Rasa, ethos ir afektų teorija: emocijų svarba Rytų ir Vakarų muzikos estetikai

LTMėginti lyginti muzikos teorijas, kurioms atstovauja skirtingų geografinių ir kultūrinių regionų estetinė mintis ir kurios remiasi skirtinga terminologija, yra nelengvas, jei ne visai neįmanomas uždavinys. Tačiau dabartiniame pasaulio kontekste, kai tos kultūros vis labiau suartėja, o geografinės sąvokos tampa vis reliatyvesnės, šis darbas susilaukia nemaža šalininkų, juolab kad ima aiškėti, jog tolesnė kultūrinė izoliacija tarp dviejų sąlygiškai vadinamų Rytais ir Vakarais civilizacijų nebėra įmanoma. Civilizuotam ir kultūringam protui apskritai yra būdingas polinkis ieškoti sąlyčio taškų, mėginti išryškinti tai, kas tas civilizacijas ir kultūras jungia, o ne skiria. Tai bene vienintelis būdas, garantuojantis sėkmingą dialogą. Panašiai mąsto žymus rusų indologas, sanskritologas Pavelas Grinceris, indų klasikinės muzikos estetikos tyrėjas Edwinas Gerow, kurių moksline mintimi ir ypač tolerantiško mąstymo principais remiuosi daugiausiai, bei nemaža kitų dabarties mokslininkų (p. 381).

ENIn the article the author discusses the main similarities and differences between rasa, ethos and Affektenlehre theories. There is stated that theory of affects is based on ancient Greek theory ethos together with development of rationalistic philosophical thought in 17-18 centuries, meanwhile ethos was born from eastern aesthetics, in which central point is doctrine of rasa. Until the Hellenic period Indian and Greek aesthetical thought was congenerical. Today in India rasa remains the main integral doctrine, which unites philosophical, psychological, religious and aesthetical thought. The most important musical form, raga, almost hasn't changed, so we can have more or less authentic comprehension about the subject. We can't say the same about ethos or affects theories. Their actuality was left in the past, though they formed the basis for emotional theories, including modern ones. From Plato and Aristotle aesthetical thought falls apart into idealistic and empirical. That dualism reflects itself in the Affektenlehre as well as in Western aesthetical thought on the whole, regarding emotions and their role. In the comparative study the author makes an emphasis on ontological and theological aspects.On the one hand, rasa theory focuses on universalized emotional state, aiming at transcendental spiritual experience of beauty; on the highest level it must coincide with the realization of the Truth and God (Brahman), freedom (moksa). On the other hand, at the center of theory of affects lies Christian, partly Lutheran, Weltanschauung with its goal- trough experience and contemplation of Christ's passion to be redeemed and to get the salvation and reconciliation. It can be done not by trying to harmonize or sooth the emotions, but by leading them to the extreme. In spite of this, both theories have much in common, because by different methods, using the same instrument, emotions, the ultimate state of bliss and joy can be achieved while composing, playing or listening to the music. The powerful, integral rasa doctrine proposes an intriguing alternative for the future modern western emotive theories.