On the religious foundations of A.F. Losev's Philosophy of Music

ON THE RELIGIOUS FOUNDATIONS OF A.F. LOSEV’S ABSTRACT. The article considers A.F. Losev’s philosophy of music in the context of his entire religious worldview and as the part of his Christian-Neoplatonic philosophy. Synthesizing Pythagorean-Platonic and Romantic musical doctrines, Losev concludes: music is the expression of the life of numbers, a meonic-hyletic element that rages inside numeric constructions. So it is necessary to analyse the concept of number in the system of Neoplatonic thought. In the Neoplatonic hierarchy of the universe both numeric sphere and music are located at the source of all the eidei, above them and between the One (the first hypostasis) and the World Intelligence (the second hypostasis). Then music is considered in the context of the relation between the uncreated Absolute (Tetrade A) and the created world (Tetrade B). Losev’s doctrine on the Tetrades A and B (connected not by essence but by energies) is the important modification of Neoplatonism. Finally the article considers Losev’s account of music in relation to the absolutized individual person. KEY WORDS: Absolute, Christianity, eidos, energy, essence, music, name, Neop27i,8l1XZLNE.K,002 » platonism, number, philosophy, religion, Romanticism The philosophy of music occupies a prominent place in Losev’s oeuvre alongside the philosophy of myth and the philosophy of the name, as one of his most significant and original conceptions. Unlike many thinkers Losev not only considers the question “what is music?” but even provides a definite and conclusive answer, which in short form reads: music is the expression of the life of numbers, a “numeric matter,” a meonic-hyletic element that rages inside numeric constructions. To a person unacquainted with Losev's overall system such an answer might seem disappointing. In the first place, the idea of a kinship between music and mathematics is not new, going back to Pythagoras and Plato and featuring such proponents as Leibniz, Novalis, Debussy, and many others. In the second place, the understanding of music as the expressed life of numbers may frighten some with its seeming “formalism.” One can easily see that this is far from formalism if one inquires Studies in East European Thought 56: 161-172, 2004. © 2004 Kluwer Academic Publishers. Printed in the Netherlands.

ON THE RELIGIOUS V. ZENKIN FOUNDATIONS OF A.F. LOSEV'S PHILOSOPHYOFMUSIC ABSTRACT. The article considers A.F. Losev's philosophy of music in the con text of his entire religious worldview and as the part of his Christian-Neoplatonic and Romantic musical doctrines, philosophy. Synthesizing Pythagorean-Platonic Losev concludes: music is the expression of the life of numbers, ameonic-hyletic element that rages inside numeric constructions. So it is necessary to analyse the concept of number in the system of Neoplatonic thought. In the Neoplatonic hier are located at the source of of the both numeric and music universe archy sphere all the eidei, above them and between the One (the first hypostasis) and theWorld Intelligence (the second hypostasis). Then music is considered in the context of the relation between the uncreated Absolute (T?trade A) and the created world (T?trade B). Losev's doctrine on the T?trades A and B (connected not by essence but by energies) is the important modification of Neoplatonism. Finally the art icle considers Losev's account of music in relation to the absolutized individual person. KEY WORDS: Absolute, Christianity, eidos, energy, essence, music, number, philosophy, religion, Romanticism platonism, The of music philosophy oeuvre alongside as one the name, Unlike which of the philosophy rages Losev's inside place in Losev's and the philosophy of even and original significant conceptions. not only considers the question "what a definite and conclusive answer, provides a "numeric numeric overall of myth Losev in short form reads: music numbers, a prominent of his most thinkers many is music?" but occupies name, Neo system matter," constructions. such is the expression a meonic-hyletic To an answer a person might of the life element that with unacquainted seem disappointing. In the first place, the idea of a kinship between music and mathe matics is not new, going back to Pythagoras and Plato and featuring as Leibniz, and many others. Novalis, proponents Debussy, as the expressed In the second the understanding of music place, some life of numbers with its "formalism." may frighten seeming such One can easily see that this is far from formalism if one inquires Studies inEast European Thought 56: 161-172, 2004. ? 2004 Kluwer Academic Publishers. Printed in theNetherlands.

