MEANING-MAKING MODELS OF THE MOTHER ARCHETYPE IN MUSICAL ART: A JUNGIAN-HERMENEUTIC ANALYSIS

Abstract

The article is devoted to the study of meaning-generating models of the Mother archetype in the musical art of the nineteenth and twentieth centuries within the framework of the Jungian–hermeneutic paradigm. The Mother archetype is conceptualized as a fundamental pre-semantic structure of intonational thinking that determines the deep levels of musical semantics, dramaturgy, and form-building, while also ensuring a connection between individual artistic experience and collective cultural memory. The purpose of the paper is to identify, typologize, and interpret meaning-generating models of the Mother archetype in the musical art of the nineteenth and twentieth centuries, as well as to substantiate its status as an ontological model of intonational thinking functioning at the pre-conceptual, pre-predicative level of musical meaning. The methodology is based on the integration of Jungian archetype theory with the hermeneutic analysis of musical texts. An interdisciplinary approach is employed, combining musicological analysis (intonational, thematic-dramaturgical, textural-timbral) with cultural and philosophical interpretation. Particular attention is paid to the pre-semantic level of musical thinking, where the archetype emerges as a structure-forming principle. The study takes into account cultural- historical contexts and national-mental characteristics of Western European and Ukrainian compositional traditions. The scientific novelty of the study lies in the conceptualization of the Mother archetype as an ontological factor of intonational thinking rather than merely an imagistic-thematic constant. For the first time, a typology of meaning- generating models of the Mother archetype in the musical art of the nineteenth and twentieth centuries is proposed, making it possible to trace the mechanisms of archetypal semantization in diverse stylistic and cultural contexts. Conclusions. The article presents a systematic Jungian–hermeneutic analysis of the Mother archetype as a key meaning-generating structure in the musical art of the nineteenth and twentieth centuries. Based on the works of F. Chopin, R. Wagner, G. Mahler, M. Lysenko, K. Stetsenko, and B. Lyatoshynsky, four principal models of the Mother archetype are identified: the sacred-cosmogonic, lyrical-existential, tragic-apocalyptic, and transformational. These models represent different modes of meaning generation and intonational encoding. The evolution of the Mother archetype in nineteenth- and twentieth-century musical culture demonstrates a shift from a harmonized, idealized image to an ambivalent, multidimensional structure that accumulates the experience of collective memory, historical trauma, and existential limit situations. The Mother archetype emerges as a stable semantic center of musical culture, concentrating notions of origin, continuity, and the ontological foundations of human existence.