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Music appears a key part of moral life of the person and means of an explication of the true entity of the person. According to our observations, L.N. Tolstoy and V.V. Orlov use, mainly, polar estimates of the nominations of persons whose activities are connected to execution of music. On the one hand, musicians in L.N. Tolstoy’s and V.V. Orlov’s works are represented as the gifted people belonging to the elite of society, influencing the moods and aspirations of people, increasing their spiritual culture. On the other hand, people of this profession are described as low, petty, neglecting public foundations, moral standards, causing feeling of contempt. Cf.:

…on byl skripach, prichem iskusnyj, nezhnejshij <…> on by ee sygral ne huzhe pervoj skripki <…> oni uvazhali ego [skripacha] principy [1*];

…byl talant k muzyke, i on vyshel ottuda skripachom i igral v koncertah [2*];

…ona dala prostranstvo i vremja nekim predpriimchivym muzykantam , u kotoryh za dushoj nichego net [1*];

…ne professional'nyj muzykant, a poluprofessional'nyj, poluobshhestvennyj chelovek

[2*].

The detailed l e x i c a l p o r t r a i t s focusing attention on parts of the face and bodies and being the signs serve creation of images of musicians in works of both authors. So, in the story by L.N. Tolstoy the violinist has the red lips, bent up big white fingers (krasnye guby, izognutymi kverhu bol'shimi belymi pal'cami). Cf.:

…ona obnimaet muzykanta , ottogo chto u nego krasnye guby [2*];

…[skripach] delal jeti arpeggio svoimi izognutymi kverhu bol'shimi belymi pal'cami [2*].

The very appearance of the hero is symptomatic; everything in him attracts and bewitches women. Getting under influence of his natural magnetism and also being under an impression of his musical talent, women “lose mind” and are capable to give in to a fleeting rush. Such signs of appearance of the hero don't cause the benevolent relation to him, and give rise to opposite feelings [15, p. 68].

In the novel by V.V. Orlov the large constitution ‒ plentiful in a body, with bushy eyebrows, a mighty breast (obilen telom, s kustistymi brovjami, moguchej grud'ju) ‒ which is unusual for people of this profession, emphasizes such features of his personality as grandeur and arrogance. Cf.:

Zemskij byl o b i l e n t e l o m , <…> lys, zato s k u s t i s t y m i b r o v j a m i , <…> s ego komplekciej <…> dyshat' m o g u c h e j g r u d ' j u hotja by v gigantskuju mednuju trubu,

<…> a on byl skripach [1*].

The violist Chesnokov is characterized as the young violist that speaks about his inexperience. Cf.:

Rjadom s nim sidel u s a t y j Chesnokov, m o l o d o j a l ' t i s t <…> Chesnokov ponimal, chto Danilov ne mog ne zametit' ego hitrostej [1*].

The distinctive feature of the cunning, but unlucky musician are moustaches (moustached). Like a pungent smell of garlic, which should be noticed, “cunnings” of the violist Chesnokov also couldn’t remain unnoticed, and on the contrary drew special attention.

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Music in L.N. Tolstoy’s and V.V. Orlov’s literary discourse appears an independent entity, what the s y n t a g m a t i c r e l a t i o n s of the verbal representants of the concept “Music” convincingly testify to, which analysis showed that authors, mainly, objectify the required concept by means of combinations of verbal type that gives the chance to show agentive lines of music (music – an agent) and also to reflect the attitude towards it (love, hatred, etc.). Cf.:

…muzyka dejstvuet , kak zevota, kak smeh: mne spat' ne hochetsja, no ja zevaju, gljadja na zevajushhego, smejat'sja ne o chem, no ja smejus', slysha smejushhegosja [2*]; Muzyka zastavljaet menja zabyvat' sebja, moe istinnoe polozhenie, ona perenosit menja v kakoe-to drugoe, ne svoe polozhenie [2*];

…utrom muzyka orkestra smjala ego, razdavila , podchinila sebe golos ego al'ta

[1*].

