Symbolism distinguished itself in world culture in that its representatives were inclined to a dialogue and intersection of different types of art. In Russian literature, one of the brightest examples of such a synthesis is the work of Andrei Bely (Boris Bugaev; 1880–1934). The aim of the present article is to consider the writer’s ideas about music itself. As the main source we use Bely’s treatise The History of the Formation of the Self-Conscious Soul. Bely in his Symbolist articles of the 1900s laid down the idea of musical art as an antinomy, which emphasized the troubling importance of the problem, but did not principally imply any positive answer. However, in his anthroposophic treatise The History of the Formation of the Self-Conscious Soul (1926–1931), enormous in volume and scale of the material, the author’s antinomical understanding of music was transformed into a structure which is extremely complicated, but consistent. That is why Andrei Bely does not apply the word “antinomy” to music, but he extensively uses the musical term “counterpoint” (together with other musical terms). Whereas the word “antinomy” pointed at some irreconcilable conflicts, on the contrary, a “counterpoint” introduces these clashes into the frame of a single structure of a system, thus reconciling them. Accordingly, the romance “It is so sweet to be with you” by Mikhail Glinka (called in The History “the greatest genius”) contains, in Andrei Bely’s texts, the message of a wide spectrum.

中文翻译：

---

“只有在自我意识灵魂形成的历史中，布加耶夫才揭示了他的音乐观念”：安德烈·别雷体系中的音乐

象征主义在世界文化中脱颖而出，因为它的代表倾向于不同类型艺术的对话和交叉。在俄罗斯文学中，这种综合的最鲜明的例子之一是安德烈·别雷（Andrei Bely，鲍里斯·布加耶夫；1880-1934）的作品。本文的目的是思考作者对音乐本身的看法。我们使用别雷的论文《自我意识灵魂形成的历史》作为主要来源。别雷在 1900 年代的象征主义文章中将音乐艺术的观念定为二律背反，强调了这个问题令人不安的重要性，但主要并没有暗示任何积极的答案。然而，在他的人智学论文《自我意识灵魂的形成史》（1926-1931）中，其材料的数量和规模巨大，作者对音乐的二律背反理解被转化为极其复杂但一致的结构。 。这就是为什么安德烈·别雷没有将“二律背反”一词应用于音乐，但他广泛使用音乐术语“对位”（与其他音乐术语一起）。 “二律背反”一词指向的是一些不可调和的冲突，相反，“对位”则将这些冲突引入到一个系统的单一结构的框架中，从而调和它们。因此，米哈伊尔·格林卡（Mikhail Glinka，被《历史》称为“最伟大的天才”）的浪漫小说《和你在一起真是太甜蜜了》在安德烈·别雷的文本中包含了广泛的信息。