The article identifies and describes some axiological dominants in the musical thinking of Georgy V. Sviridov. Particular attention is drawn to his logos style – the desire to be "involved in the way as the top began", "innermost essence of the world". Strengthening the tradition of Russian musical culture that focuses on unity melos and logos, Sviridov – it ought to be assumed – is committed to particular clarity in understanding and recreating this unity. Clarifying the overall methodological setting of the composer on "removing" the music out of living speech, the authors show that the specific forms of that removing are associated by composer with a folk reality (of its original syncretism or verbal archetypes and music) as well as an everyday living language (its rhythm, tempo, melodic intonations). The authors specify that the historical logoi, prophetic utterances or the texts with the highest degree of performativity (poetical, especially liturgical texts) are a practical measure of the method of Sviridov’ "consolidation" of musical works, artistic removing of music uniqueness and undisplaced in the holistic reality of logoi, the worlds of historic human being. All these words are understood by him as human responses, harmonious and simple answers to the exalted words, the Word of God; all these answers are the joyful and respectful attempts to be in a sublime or answerable fellowship with Him. There is also a historical metaphysics of George V. Sviridov; he thinks of historic Russia as a spiritual and holiness of life. This metaphysics of national forms is realized as some judgments of the composer in his own diary; it would be better to appreciate that metaphysic view as a cultural outline of Sviridov's musical thinking.