Modern algorithms for interpreting the history of music: an epistemological discourse

In the article a historically significant situation is considered, when with the revival in the last third of the twentieth century of B. Asafyev's ideas on music as a sound intonation environment and an art of intoned meaning, as well as because of the expansion of modern humanitarian knowledge due to close interdisciplinary links, the musical criticism underwent a process of active development, synthesizing the subject field of historical and theoretical musicology on the basis of culturology and philosophy. The achievements of this process have been analyzed, which demonstrate a radical renovation of the conceptual and semantic content of the leading categories of musicology, in particular, in relation to the interpretation of historical phenomena in music in view only of their inherent worldview paradigms. Analytical algorithms for detecting epistemologically reliable data on the style of epochs and criteria for compiling their generalized "image" under the guise of an invariant model are specified. The expediency of a monadological (nonlinear) approach to the history of music, which methodologically corresponds to the idea of "philosophy of integrity", is proposed and substantiated.