touch to the Eternal. Key words: musical aesthetics, philosophy of music, traditional musicology, modern culture-oriented musicology, genesis of music science.
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