Abstract: According to I. Kant, reflecting on reality, the mind inevitably comes to the idea of an entity possessing the highest perfection and absolutely necessary by its nature. The idea of God as the supreme being is considered by transcendental theology as a hypothesis of pure reason, without which its practical application is impossible. The author of the article explores why and how the concept of God plays a coordinating role in the work of speculative reason. In this regard, the structure and tasks of Kant's transcendental theology are discussed, its problematic nature as a form of cognition, the prerequisites for the emergence of the idea of God in pure reason, the possibility of proving His existence solely based on a priori concepts, the problem of excluding empirical definitions from the idea of God. The idea of God is analyzed in the light of the natural tasks of the mind formulated by Kant, as a necessary condition for the possibility of achieving them.  The study is based on the analysis of Kantian texts. These are mainly the works "The only possible basis for proving the existence of God" (1763), the First and Second criticisms, manuscripts from 1778-1780 (the so-called materials for the "Critique of Pure Reason"), Lectures on Rational Theology of the winter semester of 1783/84, etc. As a result of the research, it is shown that the idea of God acts as an unprovable position, which, nevertheless, the mind must accept, since this is necessary for the completeness of its application. The author explains the organizing role of the concept of God by its a priori "genetic" connection with such categories of pure reason as reality and necessity. The concept of God is "involved" in the work of these categories and is simultaneously shaped by their application. It allows, ultimately, to think about the order and expediency of reality and satisfies the requirement of reason to be economical with respect to the number of explanatory principles. The author's special contribution to the research of the topic is to demonstrate the specifics of the transcendental approach to the stated problem. It is shown that the unprovability of the existence of God is a necessary element of transcendental theology. The very idea of the supreme essence appears in it as a limit, indicating the limit of the possibilities of the mind. In this regard, it is productive, as it allows us to idealize, model consciousness and construct a different type of rationality within the boundaries of our understanding of our own mind.

Abstract: The paper is devoted to the typical features of music modality from the point of view of their harmonic imlementation. The purpose of the article is to demonstrate the features of modal harmony as a special type of musical thinking. The subject of the research is the peculiarities of the composition of folk and medieval modal moods. Based on the examples of the Catholic Church moduses, Russian folk songs and Indian traditional moods "tkhat" the author considers the logic of sound sequences and functional relationships within the modal moods. The author also analyzes the principles of the composition of the sequences of moods in the sound continuum, harmonic roles of their tones and ontological aspects of the modal mood. The research is based on the method of harmonic analysis and comparative analysis of the principles of modality and tonality of moods. For the purpose of interpreting modal moods as a type of thinking and aesthetic world view, the author has also appealed to the philosophical idea of the unity of substance and form postulated in modal ontologies. The novelty of the author's research is caused by the fact that the author applies the logical-ontological approach to the interpretation of harmonic phenomena and summarizes peculiarities of European, Russian and Indian moods as historical forms of modal thinking in music. In the course of the research the author has defined such features of harmonic modality as the impossibility of the unification of moods, reproduction of moods in a form of any number of sequences that potentially have different pitches of sound, folding of each sequence of modal functions and, on the contrary, performance of one and the same function at different levels. These qualities speak of particular plasticity of modal musical thinking within which such phenonena as the mood, melody (tune) and musical form tend to be indistinguishable. 
 

Abstract: The term 'modus' has a long history and is widely used in different sciences and cultural practices. The modal approach is actively applied in psychology, social studies, logic, art history, philology and other humanitarian sciences. Modus is used in philosophy, too. However, each science has a particular meaning of modus. For example, harmonic modus in music is totally different from perception modalities or voices in grammar. The term 'modus' means absolutely different phenomena in particular branches of science. 
Thus, the meaning of the term 'modus' is quite difficult to be defined and involves diferent concepts and phenomena. The research subject of the present article is the general meaning of the term 'modus' in different spheres of science and culture. 
The definition of modus is given based on the comparison of different definitions of modus in Russian-English and Russian-German practice of translation and interpretation as well as on the analysis of this term in logic, music theory of rhythm and tonality and grammar. As a result, the general meaning of the term 'modus' is defined as a form of existence, image, manifestation and discovery. The researcher also finds the essential feature of modus. Describing manifestation of a phenomenon, modus also describes what is being manifested, and therefore modus refers to a phenomenon as the essence. 
The term 'modus' does not define an accidental or temporary condition or transformation of the essence. On the contrary, modus means a principal form of existence and openness for the being as it is. Modes are usually created as a result of comparison of phenomena or plans and therefore modus can be defined as a structural-sense relation that independently exists in a particular image or form.