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truth with another phenomenon; 2) possession of the truth by the features that allow to refer the truth to a certain area of knowledge.

The largest cluster combines the types of truth that are determined as a result of an associative parallel between truth and some phenomenon (a natural object, a moral state, a spiritual concept). As the basis of the metaphorical projection the mechanical, physical, chemical properties and structural features of the object of reality have been revealed.

The fact that F. Bacon refers not so much to the objects as to their properties characterizes the author as a naturalist, for whom the features of the functioning of an object as a part of nature, its physicochemical parameters, dimensions, position in relevance to other objects of the system are of paramount importance. Thus, the features of the linguistic personality of the author as a scientist-physicist, a scientist-chemist, focused on the study of the natural properties of the object have been determined.

Naturamorphic images (sunlight, candlelight, pearl, hill) are mostly act as objects of the metaphorization of truth in the philosophical discourse of F. Bacon, which demonstrates the naturalistic orientation of F. Bacon's language personality: F. Bacon is strongly attracted by natural phenomena, treating them as means (tools) of cognition of such a more abstract and complex phenomenon as truth. In addition to the images of nature, F. Bacon associates truth with social phenomena (freedom, effort, labor), which reveals the sociocentrality and humanism (from Latin humanitas - humaneness, Latin humanus - human, Latin homo - man) of linguistic personality F. Bacon, that is, the focus of his attention on the problems related to men and their life in society. The author also reveals the truth as a felicitic phenomenon, associating it with happiness, ecstasy, the highest good and the goal of all human aspirations.

The truth in the philosophical discourse of F. Bacon has a certain locus (correlation), penetrating into the key areas of being: religion (religious truth), philosophy (philosophical truth), law (civil truth). Thus, F. Bacon considers the truth as a phenomenon of the Universe, a phenomenon of the universal scale, penetrating into all areas of human life. The features of F. Bacon as a religious, philosophical and politically-oriented linguistic personality are thus revealed.

The large scale and diversity of truth in the philosophical discourse of F. Bacon is also demonstrated in the presence in its cognitive structure diametrically opposite features: on the one hand, truth can evoke in a person a sense of delight, admiration, and on the other - accompany a state of appeasement, serenity, spiritual balance. This fact reveals ambivalence as one of the key features of the cognitive structure of the concept of Truth in the philosophical discourse of F Bacon. F. Bacon does not associate truth with a certain person, or a group of people, but considers it as a universal truth, which is one for all in general and one for each person in particular.

As the presented analysis shows, the truth if F. Bacon`s works is non-specific, nonpersonalized, but at the same time it is fully definable and understandable. Penetrating and filling all areas of human existence, the truth determines people`s spiritual life, its activity, its social (civil) self-consciousness. In addition, this phenomenon in the philosophical discourse of F. Bacon exceeds the scale of human nature, but is a part of the world as a whole, filling all the areas of the Universe. This fact reveals the enormity, the global character of F. Bacon as a linguistic personality. His aspiration to show the depth of complex phenomena with the help of small forms, as well as the talent to see in the small all the grandeur and beauty of the Universe.

Bibliographic list

1.Fond znanij «Lomonosov», URL: http://lomonosov-fund. ru/enc /ru/ encyclopedia: 01419 :article (vremja obrashhenija– 10.06.2017).

2.Lavrinenko, I. Ju. Specifika verbalizacii konceptov razuma i chuvstva v filosofskom diskurse F. Bjekona [tekst]: dissertacija na soiskanie uchenoj stepeni kandidata filologicheskih

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nauk: 10.02.04 : zashhishhena 25.06.14: utv. 01.02.15 / Lavrinenko Irina Jur'evna. – Voronezh, 2014. – 311s.

3.Subbotin A. L. Frjensis Bjekon. M.: Mysl', 1974. — 175 s.

4.Karev V. M. Frjensis Bjekon: politicheskaja biografija // Novaja i novejshaja istorija : zhurnal. — M.: «Nauka», Institut Vseobshhej istorii RAN, 1980. — № 3, 4.

5.Libih Ju. F. Bjekon Verulamskij i metod estestvoznanija / Ju. F. Libih. – Peterburg : Tip. Kukol-Jasnopol'skogo, 1866. – VI -72 s.

6.Putilov S. Tajny «Novoj Atlantidy» F. Bjekona // Nash sovremennik.1993. № 2. S.

171—176.

7.Popova Z. D. Kognitivnaja lingvistika : ucheb. izd. / Z. D. Popova, I. A. Sternin. – Moskva : AST; Vostok-Zapad, 2007. – 314 s.