In focus of attention of L.N. Tolstoy further there are substantive and prepositional-and- substantive combinations serving specifications of cognitive characteristics of the considered phenomenon, for example:

I mezhdu nimi s v j a z ' m u z y k i , samoj utonchennoj pohoti chuvstv [2*]; Ah, kak zamechatel'no! Moja Liza b e z u m a o t m u z y k i [2*],

whereas the evaluation component represented by adjectival type of combinations is the least significant in the quantitative relation, cf.:

Vse bylo napravleno protiv nee, v osobennosti jeta p r o k l j a t a j a m u z y k a [2*].

V.V. Orlov, on the contrary, gives preference in conceptualization of a phenomenon

“Music” to adjectival forms of lexemes-nominees (“interesnaja muzyka”, “svoeobraznaja muzyka”, etc.) by means of which he not only gives an assessment to music, but also characterizes its properties and signs. Cf.:

The concept “Music” in L.N. Tolstoy’s and V.V. Orlov’s associative representation is allocated as the u n i v e r s a l a s s o c i a t i v e r e s p o n s e s : music – art, work, sounding, hobby, pleasure, etc., and p e r s o n a l which it will be shown below.

It is important to emphasize that an image of music, as well as many other images of writers, a n t i n o m i c a l . The contradictory character of music is determined by various axiological constants correlating mainly with emotional, intellectual, sensual, psychosomatic, temporal spheres and also spheres of morals, ethics, etc. Interest is attracted by a divergence in arrangement of emphasis. So, L.N. Tolstoy focuses on moral and ethical contradictions

(“pouchitel'no, zamechatel'no / merzost', lozh'”, etc.), for example:

«…A vy budete na vystavke? Kak p o u c h i t e l ' n o ! A na trojkah, a spektakl', a simfonija? Ah, kak z a m e c h a t e l ' n o ! Moja Liza bez uma ot muzyki. A vy pochemu ne razdeljaete jeti ubezhdenija? A na lodkah!..» A mysl' odna: «Voz'mi, voz'mi menja, moju Lizu! Net, menja! Nu, hot' poprobuj!..» O m e r z o s t ' ! l o z h ' ! [2*].

V.V. Orlov focuses attention on the emotional component (“<…>, schastlivye / pechal'nymi, tragicheskimi”, etc.), cf.:

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neminuemoj i skoroj gibeli majestro v voennom nebe… [1*];

…melodii planet i svetil stali kazat'sja Danilovu p e c h a l ' n y m i , a to i t r a g i c h e s - k i m i … [1*].

This distinction is caused by an era of creation of works of art and also the language identity of authors and specifics of their outlook.

The a n t r o p o l o g i z a t i o n of the required phenomenon in language of the writers acts as the key moment in creation of an image of music. Not only the image of music as the living being capable to make actions, to provoke, to act, but also representation of musical instruments, being full heroes of literary works with their complex relationship is of interest. Cf.:

…muzyka, tancy, sladkaja pishha <…> eshhe bolee razzhigajut jetu chuvstvennost' , i vsledstvie jetogo samye uzhasnye polovye poroki i bolezni delajutsja obychnymi uslovijami vyrastanija detej oboego pola i chasto ostajutsja i v zrelom vozraste [2*]; Voznikla muzyka , pechal'naja, vseh zhelajushhaja primirit' [1*].

Each instrument is the “personality” having strong individuality, a unique character and type. Focus of attention of L.N. Tolstoy is concentrated on the connection of the musical instruments with each other, establishment of contact and development of their further relations, cf.:

…on ostorozhnymi pal'cami d e r n u l p o s t r u n a m [skripki], i r o j a l ' o t v e t i l emu

[2*].

