128. Music and Fixated set. G. N. Kechkhuashvili

Tbilisi State University, Department of Philosophy and Psychology

Summary

Music of sorre outstanding composers of our century (R. Strauss, S. Prokofiev, En Shostakovich, P. Hindemith, I. Stravinsky, A. Sch?nberg, A. Honeg- ger and ethers) was perceived at first by rrany conterrporaries as completely devoid of any structural sound-pitch bases, cut off from the tonal organization of therrusicof the 18th-l9th centuries, and was judged as being absolutely devoid of any artistic value. Tiire has shown the complete groundlessness of such assertions. As n odern musical science indicates the main trends of music of our tin e are the evolution of tonal bases of the preceding music which have their own systen ic structural bases. Misunderstanding and non-acceptance of new music" by many contemporaries also has psychological roots. Since the con prehension (perception) of tonal music of the preceding epoch is based on the tonal fixated set, as verified experimentally by the author, the "getting: accustomed of the ear" to new music should, to a considerable extent, signify an evolven ent of a fixated set corresponding to the new structural bases of "new music".

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