8.Arutjunova N. D. Jazyk i mir cheloveka / N. D. Arutjunova. – 2-e izd., ispr. – Moskva

:Jazyki russkoj kul'tury, 1999. – I–XV, 895 s. – (Jazyk. Semiotika. Kul'tura).

9.Kubrjakova E. S. Nachal'nye jetapy stanovlenija kognitivizma : Lingvistika. Psihologija. Kognitivnaja nauka / E. S. Kubrjakova // Voprosy jazykoznanija. – 1994. – № 4. – S. 26–34.

10.Fomina Z. E. Jemocional'nye koncepty i ih verbal'naja reprezentacija v hudozhestvennoj kartine mira : (na materiale russkih, nemeckih, avstrijskih i shvejcarskih literaturnyh proizvedenij) / Z. E. Fomina // Vestnik Voronezhskogo gosudarstvennogo arhitekturno-stroitel'nogo universiteta. – 2004. – № 1. – S. 46–64.

11.Fomina Z. E. Nemeckaja jemocional'naja kartina mira i leksicheskie sredstva ee verbalizacii / Z. E. Fomina. – Voronezh : Voronezh. gos. un-t, 2006. – 336 s.

12.Fomina Z.E. Kul'turno-gastronomicheskie smysly v evropejskom i russkom jazykovom soznanii (na materiale nemeckih chislovyh frazeologizmov) / Z.E. Fomina // Na-uchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodikodidakticheskie issledovanija. – 2013. – vyp. 2(20). – S. 43-56.

13.Fomina Z. E. Paremicheskij koncept “Leben”/«Zhizn'» kak semioticheski i kul'- turno-stratificirovannaja kategorija = Das paromiologische Konzept “Leben” als eine semiotisch und kulturell stratifizierte Kategorie / Z. E. Fomina // Vestnik Voronezhskogo gosudarstvennogo arhitekturno-stroitel'nogo universiteta. – 2010b. – № 1. – S. 11–19.

14.Fomina Z.E. Meteorologicheskie poslovichnye primety s imenem svjatogo v nemeckom lingvokul'turnom soobshhestve / Z.E. Fomina // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledova-nija. – 2015. – vyp. 2 (26). – S. 129-146.

15.Sternin I. A. Kognitivnaja interpretacija v lingvokognitivnyh issledovanijah / I. A. Sternin // Voprosy kognitivnoj lingvistiki. – Voronezh, 2004a. – Vyp. 1. – S. 65–69.

16.Popova Z. D. Ocherki po kognitivnoj lingvistike / Z. D. Popova, I. A. Sternin. – 3-e izd., stereotip. – Voronezh : Istoki, 2003a. – 191 s.

17.Kubrjakova E. S. Jazykovoe soznanie i jazykovaja kartina mira / E. S. Kubrjakova // Filologija i kul'tura. – Tambov, 1999. – Ch. I. – S. 6–13.

18.Arutjunova N. D. Metafora / N. D. Arutjunova // Lingvisticheskij jenciklopedicheskij slovar'. – Moskva, 1990. – S. 29.

19.Lakoff D. Metafory, kotorymi my zhivem / D. Lakoff, M. Dzhonson. – Moskva : Editorial USSR, 2004. – 256 s.

20.Kniga Simvolov, URL: http://www.symbolsbook.ru/Article.aspx?id=428 (vremja obrashhenija– 12.02.2017).

Analyzed sources

1*. Bacon F. The Essays and Counsels Civil and Moral of Francis Bacon Lord Verulam, London, 1916. – 199 s.

2*. Sir Francis Bacon: Essays or Counsels, Civil and Moral 55

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The Literature Page, URL: http://www.literaturepage.com/read/francis-bacon-essays-

74.html’(vremja obrashhenija – 10.06.2017).

Dictionaries used

1**. Merriam Webster Dictionary, URL: https://www.merriam-webster .com/ dictionary/ truth (vremja obrashhenija - 02.04.2017).

UDC 81-139

NOMINATIONS OF MUSICAL INSTRUMENTS IN THE ASPECT OF MUSIC EXPLICATION IN THE LINGUISTIC WORLD-IMAGE OF O. WILDE

L.V. Korobko

Voronezh State Technical University,

post-graduate of the department of foreign languages,

Russian Air Force Military Educational and Scientific Center «Air Force Academy named after Professor N.E. Zhukovsky and Y.A. Gagarin»,

teacher of the department of foreign languages Liudmila Vladimirovna Korobko

e-mail: l.v.ledeneva@mail.ru

Statement of the problem. The article is devoted to studying of features of the concept “Music” verbal representation on the basis of lexical-and-semantic analysis of lexical items, which claim musical instruments in Wilde’s novel “The Picture of Dorian Gray”.

