The article discusses the question of possible prototypes— models, paradigms— of pure instrumental music in the European culture of the New Age. Among such paradigms stand out: verbal utterance, gesture— dance— ritual, laws of natural processes (biological, physical and mathematical, etc.). The relationship of these paradigms in European music of different eras and styles is investigated, and the paradigms themselves are analyzed. Particular attention is paid to the problem of understanding the paradigms of modern music, which greatly facilitates its perception.
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