The dissertation explores the artistic images of the perpetuum mobile in the works of European composers of the 19th - first half of the 20th centuries (Sh. V. Alkan, B. Bartok, S. Bortkevich, B. Britten, K. M. Weber, A. Onener, G. Mahler V. Mosolov, F. Mendelssohn, N. Paganini, S. Prokofiev, M. Ravel, M. Silvansky, D. Shostakovich, F. Schubert and others). The purpose of the work is to substantiate the concept of artistic images of perpetuum mobile in European music of a certain period, to identify their specifics, based on the features of art-style and form-making decisions of various composers.
The transformations of the sound images of the perpetuum mobile from the romantic pantheistic incarnations of the 19th century to the anti-militaristic images of the continuous movement of the first half of the twentieth century are characterized. The general (ostinatism, mechanistic, repeatability, monothematism) and individual (textured, compositional, semantic) features of the sound image of the perpetuum mobile are determined.
The concept of Ukrainian instrumental music of the first half of the twentieth century is expanded through the revealed images of the perpetuum mobile, depicted in neo-romantic traditions.
The universal nature of the perpetuum mobile image, which has transistorical and international significance in European music, is substantiated.
Since the symbol of perpetual motion comes from Eastern philosophy, came to European culture in various incarnations - from technical reminiscences to images in various fields of art, the study of his artistic images required an interdisciplinary nature of research. The work uses the achievements of historical, philosophical, art, philological, culturological, natural sciences, etc. Science. Due to this, different and common features in the characteristics of artistic images of perpetual motion in the European musical culture of the XIX - XX centuries are generalized. Man-made civilization, in the conditions of which humanity has existed for the last centuries, is gaining more and more influence on all spheres of human life, from social conditions and relations to the inner spiritual world. Production, research, education, culture are general social factors that operate on technological schemes, have the ability to change rapidly. As a result, human individuality must meet the requirements of society, be mobile in order to adapt to the fleeting rhythms of modern life. In these conditions, musical culture, which, on the one hand, is a reflection of socio-cultural changes, and on the other - accumulates spiritual artistic achievements, is an inexhaustible source of wisdom of mankind. From this point of view, the study of embodiments of continuous motion provides an opportunity to illuminate the sound image of perpetual motion machine as a universal phenomenon that reflects the technological impact of civilization on culture.