the nature about of numbers V. ZENKIN in Losev's not speak of this in his works the clearly expressed religious his entire philosophy. Therefore seem (such Cosmos first glance nauka sovremennaja might just as he "brackets" basis of (Christian-Neoplatonic) some works which might not at to music relevant Losev philosophy. on music, [The Ancient as Antichnyj kosmos and Modern Science], i Dialektika chisela u Plotina [The Dialectic of Number in Plotinus]) may turn out to be key for the understanding of Losev's philosophy of music. of Consideration the evolution of Losev's musical philos ophy will facilitate the demonstration of its religious foundations. It would be no to state exaggeration that Losev's conception "folds" the entire history of thinking about music from antiquity to the twentieth century into a single moment. It brings to synthesis such polar as opposites the "numeric" Pythagorean-Platonic musical cosmos and the elegantly emotional and ineffable musical element of romanticism. Losev's foundations) are most (1915-1916) on Verdi's and also immediately Traviata, one discovers German Richard Losev the basis roots (one of his major in his early works visible Rimskij-Korsakov's Snegurochka, in the unfinished essay "Stroenie khudozhestvennogo Structure of the Artistic Worldview). (The mirooshchushchenija" Here romantic Losev romanticism to be an heir primarily of and especially Novalis, Hoffmann, and Nietzsche. Music for the early (Schelling, Wagner), Schopenhauer is an irrational, Dionysian of any artistic of the aesthetics a feminine and element, principle asserts Losev that "pure experience" thought. (the "point of ontological contiguity of being and consciousness") lies at the basis of all art and of all knowledge (Losev, 1995: 299). This is "primary being, characterized (1) as continuous creative process and (2) as purely perceptual unformed quality or meaning" (p. 300). But music, unlike the other arts, deals only with this unformed element. chaotic Naturally, process Losev of "pure experience": speaks of the chaotic this is the musical and unformed nature of music only in relation to the world of determinate, objective forms and clear logical concepts. Within itself music is of course formed, the but this is the "form Thus inexpressible." the romantics' completed of Losev's the formless," antinomical the "expression of dialectics logically intuitions. This picture is complemented by the aesthetic Russian thinkers from the turn of religious ideas of other the twentieth

century (Vladimir Solov'?v, Father Pavel Florenskij, Father Sergij Bulgakov), who saw the source of art and artistic images in the divine world or in the eternal prototypes of things, the Platonic eidei: Primal being, untouched by thought, bears within itself however the imprint of nascent transfiguration, which is completed here in the reforming of inert matter is as important for art as this matter. But into the true form of beauty. Nothing in art this matter seems transfigured and saved, frankly speaking, is the aesthetics of religious materialism, religious. True aesthetics Developing Losev the traditions of his predecessors accentuates the understanding of as something (p. 300) inRussian philosophy, art not only as likeness and symbol of divine creation (this is a commonplace inmedieval Christian aesthetics) but also as the portent of the final transfigura tion of the world. as pure pre this primal being phenomenologically have characterized as the final qualitative basis of being or structural experience; ontologically as objective meaning; and religiously transfigured being. On the basis of this being art further erects structures and formations, taking these latter from the portent of the future Logos which is distorted in the current level of being to the degree of static and inertmatter, (p. 301) We In this manner the twenty-two-year-old Losev viewed the operas "Let them not accuse us of being of Verdi and Rimskij-Korsakov: unbalanced if we assert that the worldview of the Italian melos is the childlike simplicity and innocence of which Christ said, 'For " of these is the Kingdom of Heaven' (p. 634). Rimskij-Korsakov's that has over beauty a praise of universal encumbrances and [...] Spring the earth resurrected Love [...] [...] [...] a transfigured, Snegurochka come earthly universal allowed him to glimpse "realized personhood from which the chains of death and evil have fallen and which sees the world and beauty as they really are" (p. 617). from the early 1920s, recently Fragments of manuscripts published as "Metodologicheskoe vvedenie" (Methodological Intro duction) and "Ocherk o muzyke" (Essay on Music), were drafts towards Losev's major musical work Muzyka kak predmet logiki (Music as an Object of Logic; 1922-1925, published in 1927). In his "Metodologicheskoe vvedenie" Losev grounds his epistemological position by tracing it to medieval Byzantine philosophy (Pseudo the Areopagite and especially Gregory Palamas). The Dionysius essence of this epistemology is in the idea of seeing as a method,

