Репозитарій Національної академії керівних кадрів культури і мистецтв України
World music: походження, особливості еволюції та сучасні модифікації явища
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World music: походження, особливості еволюції та сучасні модифікації явища
Федорова, Ія Федорівна
Дата:
2020
Короткий опис(реферат):
Дисертацію присвячено дослідженню world music у його еволюційному
розвитку – від походження до сучасних модифікацій явища – у контексті
світового та українського музичного мистецтва другої половини ХХ – початку
ХХІ століть.
У дисертації запропоновано підхід до вивчення world music, що
ґрунтується на концепції музичних практик Т. Чередниченко та дозволяє
розробити один із можливих методів систематизації world music. У результаті
world music постає як сукупність ознак різних типів музичних практик. Ці
ознаки world music розглянуто в часовому напрямку, що дає можливість
визначити особливості розвитку самого world music.
На прикладі світових представників world music проаналізовано
художньо-композиційні принципи явища. Піднімається питання розробки
музикознавчого інструментарію world music, що вимагає адаптувати такі
поняття академічного музикознавства, як цитування та еклектика.
Здійснено спробу подолання меж world music як західноєвропейського та
американського явища та обґрунтовано можливість його вивчення з погляду
української музичної культури. На прикладі творчості українського гурту «ДахаБраха»
розглянуто особливості реалізації художніх принципів world music в Україні.
Суть розробки, основні результати:
This thesis deals with world music in its evolutionary development, from origin
to modern phenomenon modifications, in the context of the world and Ukrainian
music of the second half of the 20th and 21st centuries.
The thesis proposes an approach to the study of world music, based on the
concept of musical practices of T. Cherednychenko and allows developing one of the
possible methods to systematize the world music. Consequently, the world music is
presented as a set of attributes of different types of musical practice.
World music characterization using the theory of T. Cherednychenko allowed
to highlight the ethnics as a key element of the world music; to consider different
methods of adapting this ethnics (from change of the operation context to purely
musical transformations); to find out the degree of ethnics transformation, which
retains its property of referencing to the music of a particular ethnic culture; to define
the role of the “artist-author-representant” as an adopter of this ethnics; to justify the
mixed nature of world music; and to explain the peculiarities of the auditory form of
world music fixation.
Elucidation of these features leads to highlighting of a key ethnic component
for the world music, which, however, is undergoing the adaptation process and serves
as an image of a particular ethnic culture. Also, these features of the world music in
the thesis are discussed in the time direction, allowing to determine the features of the
world music development from origin to modern modifications.
We considered the world music formation, which allows not only to trace the
process of the ethnic tradition adaptation through interaction with rock, jazz and
electronic music, but also to highlight the peculiarities of this path as one of the
causes of the “mixed” world music nature formation in the future.
Based on the example of non-academic musical practices of the second half of
the 20th century, we traced the ethnic tradition adaptation features.
We analyzed the artistic and compositional principles of world music, which
consist of the genre, stylistic and aesthetic features of the world music and are
considered in the historic-time direction.
We raise the question of developing the musicological toolkit of the world
music, which required to adapt the concept of academic musicology. Consideration of
use of the “other’s” text in world music is studied in the light of the theory of citing
many musicologists, including M. Aranovskyi, L. Krylova, A. Schnittke at al.
We are searching for attribution of the world music stylistic diversity,
associated with eclectic adaptation towards the world music. The focus of the world
music on music-species interaction with varying manifestation degrees allows
concluding that the stylistic diversity of the world music, which became a “stumbling
stone” when trying to clarify the scope of the “world music” concept in research, is
growing. We suggest attributing the stylistic diversity as eclecticism, and call it a key
artistic principle of the world music. However, its manifestation is further projected
to a more synthesizing, aesthetic level. This allows us to draw a parallel with the
“pile” principle, which is also referred to the aesthetic-philosophical level in the
research literature.
We attempted to overcome limits of world music as the Western European and
American phenomenon and to justify an opportunity to examine the same in terms of
Ukrainian music. The world music features, which had previously been highlighted
on the example of the global music experience, allow shifting them to any musical
space and analyzing their expression in the works of Ukrainian musicians and bands.
Referring to the creativity of Ukrainian DakhaBrakha band, we considered the
features of actualization of the world music artistic principles in Ukraine. We
performed a detailed analysis of the Mystic Ukraine performances, directed by
V. Troitskyi, and DakhaBrakha band, which allows to draw the required attention to
one of the world music genre forms, i.e. performance.
We systematized the band musical toolkit, which creates the song musical
context and becomes a factor of stylistic diversity of the band creativity which,
similarly to the global world music, allows attributing it as eclecticism.
We analyzed the experimental direction of the band music, which implies the
use and transformation of folk songs.
The characteristics of DakhaBrakha music using T. Cherednychenko’s concept
of musical practices helps making generalizations about their work and denoting it as
a manifestation of the world music in Ukrainian music space.
We drew conclusions about the features of the world music development from
origin to modern versions, as well as the nature of this phenomenon referred to as
ethnic (reliance on musical practices representative of the ethnic culture);
experimental (violation of canonical musical practice rules); and mixed (focus on
interaction with other types of music practices).
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