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 object of the study in this article supports one of the key concepts of modern philosophy - the idea of differences that is traditionally opposed to the idea of identity. This opposition is expressed in the opposition of the two major traditions of European philosophy: postmetaphysical modern philosophy and classical metaphysical philosophy. The subject of the research in this article is one of the historical stages of development of the idea of differences, the period of medieval scholastic philosophy. In particular, the authors analyze the ideas of John Duns Scotus and Richard of Middletown. The ideas of differences represented in the works of scholastic philosophers are being viewed from the perspective of the modal theory. The authors also refer to the ideas introduced by representatives of modern philosophies such as genology and Russian neo all-encompassing entity. The main results of the study include categorical analysis of the concept of differences in the discourse of medieval scholastic philosophy involving a detailed classification of differences. Thus, the novelty of the research is caused by the fact that based on the analysis of scholastic texts, the authors have proposed and substantiated the idea that the idea of differences refers to the actual existence of many differences. In other words, the difference in nature varies. Thus, the traditional history of the European philosophical dispute between difference and identity, the One and the Much, can be viewed from a new angle - the position of the modal theory interpreting these principles as mutually complementary ontological and epistemological principles. 

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.