The article provides an overview of key studies of surrealist musicality, highlights the problem of non-acceptance by surrealism of music media, focuses on a historical discussion of the semantics and reality of sound itself as a phenomenon. It also analyzes the basic principles for the implementation of the surrealist antimusicality in the newest Russian poetry. Anti-musicality is now recognized as the principle of working with sound, bypassing the composer, audial culture, based on ideas about harmony and composition. It is in this anti-musical meaning that the musical code is used in poetic practices of the late 20th century, which destroy the reference narrative and overcome the principles of the classic surrealistic collage. The innovative poetic practice conceptualizes not so much ordered repetitive fragments of a statement as a pause between them, a silence. Such a quantization of aesthetic matter returns reflection to the theoretical horizon of understanding the medium, reduced to its physical foundation in order to further overcome it.
Key words: surrealist code, jazz, background music, serialism, improvisation, automatism, modern poetry.
Reference to article:
Gorelov O. S. History of surrealist anti-musicality in the practices of innovative Russian poetry // Ivanovo State University Bulletin. Series «The Humanities». 2020. No.3. P. 20-29.