Results. The most frequently-used names of musical instruments objectifying the target concept are identified, dominant among them is the lexeme piano (8 items). Names of classical (piano, violin, flute, etc.) and rare (furuparis, ture, teponazili, etc.) musical instruments are demonstrated. Characteristics of musical instruments include the reference to their size, material, sound, volume, cultural identity, style of play. From the position of evaluativity the lexical items, naming musical instruments, have different axiological orientation that is expressed through descriptive, evaluative and characterological vocabulary forming their contextual environment.

Conclusion. Beauty and flexibility of sounding, creation of the pleasant atmosphere and uniqueness belong to positive features of the musical instruments presented in O. Wilde’s novel “The Picture of Dorian Gray”. The negative features are specificity of appearance and sounding of the instruments, the related rituals and original style of playing. The focus is the ethnicity of musical instruments: Mexico, India, Africa, Argentina, Amazon’s tribes, the Arab peoples and others.

Key words: music, culture, O. Wilde, world image, concept, literary discourse, musical instruments, verbalization, semantics, ethnos, emotions.

Introduction. The concept of a world-image is a basic concept which reflects specifics of the person and their life. The world-image acts as result of spiritual activity of the person and arises at them during contacts with the world [1, p. 110].

The world-image in the literary text is created by language means, at the same time it reflects an individual world-image in consciousness of the writer and is embodied in selection of elements of contents of the work of art, language means, and also in the individual use of author’s imagery.

__________________

© Korobko L.V., 2017

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Methodology. In the present article the object of the research is the lexical items nominating the musical instruments in the literary discourse of O. Wilde. The subject of the research is the features of the verbal explication of the concept «Music» in the linguistic individual-and- author world-image of O. Wilde.

Studying of the features of the concept «Music» language categorization in the literary discourse of O. Wilde is carried out on material of the novel «The Picture of Dorian Gray».

Methods of the interpretative, semantic-and-cognitive, contextual analysis, a classification method, a quantitative method were used in the analysis.

The individual-and-author’s world-image considerably differs from the objective description of events, objects, surrounding reality, from scientific ideas of them as it represents «a subjective image of the objective world». It is the image of the world designed through a prism of the writer’s consciousness and language, the result of his spiritual activity [2, p. 42–43].

Oscar Wilde’s writing caused a number of heated disputes, his works were exposed to severe criticism in literary circles. However over time the value and the significance of his works were recognized by most of critics. K. Chukovsky writes: «He, in whose works contemporaries saw only an echo of others inspirations and styles, soon after his death has been apprehended by the world reader as one of the most original minds who came to the literature with his own word, kept under all masks, under a peel of lightweight sophisms his sharply expressed and unique personality. Masks fell down from him long ago, and it turned out that under them not only the master of the sharp and biting word, not only the person of various talents, but also the creator of big poetic values remaining quite original even in the most obvious imitations, setting even to them the seal of the expressive personality was hiding» [3, p. 632].

It is possible to refer high-frequency application of the author’s imagery to the features of individual-and-author’s style of O. Wilde. The author actively attracts figurative and expressive linguistic means. At his arsenal there are poetic metaphors, epithets, comparisons added with lexicon serving for designation of metals, minerals and matters (gold, silver, silk, precious stones, etc.).

Under the influence of decadent airs and graces the writer sates his works with various exotic. The speech manner of O. Wilde is distinguished by a pomposity and «decorative effect» of the narration [4, p. 127].

Oscar Wilde is the bright representative of an estheticism. As the key phenomena represented in a literary discourse of O. Wilde act beauty and art, in particular music.

Relevance of this research is caused by the fact that in the presence of a large number of the scientific research devoted to studying of Oscar Wilde’s works, the musical component of his novel «The Picture of Dorian Gray» considered in aspect of its language categorization still remains poorly studied.

The purpose of the present article is identification and studying of the language means of the explication of the concept «Music» on the basis of the lexical-and-semantic analysis of the words nominating the musical instruments in O. Wilde’s novel «The Picture of Dorian Gray».

The verbal explication of concepts assumes expression of the writer’s intentions, purposes, desires concerning the phenomena making a subject of his cogitative activity that is reflected by the appropriate nominative means [5, p. 23–24].