V. ZENKIN the subject-object realms. essence. and revealed meaning seeing opposition, is not a psychic the eidos Seeing for Losev Meaning outside of the physical is beyond and psychic act but a "revelation in the psyche of the semantic energy of the object itself." In this text Losev not name does of his speak sources the religious-theological but neither does he conceal a certain reveals intention) of his epistemology, them. His very terminology on reliance (not to the onomato logical conception that can be traced to Gregory Palamas' doctrine concerning faith in the undivided and unconfused nature of essence (manifested energy extends the foundational as of God but God and is God Himself, tion of any essence or the phenomenon of onomatodoxy thesis to its energies. the name). "The is not a Name" Name - to the rela to the classical Appealing Losev and medieval tradition, he goes beyond the bounds of modern philos ophy with its aspiration to the "absolute" (Hegel) and to pure scientific method. Losev battles such pillars of classical human as the subject-object sciences dualism and formal logic. to Losev, the essence of music is not reducible to According anything else. It is ineffable, but it reveals itself to another in its semantic its names energies, in finally, that in myth and, energies is no accident his concentrated particularly name." "unfolded magic o "Ocherk includes muzyke" as essay as an It a myth concerning Beethoven's Fifth Symphony, while the strictly scholarly tractMuzyka kak predmet logiki also includes a section entitled "Muzykal'nyj mif" (Musical myth), full of "mad" romantic exuberance. Muzyka kak predmet logiki presents the ideas of Losev's early articles in theirmature form, which here comprises a fully original philosophy of music. In this work Losev takes the great romantic tradition of interpreting music to its limit and overcomes it by synthesizing it with the classical and medieval tradition. It is for good reason as the text century, concrete that the arch-romantic of some unknown Losev although result of Losev's was "Muzykal'nyj German writer of is presented the nineteenth course actual author. of overcoming of its mif" the romantic The conception and his appropriation of theNeoplatonic conceptual system was the revelation of the inner basis of music, that which lies at the founda tion of key its continuous role here was chaotic played by processuality the concepts and formlessness. of number, eidos, logos,

of as the "alogical role of time of the number." Wagner's becoming the word vis-?-vis which Losev music, the formative shared in his Music contains now was early works, within itself its own projected inside music idea had itself. its own word. and logos, eidos, or more is the number, the other, precisely the meonic element of the numeric number, being-as-other, unique as in Neoplatonism, matter. In Losev's there is a notion philosophy, The of music eidos to say, "noetic" or, as he preferred [umnyi] a number is the principle of its becoming, of non-material, ideal, matter. The matter of the otherness as determinacy; of number it is the continuousness of the transition from one part of the number to another: Music the sonic of expression "In music, of becoming. the alogical amidst in the storms and passions of irrationally flowing continuity one sees a clearly formed, motionless absolutely is as the alogical element element of becoming, matter this numeric and clearly [...] defined border: this is the semantic figurality of the number" (Losev, 1990: 330). One ask what might to religion. Losev nature the numeric relation understands number itself not as above them of music bears in the context of the the dry abstraction of tradition, Pythagorean-Platonic just modern In mathematics. the of the European Neoplatonic hierarchy at the source of all the Universum the numeric located sphere was eidei (meanings and concepts), and between the One (the first hypostasis) and the World Intelligence which contains within itself all the eidei (the second hypostasis). The One (the Absolute) logically posits as its other the many, which takes form to numbers. thanks Thus archical the same hier sphere occupies near to the are Both maximally the numeric step as the musical element. Primal One, to theAbsolute. Both lie at the beginning of any formed essences. Number is not only the pure being, prior to any concrete act of positing, The musical empty of any objective meaning. sphere same way. But is supra-objective in the exactly if each number is the One in its being-as-other from which everything (the many), is unfolded then this is the "point" and numbers become, as it were, directional and formative principles of the unfolding of all being. They are the conductors of the demiurgic process. Following the Neoplatonist Proclus Losev classified the gods of ancient mythology as numbers. Thus step to the Absolute. numbers and music occupy the nearest hierarchic

