The aesthetics of order in I. F. Stravinsky: on the problem of genesis and embodiment in the musical fabric

Abstract

Based on a discourse analysis of Igor Stravinsky’s Poetics of Music, this article identifies the philosophical and theoretical origins of his aesthetics (the formalist tradition: Immanuel Kant, Eduard Hanslick, Russian Formalism) and systematically investigates the embodiment of the category of order in the temporal and sonic dimensions of music, as well as its dialectical connection with freedom in the creative process. The study concludes that the principle of order (rigor of form, discipline of affects, structural organization) serves as a core constant in the composer’s aesthetics. The main result of the article is the substantiation that Stravinsky’s paradoxical thesis "constraint gives birth to freedom" expresses the essence of his dialectics of creativity: genuine freedom is realized through strict order, which constitutes a necessary condition for the articulation of the artistic conception. Thus, the concept of order emerges as a universal aesthetic constant, permeating both the composer’s theoretical intuitions and the musical fabric of his work.