V.V. Orlov, in his turn, antropologizises the musical instruments, projects qualities of musicians on them; in art space of “Danilov the Violist” musical instruments are emotional beings. Cf.:

Al't v nej zhil chelovekom , lichnost'ju , vozmozhno – Peresleginym, ili net, im, Danilovym, s ego proshlym i ego vtorym ja – valtornoj i klarnetom… [1*];

…valtorna poroj grustila, vzdragivala kak-to ili chto-to predskazyvala … [1*]; …klarnet byl nerven, vcepljalsja v melodiju al'ta, rval ee, grozil i muchilsja [1*]; …i skripom tjazheloj chernoj dveri, vpuskajushhej strannogo gostja, klarneta opekal kontrabas [1*].

Thus, the general in a verbal explication of a concept “Music” in the Russian literary world-image of the 19th and 20th centuries is traced on all the level of representation of a required phenomenon. The verbalized phenomenon “Music” in L.N. Tolstoy’s and V.V. Orlov’s language is categorized mainly by means of the autosemantic substantive lexemes reflecting ontologic properties of music. On the basis of the analysis of a distributive environment of a concept “Music” it has been established that the combinations of verbal type representing agentive signs of music dominate. In focus of attention there is an antinomical character of representation of the required concept and its antropologization in L.N. Tolstoy’s and V.V. Orlov’s literary discourse. The lexical portraits of musicians serving for creation of the fullest image of literary heroes are of particular interest.

Along with the whole complex of common features in the concept “Music” explication in the individual-and-author’s linguistic world-image of L.N. Tolstoy and V.V. Orlov, we have revealed a number of distinctive features. We will address the direction of the specific representation of the verbalized phenomenon “Music” in the Russian literary discourse of the 19th and 20th centuries.

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2. T h e s p e c i f i c i n t h e v e r b a l e x p l i c a t i o n o f t h e c o n c e p t “ M u s i c ” i n t h e

R u s s i a n l i t e r a r y w o r l d - i m a g e o f t h e 1 9 t h a n d 2 0 t h c e n t u r i e s .

According to the results of our research, the prevalence of the lexical units which are a part of the macrofield “Time and Space for Sounding of Music” over the lexical units relating to the macrofield “Person as the Creator of Music” is relevant for the literary discourse of L.N. Tolstoy whereas the opposite situation with domination of the macrofield “Person as the Creator of Music” over the macrofield “Time and Space for Sounding of Music” is noted in the literary discourse of V.V. Orlov.

The individual-and-author's linguistic world-image of each of the writers has found the reflection in the i n d i v i d u a l a s s o c i a t i v e r e a c t i o n s of the concept “Music”. For example, in L.N. Tolstoy’s language the following associative reactions are relevant: music – cover, means of idle pastime, defect, etc.; whereas in the literary discourse of V.V. Orlov: music – fight, vampire, touch, dream, grace, paradise, etc. The specific associative reactions allow to claim that the moral-and-ethical paradigm in the negative plan is of the greatest importance for L.N. Tolstoy as representative of the 19th century. Cf.:

Zhena kazalas' zainteresovannoj tol'ko odnoj muzykoj i byla ochen' prosta i estestvenna. Ja zhe hotja i pritvorjalsja zainteresovannym muzykoj , ves' vecher ne perestavaja muchilsja revnost'ju [2*].

Music of V.V. Orlov who is the representative of the culture of the 20th century correlates with religious, mental, mythopoetic and other spheres and also is considered as fight. Cf.:

Potom Danilov opjat' iz jamy, iz al'tovoj gruppy, vzmyval zvukom v sladkoe podn e- bes'e muzyki [1*];

On b'etsja s muzykoj Pereslegina… [1*].

L.N. Tolstoy gives the special attention to musical genres. Cf.:

Nu, marsh voinstvennyj sygrajut, soldaty projdut pod marsh, i muzyka doshla; sygrali pljasovuju, ja propljasal, muzyka doshla; nu, propeli messu, ja prichastilsja, tozhe muzyka doshla, a to tol'ko razdrazhenie , a togo, chto nado delat' v jetom razdrazhenii , net [2*].