We study music in line with cognitive linguistics which assumes consideration of several levels of an approach to studying of this or that concept. The cognitive approach to studying of the literary text includes, in particular, a question of interpretation of a national picture of the world, national mentality and attitude reflected in the literary work. «The national picture of the world», as S.G. Ter-Minasova declares, «unites idea of the person of various parties of the reality surrounding them»» [6, p. 47]. Linguistic units and their combinations fix realias, abstract

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concepts, ideas of the outworld and the person historically developed in the separate national speaking collective.

According to V.A. Maslova «conceptual pictures of the world at different people are identical because the human thinking is universal. National linguistic pictures of the world is just other their «colorization». The linguistic world-image reflects a national world-image and can be revealed in linguistic units of different levels» [7, p. 51].

Specifics of a certain linguaculture depends on features of operating its cultural codes, for this reason representation of lexical items with the seme «Music» as elements of the cultural code, has the features caused by emotional perception of the world and the suggestive relation to music in the English linguaculture [8, p. 69]. In our research we proceed from a technique of the analysis of the emotive-and-attitudinal lexicon developed by professor Z. Ye. Fomina [9; 10; 11; 12; 13, etc.].

In this article we will consider language means of representation of the musical instruments in a linguistic individual-and-author’s world-image of O. Wilde (on material of the novel

«The Picture of Dorian Gray»), objectifying «Music» as the most important component of the

English linguistic world-image. The quantitative ratio of the lexical items nominating the musical instruments is shown in table 1.

Table 1 Quantitative ratio of lexical items nominating the musical instruments in the literary discourse of O. Wilde

Examples

As the table shows, a dominant is the name piano which is used in the text of the novel

«The Picture of Dorian Gray» in 8 contexts. For example:

Dorian said nothing, but rose from the table, and passing into the next room, sat down to the p i a n o and let his fingers stray across the white and black ivory of the keys [1*]; When Aunt Agatha sits down to the p i a n o … [1*];

Dorian rose up from the p i a n o … [1*].

The lexical item piano is used in the combinations with the actional verbs sit down and rise up, however it doesn’t receive emotionally expressional coloring that points out its neutral connotation.

In the following contexts the lexical item piano is used with the word violin:

…and played both the v i o l i n and the p i a n o better than most amateurs [1*];

Quite forget what he does – afraid he – doesn’t do anything – oh, yes, plays the p i a n o – or is it the v i o l i n , dear Mr. Gray? [1*].

In the presented examples musical skills of the literary character who plays two the musical instruments – a piano and a violin are emphasized.

The considered nominations are stylistically neutral and serve for creation of an image of the literary character.

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The contexts given below characterize a violin as the instrument capable to reflect the slightest change of an emotional state:

Talking to him was like playing upon an exquisite v i o l i n . He answered to every touch and thrill of the bow [1*].

The nomination violin is defined by the epithet exquisite meaning «extremely beautiful and very delicately made» value [1**, http://www.ldoceonline.com/dictionary/exquisite], representing delight before extraordinary beauty of a musical instrument.

By means of comparison of the young man with a violin the main distinctive feature of the instrument – the sensitivity verbalized by means of the phrase answered to every touch and thrill of the bow is represented.

Thus, the violin answers even to the most light and trembling touch of a bow, reflecting both joy, and alarm and fear.

She makes them as responsive as a v i o l i n [1*].

In this example use of the comparative construction – as responsive as a violin is observed.

The violin is described by means of the adjective responsive meaning «reacting quickly, in a positive way» [1**, http://www.ldoceonline.com/dictionary/responsive].

The lexical item violin receives a positive markedness. The sign of subtlety of perception and sharpness of feelings and emotions display is staticized.

The name flute occurs in the text of the novel in 3 contexts:

Then it became a little louder, and sounded like a f l u t e or a distant h a u t b o i s [1*];

It seemed to him that in exquisite raiment, and to the delicate sound of f l u t e s , the sins of the world were passing in dumb show before him [1*];

…and f l u t e s of human bones such as Alfonso de Ovalle heard in Chili… [1*].

The nomination flute causes ambiguous impressions. On the one hand, sounds of a flute create pleasant feelings and are described as delicate, on the other hand, material which this instrument is made of, causes sensation of fear and antipathy.

In the presented examples use of a lexical item hautbois which is an archaic variant of the word oboe is also noted. Sound of an oboe is characterized as distant. This lexical item is stylistically neutral and doesn’t have semantic message.