V. ZENKIN TABLE I Losev's Possible categories philosophical A Tetrad religious analogues A Tetrad 3. 1.God the Father. 2. God 1. The One. 2. The One Being. or subordina- God the Holy Spirit (no hierarchy Becoming the Son. 3. tionism) 4. The fact (the appearance of essence). 4. Uncreated energies of God which are separate from the trihypostatic essence of God, including the Divine Light of Mt. Tabor and the Name of God. B Tetrad 1: The analogue to the supra-objective One in the created world. Numbers, "pure musical 2. Eidei B Tetrad 1. The created energies angelic world), of God (the "Fire." being". 2. The (images) of things. "Light." sphere of the cosmic Intelli gence. 3. Becoming Life. to the eidei). (external 3. The World Soul. "Air." 4. Things. "Earth " 4. The "Water" Cosmos. How must this ("musical") step look in Christian Neoplatonism? If in pagan pantheism God (or gods) and the world are substan tially one, then in Christianity the divine, uncreated Prime Essence is substantially incompatible with created being. Therefore, taking - the as his basis the four-step tetrad of Neoplatonism (The One in the Universal Intelligence - the World Soul - the Cosmos), book Antichnyj kosmos i sovremennaja nauka Losev divides them into various homoousia tetrads of God in order and to avoid the world. The subordinationism uncreated and Essence the together with its uncreated energies is denoted as Tetrad A, while world is denoted as Tetrad B (see Table I).1 the created named essences theory of energies (Tetrads of St. the interaction of the two explain uses the aforementioned and B) Losev To Gregory Palamas and the theory of the divine names (Dionysius Areopagite) from Byzantine theology: "Tetrad B is sustained by

Tetrad A" (Losev, 1995: 191) in other words the world is sustained by the Name of God. The Prime Essence itself is ineffable for human consciousness, but it is revealed in the divine energies or divine names. The sphere of the divine of artistic the source and, consequently, beauty one can conclude based artistic prototype, as a modification of the divine arises energy includes energies The prototypes. on Losev's in the artist's concepts, creative numeric Besides thought. the highest level of the creative essence the angelic powers: incorporeal are a natural "the angels Losev, being, includes also the sphere of In Christianity, world. link and musical to according in the emanations leading from God through them to the rest of creation" (Losev, 1995a: 102-103). Thus the life of numbers is, in a certain sense, the life of angels which bear within themselves the energy of theAbsolute, and this is the ideal should status here of music, one, as "tidings" about divine will essence about of "angels" but rather concept, concept not as a mythological as a logical and philosophical and as "tidings" task. The its principal be understood given to its real formation; prior this is the basis of the supra-objectivity and "incorporeality" of numbers and of music. Losev Moreover, of speaks angelic world in various mythological the modifications of the systems: in any transcendental philosophy the place of angels is occupied by the transcendental schema and the entire semantic sphere as such [...] Therefore Thus Kant's "category," Hegel's Husserl's "concept," "eidos," and Cohen and Natorp's "hypothesis," are beyond a doubt only inwardly nullified angelology. These struc tures are intelligent and incorporeal; they make sense of and form all of being and in this sense are its guardians. (Losev, 1995a: 102-103) Incidentally, the professional church which the medieval of tradition European the source of became music understood music precisely as the singing of angels. However it is obvious that music frequently departs quite far from its principal position and, of course, working with music does not automatically presuppose nearness to God; usually quite the contrary! passages art, There are some eloquent about this in Losev's and music consciousness, in particular, a situation "Muzykal'nyj mif" and fiction. The reached that Losev sometimes grotesque tendency to divinize its apogee in depicts in the the romantic section inMuzyka kak predmet logiki. Losev attributed

this to "a little-known section profound German of musical understanding [...] who had a quite although the real author writer art," was Losev himself. This quite exalted text is noticeably different in style from the strictly logical and almost mathematical argument of tract. Here the musically feel musically means of sand there [...] is something musical feeling" Losev's own this author not divinizes only and the entire madness, means to pray to everything"; "To live musically "to feel means not to know the separation of God and world. To cosmos: There romantic-minded artistic to praise each blade of grass and each grain in the soul's musical pagan ecstasy. and biological in the madness of [...] is something amoral (Losev, 1993: 470). All of this had no place position attributed text was his own his beloved, but also music the as an Orthodox to another with Christian, the comment in was which why that "he now felt little sympathy for these mad exaltations of musical feeling" (Losev, 1993: 479) and that he could not bear responsibility for such delirium. But why then did Losev include this "musical myth" at all? It contained something of great importance for the essence of modern which music, European is absolute in that sense music that it seeks to replace theAbsolute with itself, to become absolute being and world within itself. Therefore in this section everything is inten tionally colored with romantic pantheism. Failing to consider the philosophical context of this fragment and the element of play with the romantic repulsion), the incorrect ation and conception the German that (a play music scholar includes conclusion that for Losev music of reproduction the One" Andreas and both attraction Wehrmeyer "the becomes "the direct and made eman of expression the Absolute itself" (Wermeyer, 1990: 74, 75; cf. 1991: 24-43). That Losev did not hold music to reproduce the Absolute directly I tried to show with the help of Table I. In answer toWermeyer's allegations of pantheism I would clarify that it is the characteristic of the romantic divinization of music towards which Losev had an attitude. ambivalent of music and On the one the romantic hand concept bore a kernel of truth which Losev his own manner other hand, Losev and within consistently his the romantic of "pure" and developed own understanding music "absolute" and reworked of music. conception the extremes opposed cism, speaking against the divinization of music of On in romanti and of the musical