L.N. Tolstoy points out that music (marching, dancing, religious) induces to certain actions and acts, and the appeal of the Beethoven sonata isn’t really clear. The writer compares various musical genres to show that the main objective of music is unity of people in a uniform rush whereas classical music stands alone and is turned to interior, to specifics of a person's view of the world and identity of their personality. So, the marching music (marsh voinstvennyj sygrajut) represents simple, available, well familiar, usual music. This genre of music is directed to formation of feeling of community, unity and unity in people. The dancing music (sygrali pljasovuju) is perceived as cheerful, national, easy. Music of a similar genre promotes rapprochement and association of people in uniform process. Religious music (propeli messu) is represented as sacred, solemn. Religious music causes feeling of compassion, readiness of service to others in people, saves from loneliness, is means of understanding of uniqueness of other personality. Classical music, and in particular Beethoven’s music ([Beethoven's music] … tol'ko razdrazhenie) is the special sphere of perception complicated by feelings and emotions. Classical music reflects identity of the composer, it represents an intellectual and philosophical genre [16, p. 81].

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ina smozhet pisat' balety , simfonii, a pri nalichii teksta i opery. Skazhem, esli vozniknet nuzhda, mozhno budet pustit' v mashinu uchebnik po algebre dlja shestogo klassa i poluchit' shkol'nuju operu so sverhzadachej [1*];

Karmadon vkljuchil na vsjakij sluchaj vse tri programmy priemnika «Avrora», stojavshego na kuhne... [1*];

Danilov japonskim tranzistorom nashhupal «Majak»… [1*].

The emphasis in the 20th century is put on technocratic society; function of creation and representation of music does not belong to people, the person removes from themselves a duty of the composition and execution of music.

Discrepancies in representation of the verbalized concept “Music” from a line item of reviewing of a diad “t h e S u b j e c t – t h e O b j e c t ” are watched. L.N. Tolstoy lays stress to the subject meanings of music (MUSIC is the INFLUENCE, the POWER, the PENETRATION INTO CONSCIOUSNESS, etc.) whereas its object meanings are priority for V.V. Orlov (MUSIC is the CONVERSATION, the TRAVELING, the TOOL, etc.). For example:

Chto takoe muzyka? Chto ona delaet? I zachem ona delaet to, chto ona delaet? Govorjat, m u z y k a d e j s t v u e t vozvyshajushhim dushu obrazom, – vzdor, nepravda! Ona dejstvuet, strashno dejstvuet, ja govorju pro sebja, no vovse ne vozvyshajushhim dushu obrazom, a razdrazhajushhim dushu obrazom [2*];

I ego dusha zhazhdala teper' vysokoj b e s e d y o m u z y k e , ne o bojkoj, shumnoj i pustjachnoj dame, a ob istinnoj muzyke… [1*];

Danilov znal uzhe svoju d o r o g u v m u z y k e … [1*].

By results of our research, specifics of very tectonics of the concept “Music” reveals the l a n g u a g e i d e n t i t y of the writers. So, in “The Kreutzer Sonata” music acts, on the one hand, as means of drawing attention, as a subject for small talk, on the other hand, as the power over the person, a reason of both positive, and negative emotions, an appeal to commission of acts and the intermediary between people. Music is defined as the “terrible thing” causing the emotions demanding fulfillment and the embodiment. At the same time, music acts as a wreath and criterion of the spiritual person. Music is considered by Tolstoy as the esthetic category, as the integral attribute of a social life and fits the author into one row with moral-and-ethical values of society, in particular with maxims of fashion, perfume, gemstones, rich things, etc. [16, p. 89]. Cf.:

Narjady, chtenija, zrelishha , muzyka , tancy , sladkaja pishha , vsja obstanovka zhizni, ot kartinok na korobkah do romanov i povestej i pojem… [2*];

Pogovorili o muzyke , o Parizhe, o vsjakih pustjakah [2*];

Razve mozhno igrat' v gostinoj sredi dekol'tirovannyh dam jeto presto? Sygrat' i potom pohlopat', a potom est' morozhenoe i govorit' o poslednej spletne. Jeti veshhi mozhno igrat' tol'ko pri izvestnyh, vazhnyh, znachitel'nyh obstojatel'stvah, i togda, kogda trebuetsja sovershit' izvestnye, sootvetstvujushhie jetoj muzyke vazhnye postupki. Sygrat' i sdelat' to, na chto nastroila jeta muzyka [2*].