The following example contains a number of names of the musical instruments: pipes, zithers, lutes, drums:

…mad gypsies tore wild music from little z i t h e r s , or grave, yellow-shawled Tunisians plucked at the strained strings of monstrous l u t e s , while grinning negroes beat monotonously upon copper d r u m s and, crouching upon scarlet mats, slim turbaned Indians blew through long p i p e s of reed or brass and charmed – or feigned to charm – great hooded snakes and horrible horned adders [1*].

There are the definitions of the considered nominations:

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z i t h e r – «a musical instrument from Eastern Europe that consists of a flat box with strings stretched across it. You play it by pulling the strings with your fingers or a plectrum»

[1**, http://www.ldoceonline.com/dictionary/zither];

l u t e – «a musical instrument like a guitar with a round body, played with the fingers or a plectrum, especially in the past» [1**, http://www.ldoceonline.com/dictionary/lute];

d r u m – «a musical instrument made of skin stretched over a circular frame, played by hitting it with your hand or a stick» [1**, http://www.ldoceonline.com/dictionary/drum];

p i p e – «a simple musical instrument like a tube, that you play by blowing» [1**, http://www.ldoceonline.com/dictionary/pipe].

In the analyzed context the characteristic of instruments, the indication of the musicians playing on them and style of playing is observed. The information is demonstrated in the table 2.

Table 2

Ethnic features of music explication

So, in the characteristic of the instrument the emphasis is placed on its size (little, monstrous, long) and material which it is made of (copper, reed or brass).

The special attention is deserved by the performers who are representatives of various ethnoses and cultures: Roma (gypsies), Tunisians (Tunisians), Afro-Americans (negroes), Indians (Indians).

Manner of music performance answers temper and customs of these people. Violent character of Roma (mad gypsies) is reflected in wild music that is verbalized by means of a verb tore from tear meaning «to cause (material, paper, etc.) to come apart or (of material, etc.) to come apart; rip» [2**, https://www.collinsdictionary.com/dictionary/english/tear] which is used figuratively.

Greatness of Tunisians is represented by description of the huge size of a lute (monstrous).

Playing of Negroes is described as “monotonous beats” that is verbalized by a combination [a verb + an adverb] beat monotonously.

Indians are associated with snake charmers whose integral attributes are pipes. The magic force of music is verbalized by means of the verbs blew through and charmed.

Thus, the listed nominations are stylistically neutral; the musical instruments serve as direct reflection of ethnic features of these or those people.

Next contexts represent the lexical items lute и viol:

They seemed to be able to give a plastic form to formless things, and to have a music of their own as as that of v i o l or of l u t e [1*].

The word viol is defined as «any of a family of stringed the musical instruments that preceded the violin family, consisting of a fretted fingerboard, a body rather like that of a violin but having a flat back and six strings, played with a curved bow. They are held between the knees when played and have a quiet yet penetrating tone; they were much played, especially in

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consorts, in the 16th and 17th centuries» [2**, https:/ /www .collinsdictionary .com /dictionary /english/viol].

Lexical items lute and viol are melioratively marked. In this example the comparative construction as sweet as is used.

The adjective sweet meaning «pleasant to listen to» value [1**, http: //www .ldoceonline. com/ dictionary /sweet] represents harmony of a lute and a viol.

The sign of desire to enjoy sound of the musical instruments is staticized.

The word reed is used in the meaning «a wind instrument or organ pipe that sounds by means of a reed» [2**, https://www.collinsdictionary.com/dictionary/english/reed]:

To you at least she was <…> a r e e d through which Shakespeare’s music sounded richer and more full of joy [1*].

The lexical item reed receives a meliorative connotation what its lexical environment testifies to:

the adjective rich in comparative degree (richer) means «low and pleasant» [1**, http://www.ldoceonline.com/dictionary/rich];

the word combination [adverb + adjective + preposition + noun] more full of joy.

The sign of the pleasant sounding creating the atmosphere of comfort, joy and charm is staticized.

The lexical item organ is used in the text of the novel once:

The dim roar of London was like the bourdon note of a distant o r g a n [1*].

In this example stylistic device of comparison is used: bourdon note reminding buzz is identified with noise of the megalopolis (dim roar of London). Sounding of the organ is described as distant.

The sign of vanity, haste, concern is staticized that points out a negative markedness of the analyzed lexical unit.

