Abstract:

The article considers the causes of F. Dostoyevsky’s prose being on demand in musical practice. His works have been of considerable composers’ interest for a hundred years. All his significant novels, as well as the short stories published in magazines and “The Writer’s Diaries”, have been represented in different musical genres. The more surprising is the fact that there are no dramatic or theatrical works written by Dostoyevsky. Nevertheless, his specific artistic thinking and synthetic novel structures enable us to see that the special aspects of Dostoyevsky’s works are similar to the principles of other arts. Alongside with diverse artistic associations, analogies with musical laws dominate, which is demonstrated by leading literary scholars and philosophers dealing with the writer’s works. They use such musical terms as “polyphonic”, “counterpoint”, or “leitmotif”; they trace common features of compositional solutions and the principles of structuring complicated musical forms and genres. Therefore, Dostoyevsky’s specific artistic thinking reflected in his prose, is the reason why composers strive to transform the writer’s prose into music.

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