V.V. Orlov, in turn, addresses the intellectual and spiritual party of music, pointing to such significant aspects as the level of development of mankind, formation of the personality, education, etc. Music is presented in the novel “Danilov the Violist” in all its possible manifestations as:

development and stagnation:

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Vot kak chelovek on p o s t i g a l m u z y k u s udovol'stviem. Vse otkryval sam. Chashhe muchilsja i stradal, no uzh i radovalsja inogda, kak tvorec [1*];

Ty, brat Danilov, ves' v o k o v a h s t a r o j m u z y k i . I razbivat' ih poka ne nameren. Nravjatsja oni tebe [1*];

defenseless nature and tyrant:

No snova poslyshalos' hriploe murlykan'e – i voznik kot baster, p o k r o v i t e l ' M u z y k i i T a n c e v [1*];

…m u z y k a orkestra s m j a l a ego, r a z d a v i l a , p o d c h i n i l a sebe golos ego al'ta…

[1*];

happiness and tortures:

Sejchas zhe prishla polosa ne to chtoby udachi i blagopoluchija, a skoree dejstvennogo u p o e n i j a m u z y k o j , udovol'stvija ot svoej igry, ponimanija ee vysokih svojstv [1*]; Ja eshhe popytajus' o d o l e t ' m u z y k u … No bojus', chto o n a r a z o r v e t , r a s s e c h - e t , r a s t o p c h e t menja… [1*] etc.

It is necessary to emphasize that features of the language identity of L.N. Tolstoy are traced also in his author’s style, the characterized high-frequency application of stylistic figures, among which:

rhetorical questions:

R a z v e m o z h n o igrat' v gostinoj sredi dekol'tirovannyh dam jeto presto? [2*];

suffixes:

…oni posle Krejcerovoj sonaty sygrali kakuju-to strastnuju v e s h h i c u , ne pomnju kogo, kakuju-to do pohabnosti chuvstvennuju p'esu [2*];

indefinite (“kakie-to pesni”, etc.) and demonstrative (“s jetim muzykantom”, etc.) pronouns:

I koe-chto oni sygrali, k a k i e - t o p e s n i bez slov i sonatku Mocarta [2*];

Otnoshenija ee s j e t i m m u z y k a n t o m , kakie by oni ni byli, dlja menja jeto ne imeet smysla… [2*];

enumerations:

…jetot chelovek dolzhen byl ne to chto nravit'sja, a nesomnenno bez malejshego kolebanija dolzhen byl p o b e d i t ' , s m j a t ' , p e r e k r u t i t ' e e , s v i t ' i z n e e v e r e v - k u , s d e l a t ' iz nee vse, chto zahochet [2*];

exclamations:

I vot! pjat' chelovek detej, i ona obnimaet muzykanta, ottogo chto u nego krasnye guby! Net, jeto ne chelovek! [2*] etc.

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L.N. Tolstoy’s language distinguishes c a t e g o r i a l i t y of the narration. In verbal representation of the concept “Music” in the literary discourse of the writer the phenomena of an a s s e r t i o n and a n e g a t i o n showing feeling of confusion which seizes the person under the influence of music are of great importance. Cf.:

…mne pod vlijaniem muzyki kazhetsja, chto ja chuvstvuju to, chego ja, sobstvenno, ne chuvstvuju, chto ja ponimaju to, chego ne ponimaju , chto mogu to, chego ne mogu… [2*].