In the following context the collection of the musical instruments of the main character of the novel is represented. They are: f u r u p a r i s , d r u m , c l a r i n , t u r e , t e p o n a z i l i , y o t l :

He collected together from all parts of the world the strangest i n s t r u m e n t s that could be found, either in the tombs of dead nations or among the few savage tribes that have survived contact with Western civilisations, and loved to touch and try them. He had the mysterious f u r u p a r i s of the Rio Negro Indians, that women are not allowed to look at and that even youths may not see till they have been subjected to fasting and scourging <…> the long c l a r i n of the Mexicans, into which the performer does not blow, but through which he inhales the air; the harsh t u r e of the Amazon tribes, that is sounded by the sentinels who sit all day long in high trees, and can be heard, it is said, at a distance of three leagues; the t e p o n a z i l i , that has two vibrating tongues of wood and is beaten with sticks that are smeared with an elastic gum obtained from the milky juice of plants; the y o t l – b e l l s of the Aztecs, that are hung in clusters like grapes; and a huge cylindrical d r u m , covered with the skins of great serpents <…> The fantastic character of these i n s t r u m e n t s fascinated him, and he felt a curious delight in the thought that art, like Nature, has her monsters, things of bestial shape and with hideous voices [1*].

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In this example there is a general word instruments which is followed by the adjective strange in a superlative degree (the strangest instruments) meaning «unusual or surprising»

[1**, http://www.ldoceonline.com/dictionary/strange].

Rarity and singularity of the musical instruments specify places of their origin: from all parts of the world, in the tombs of dead nations, among the few savage tribes that have survived contact with Western civilisations.

The attitude to instruments is shown by means of the verbs loved to touch and try them and fascinated representing burning interest.

The non-standard of a form and sound of the musical instruments is described by the phrase fantastic character.

We will address to detailed consideration of the separate instruments.

The name of a rare musical instrument of the Rio Negro Indians – furuparis is described by means of the epithet mysterious that emphasizes its singularity and creates mystical aura.

The rituals interfaced to this instrument strengthen effect of mysticism even more: women are not allowed to look at и youths may not see till they have been subjected to fasting and scourging.

In the description of a clarin the attention is paid to its size – long, place of an origin – of the Mexicans, and also feature of plying – the performer doesn’t blow, but through which he inhales the air.

The musical instrument of the Amazon tribes ture differs in unpleasant loud sounding that is verbalized by means of the adjective harsh and the word combination at a distance of three leagues. Similar disharmony is explained by its function of giving signals – sounded by the sentinels who sit all day long in high trees.

The detailed description of the construction of the teponazili – two vibrating tongues of wood and is beaten with sticks that are smeared with an elastic gum obtained from the milky juice of plants – is observed.

The lexical item yotl receives definition – bells of the Aztecs, that are hung in clusters like grapes. Yotl belongs to the ancient the musical instruments of Aztecs.

In the characteristic of a drum its size – huge, form – cylindrical, material – the skins of great serpents – are specified.

The negative markedness of these nominations is caused by the generalizing definition which the musical instruments receive – monsters, things of bestial shape and with hideous voices.

The sign of idolatry, sacrality is staticized; the emphasis is placed on ethnocultural features of the musical instruments.

The musical instruments are characterized according to their size, material, sounding, loudness, cultural belonging, style of playing. Detailed classification of the musical instruments and their features are represented in the table 3.

Table 3 Classification of the musical instruments

O. Wilde «The instrument as the means of music explication» includes names of various the musical instruments as classical (piano, violin, flute, etc.), and rare (furuparis, ture, teponazili, etc.).

The wide range of cultures which the musical instruments belong to attracts attention: Mexico (of the Mexicans, Aztecs), India (Indians), African countries (negroes), Argentina (Rio Negro Indians), tribes of Amazon (Amazon tribes), Arab people (Tunisians) and others.

The attitude to the musical instruments is aestheticized by means of descriptive and characterological lexicon which reflects both positive, and negative features of the instruments. The verbalized positive features of the musical instruments are: exclusivity (exquisite); virtuosity (responsive); sounding (delicate sound, sweet, music sounded richer and more full of joy).

Beauty and flexibility of sounding, creation of the pleasant atmosphere and uniqueness act as positive features of the musical instruments.

In the case of the negatively connotated features are noted: disharmony (harsh, the bourdon note); mysticism (mysterious); specifics (skins of great serpents, of human bones, monstrous, monsters, things of bestial shape and with hideous voices); playing manner (beat monotonously, tore wild music)

It is interesting to note that negative perception of musical instruments is connected with everything unusual that does not fit into the canons of one's own musical cultural tradition.

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