artist, untrammeled against etc. Highly individualism, representa tive in this sense is Losev's essay from 1919-1921 "Mirovozzrenie Skrjabina" (Skrjabin's Worldview). Taking Skrjabin as the logical "ultimate result, and art," tension" in seeing "end" of "Western composer's worldview and the European thought "an unpreced atheism" (Losev, 1995: ented system of pagan Christian-solipsistic 779, 773) passionately criticizing Skrjabin's self-divinization and declaring Losev anathema, Skrjabin was and sense. intimate to this are Testimony criticizing simultaneously and rejecting what he himself had experienced in themost profound the following "in words: all this pagan vile which is expelled only by fasting and prayer, Skrjabin revealed a purely religious element and he, I repeat, is one of the rare geniuses who a concrete provide of paganism experience and its relative truth which can never be destroyed" (Losev, 1995: 778-779). as a signifi of romanticism fiction extends Losev's this critique cant part of his own personal makeup and as a part of contemporary in the process of but which was that was yet to be overcome culture (TheWoman being transformed. The novel Zhenshchina-MysliteV Thinker) is especially telling in this regard. It was inspired by the inspired skill of the great pianist Marija Judina. The tragic fate of the novel's heroine, scandalous the and degraded Radina, genius which has nothing in common with the biography of her prototype, symbolically expresses the inner drama nature of this absolutization, of human and nullification It is precisely to be created personhood. European music and, as its consequence, the destruction personhood. the divine origins of art which allow great works under Losev of modern of the human subject, the illusory which reflects the absolutization the conditions formulates the of a "sick" interrelations Absolute and thus provides the methodological meditations on this subject: culture of music and "sick" and the foundation for his If one speaks about music as an intra-divine sensation, then this fails to raise itself. The Absolute, according to its very concept, the problem of the Absolute is something that endlessly transcends any human sensation. Music provides the intra-divine absolute life not in the sense of its literal reproduction, not in the sense of its substantial absoluteness, but in the sense of a corresponding perspectival foreshortening, i.e. in the sense of an image that repeats only the proportions but not the absolute measures. After all the sun is reflected in a drop of water [...] But

this does not mean that the drop of water has the size of a sun [...] Music provides an intra-divine sensation precisely in the image of such semantic foreshortening such as is proper for the finite compared to the infinite. (Losev, 1993a: 184-185) I should note that the "perspectival foreshortening" of the Abso lute which Losev mentions should be understood not quantitatively but qualitatively. as the supreme The Absolute value religious may be understood not in a spiritual and Christian manner, but in any one a number of concrete of in paganism, where and plastically, socio-historical it could be understood magically, or subjectively, Losev's and two cases of a direct gives the novel Zhenshchina-mysliteV rather two different ecstasy, two ways human (i.e. values such but must modern which words the Hesychasts gave rise to them. with its objective-personal the human acceptance form of prayer. Obviously God) in the only cannot become music in the prayerful where culture, European of allowed to occur dissolve but the two types of ecstasy differ the Christian conditions In other and supra-objective. the "noetic" prayer as the cultures manner in an analogous Losev demonstrates that medieval culture under of music comparison Trio and the novella two types of of a single essence into the consciousness penetrates manifestations in which of the supra-intelligent is to the other arts as divine in - is to regular verbal prayer. But of materially particularly (Tchaikovsky's Trio). This is not a coincidence, Chajkovskogo Absolute A way. culture. European fiction prayer: sphere music other is the understanding of theAbsolute dramatic problem for Losev modern in some as such applications a self-sufficient the contrary, in attitude. On the human world subject is subjected to absolutization while is increasingly the objective Absolute the place of religious prayerful schematized and depersonalized, was ecstasy of knowledge occupied by secular musical of the Absolute.2 Regardless the concept of the Absolute, and the concrete ecstasy," content of the Absolute. presupposes the for impossible in all seriousness, absolutization the infinity of all finitudes Absolute, it is "the transcendental principle of form In Losev's the mortal an Absolute as a special form ecstasy of how man understands of is determined ecstasy by the "music words, modern European of the human since it is subject; human actual subject Absolute to become [...] which in a single point, emits of eternal searching the Absolute contains the it as a potential and becoming" (Losev,

