The article presents philosophical and aesthetical theories by Father Pavel Florensky (1882-1937), Vyacheslav Ivanovich Ivanov (1866-1949) and Brother Andronicus, whose secular name was Alexey Fyodorovich Losev (1893-1988). These theories explain the notion of pre-image for the form of a piece of art in a new way, i. e. in its correspondence with the image embodied. Special attention is drawn to the ideas of Losev, who synthesized the ideas of Plato and Henri Bergson (18591941) about the pre-image being in the process of its development, as well as about the pre-image as a symbolical identity of the idea and the material. The article reveals the specificity of comprehending the image on the one hand and that of the semiotics as applied to music on the other hand. Some phenomena of avant-garde in the music of the second half of the 20th century are viewed in the light of some features of music specially marked.
Abstract