T h e a u t h o r ’ s s t y l e of V.V. Orlov is also characterized by existence of a large number of stylistic figures:

rhetorical questions:

No sootvetstvoval li jetoj lichnosti golos al'ta? [1*];

exclamations:

On ej za vse byl teper' blagodaren! Za schast'e nyneshnee i za spokojstvie – v osobennosti! I za muzyku, kakaja zvuchala v nem sejchas! [1*];

parallel constructions:

V inyh byla radost'. Byla ljubov'. Byl razum [1*] etc.

V.V. Orlov’s a n t i n o m i e s comprising multiple aspects: gerontological, emotional, axiological, intensity degree, etc., are of the special attention. For example:

V skripke, uveren, zhenskoe nachalo… O z o r n a j a d e v c h o n k a , p e c h a l ' n a j a z h e n s h h i n a , t r a g i c h e s k a j a s t a r u h a – jeto vse dlja menja skripka… [1*].

The estimated and emotionally marked lexicon is of great importance in the course of verbal representation of the concept “Music”, which we study using the technique of the analysis of emotional and estimated lexical means developed and offered by Z.E. Fomina [16; 17; 18], etc. So, in literary discourse of L.N. Tolstoy such t y p e s o f e s t i m a t e s are observed as: a) emotional (excellent, awful, etc.); b) ethical (trite, terrible, etc.); c) esthetic (fine, noble); d) rationalistic (weak, usual, promised, etc.); the estimated arsenal of V.V. Orlov

and other types of assessment.

It is important to note that metaphors in L.N. Tolstoy’s language serve to creation of a negative, immoral image of music. Cf.:

…zvuki na fortepiano narochno dlja togo, chtoby z a g l u s h i t ' i h s l o v a , p o c e l u i , mozhet byt' [2*];

I mezhdu nimi svjaz' muzyki, samoj utonchennoj p o h o t i c h u v s t v [2*]. 71

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Metaphorical images of V.V. Orlov, on the contrary, are imbued with the atmosphere of heat, kindness, tenderness, light grief. Cf.:

…milyj serdcu instrument d e r z h a l n a k o l e n j a h , s l o v n o u s n u v s h e g o m l a d e n c a … [1*];

Potom, buduchi povelitelem instrumenta, on uzhe bez prezhnej robosti, hotja i s volneniem, rassmotrel v s e p l e n i t e l ' n y e m e l o c h i chudesnogo al'ta [1*].

In aspect of l o g i c a l - a n d - g n o s e o l o g i c a l c o n n e c t i o n s L.N. Tolstoy’s determination of music has the reserved character that is confirmed by two definitions of music: Music – Thing and Music – Business, cf.:

I voobshhe s t r a s h n a j a v e s h h ' muzyka [2*]; V Kitae muzyka g o s u d a r s t v e n n o e d e l o [2*].

The definitions of music offered by Tolstoy indicate perception of music as the occupation which isn't allowing flippant attitude as actions not for entertainment.

In an individual-and-author’s linguistic world-image of V.V. Orlov the plurality of the d e f - i n i t i o n s of music correlating with various realities is observed. V.V. Orlov’s definitions of music are distributed on several v e c t o r s :

a) e m o t i o n a l : Music ‒ Love, Music – Warm-heartedness, Music – Hatred:

Muzyka byla ego l j u b o v ' [1*];

Danilov byl muzykant, a muzyka i est' sama d u s h e v n o s t ' [1*];

…ona [muzyka] – n e n a v i s t ' ko zlu, no n e n a v i s t ' , javljajushhajasja blagom dlja ljudej [1*];

b) i n t e l l e c t u a l : Music – Reason, Music – Science:

…ona [muzyka] – vtoroj r a z u m chelovecheskogo estestva [1*];

…ona [muzyka] ljubov' i n a u k a , poznajushhaja soglasovannost' vo vsem [1*]; c) a r t i f a c t u a l and d ) m o r a l : Music – Lie and Trinket:

Ona [muzyka] l o z h ' i p o b r j a k u s h k a [1*];

e) p s y c h o l o g i c a l : Music – Groan, Despair and Pain, Music – Greatness:

…muzyka byla s t o n o m Danilova, o t c h a j a n i e m ego i b o l ' j u [1*]; V muzyke vse v e l i k o e i vse mozhet prozvuchat'! [1*];

f) m y t h o p o e t i c : Music – Riddle:

…vntrennjaja muzyka mogla okazat'sja i z a g a d k o j … [1*];

g) e x i s t e n t i a l : Music – Convention and Particular, Music – Life:

…tradicionnaja muzyka, estestvenno, – u s l o v n o s t ' i c h a s t n o s t ' ! [1*];

Ja – tvorec. Dlja menja moja muzyka – p r o d o l z h e n i e z h i z n i . Ili ee voploshhenie

[1*] and so on.

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Numerous definitions of music from various spheres of life in V.V. Orlov’s language demonstrate that music doesn't give in to definition, it is an unknown phenomenon which needs determination.

Conclusion. Studying of the general and specific features of the verbalized concept “Music” in the Russian literary world-image in the 19th and 20th centuries has shown that music is an abstract concept and as any abstract concept the phenomenon “Music” is most precisely represented by means of substantive lexemes.

The Russian linguistic world-image in the 19th and 20th centuries is characterized mainly by means of autosemantic units in the course of verbal representation of the concept “Music”.

The analysis of verbal representation of the concept “Music” in the Russian literary discourse in a diachrony has shown that for the 19th century place and time of execution of music is of the value, but not its performers whereas in the 20th century bigger attention is paid to people (musicians, creators of music, music-masters, etc.). This fact is explained by the social order characteristic for this or that period. So, the 19th century is closely connected with the culture of secular society, with public actions inherent in it among which there is an organization of musicales. The anthropocentric orientation of the 20th century is caused by the ideology of the Soviet government striving for full awareness on each member of the Soviet society.

From the point of view of the subject-and-object relations music of the 19th century is represented preferentially as the subject that demonstrates its powerful impact on the listener (music influences, terribly influences, etc.); in the 20th century the relation to music changes, music is represented as an object to a large extent, new people try to comprehend a mysterious phenomenon of music during the discussions (a conversation about music, a judgement on music, etc.), rehearsals (in music execution, etc.), speculations (a thought of music, a reason about music, etc.).

For the 19th century traditional representation of the music executed on music instruments (a violin, a piano, a grand piano, a harp) is relevant while the 20th century is characterized by the innovations connected to technical progress that expresses in mentioning of the musical equipment (machine [for writing music], transistor, receiver, etc.). So, in the 19th century presence of the performer is mandatory, music instruments “are dead” without musician, orientation to the person is in the attention focus; in the 20th century the person is not demanded, function of creation and execution of music is transferred to other means, technologization is in the forefront process.

Antropologization of music instruments, their identification with musicians, and the performed parts with relations of people are invariable.

Consideration of music of the 19th century happens through a prism of morals and morality, its influence on people is estimated as especially negative. The 20th century brings understanding that the phenomenon of music is much more difficult and versatile as music correlates not only with spheres of morals and ethics, but also religion, science, mythology, etc.

Music of the 19th century is turned to esthetic, moral-and-ethical aspects of life of secular society. In the 20th century music is perceived as intellectual and spiritual category, as the phenomenon contributing to the development of the individual and society in general.

The universality of representation of the verbalized concept “Music” through centuries consists in its polar nature. On the one hand, music causes delight and approval, on the other hand, its impact on the listener is condemned and is even blamed. However attention focus in the 19th century is concentrated on moral aspect while in the 20th century there are emotions and feelings of people in the forefront.

The incomprehensible and mysterious nature of the phenomenon “Music” forces to consider it as “thing” and “business” in the 19th century whereas in the 20th century the new horizons open, there is an aspiration to learn novel, there is a new, courageous, versatile view on

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