1993a: 164). But then it is clear why the music of the anthro (from the seventeenth pocentric European culture of modernity to the nineteenth of the centuries), supra-rational sphere as the which originated of numbers and incorporeal incarnation essences, becomes at the same time increasingly human (and eventually "all too human"), since theAbsolute itself becomes immanent to human consciousness. is becomes Thus clear but rather prayer, "absolute music." For Losev the immersion the ecstasy of prayer the why form supreme of individual person is no longer spiritual activity for the absolutized into was own one's to music superior art. Through the protagonist of "Trio Chajkovskogo" and art" "pure to any and Losev says: can we do if we are not monks, and if we are not fated to experience the noetic ecstasies of hermits and saints? [...] This is where music consoles us [...] Taking into account all the explanations, clarifications, and exceptions that I gave, themusical ecstasy is the purest and most perfect achievement of culture, themost positive and valuable thing thatWestern Europe has produced in all of modernity.3 What (Losev, 1993a: 194) In his works of the 1920s, while Soviet censorship was gaining Losev strength, was able to conceal and mask the religious nature of his philosophy, which he did with especial virtuosity inFilosofija imeni (Philosophy of the Name). However the publication of The arrest. Thereafter, led to the author's from the of Myth was to observe the 1970s, Losev forced "ideological on music It is remarkable that Losev's final essay compliance." Dialectic 1940s to in Sovetskaja muzyka) lacks the most (published posthumously important element: the doctrine of musical number. I believe that this indirectly confirms that Losev understood musical number in a religious manner, and not, say, in the manner of or formalism structuralism. However in the 1960s and 1970s Losev continued to write on his beloved Wagner, which allowed him to augment his picture of the "apocalypse" of European culture with a profound analysis of Der Ring der Nibelungen. Without launching into a detailed account of this analysis, I shall merely note in conclusion a certain parallel between Wagner and Losev as cultural phenomena, a parallel produced by the logic of history. The initial moment which Losev's work seemed a direct continuation of Wagner's at the turn tomythology as the first principle of culture. The difference is in the instrument of analysis: ifWagner uses a musical analysis

Losev of myth, a philosophical provides and conceptual analysis. The goal of Wagner's life was the creation of a future art which turned out to be nothing but a myth (a Christian myth, as is shown in the finale o? Parsifal). The life task of Losev was the philosophical grounding of myth and the creation of absolute dialectics as the realization of a philosophically manifested "absolute mythology," which in Losev's terminology meant Christianity. NOTES 1 the members of Tetrad B by the words in parentheses, apply symbolically the names of the elements as they featured in ancient Losev which characterizes philosophy. 2 Incidentally the surviving part of "Ocherk o muzyke" opens with the intriguing statement: "This is terrifying to utter and sounds unusual and uncanny to a normal ear. Yet this [...] is only a descriptive portrait of musical ecstasy" (Losev, 1995: 638). 3 Of course by this time Losev was amonk, but this excerpt is uttered by a secular person from time. that particular REFERENCES Losev, A.F. Iz rannikh proizvedenij, Pravda, Losev, A.F. Zh?zn'. Povesti. Losev, A.F. Forma. Stil'. Rasskazy. Vyrazhenie, Pis'ma, Mysl', 1990. Moscow, Losev, A.F. By tie. Imja. Kosmos, My si', Rossijskij 1993. otkrytyj universitet, Moscow, Komplekt, Moscow, Saint Petersburg, 1993a. 1995. Losev, A.F. Imja, Aletejja, Saint Petersburg, 1995a. vvedenie," Voprosy filosofii 9 (1999), pp. 76-99. Losev, A.F. "Metodologicheskoe metafiziki Andreas [A. Vermejer]. "Logicizmy muzykal'noj Wehrmeyer, Loseva?" Sovetskaja muzyka 12 (1990), pp. 69-76. um 1920, Peter Lang, Wehrmeyer, Andreas. Studien zum russischen Musikdenken Frankfurt am Main, 1991. From the Russian by Robert Bird Moscow Moscow, Conservatory Federation Russian 125009, B. Nikitskaja,