Humanities & Social Sciences 2 (2016 9) 430-437 ~ ~ ~ УДК 78.01 Sotsiokulturnoe the Content of the Worldview of the Composer, Expressed in Musical Creativity Svetlana A. Bashkevich* Sverdlovsk Music School Tchaikovsky 22 Pervomayskaya Str., Ekaterinburg, 620000, Russia Received 14.11.2015, received in revised form 21.12.2015, accepted 09.01.2016 This article discusses the specifi c features of the world that the composer embodied in musical creativity, on the basis of cultural approach to music. <...> As a result it is concluded that the worldview of the Creator of musical art, expressed tonally, there is the spiritual-axiological attitude to the world in which the emotional and rational unity of the inextricably linked socio-cultural and individual-the subjective beginning. <...> Since ancient times music has been a membership of all religious rites primarily because it could transfer the person beyond the bounds of ordinary life to the invisible transcendent world, which is more important because the visible world of empirical reality obeyed to it. <...> Sotsiokulturnoe the Content of the Worldview of the Composer, Expressed in Musical Creativity Hence, the primary value of Hinduism culture is “hearing” and musical thinking and in general is not so much worldview, as wordhearing,”1 – notices D. V. Pivovarov. <...> Therefore, at all times people have sought to connect the music with the sphere of transcendent and logically incomprehensible Divine principle. <...> As pointed out by M. G. Aranovsky, “We are aware that the feelings excited by music are not equal to real ones, and that the idea expressed by means of music is only a condition or a fi guratively-symbolic analogue of the thought, which is real in case it provides some kind of verbalization. <...> In all other aspects the music is immersed in the unconscious, and this makes it unique among other types of artistic activity”2 . <...> Genetically, inherent in the unconscious holistic perception is more easily and more convincingly expressed with emotions. <...> It should be noted that the emotional structure of a musical work does not reveal objectively the intrinsic properties of reality refl ected in music, but it marks composer’s evaluating, general value attitude to the reality. <...> The value attitude acts in music as an emotion. <...> Like each emotion in the art, it has spiritual basis and non-utilitarian generalized attitude, which <...>