World music: походження, особливості еволюції та сучасні модифікації явища

Федорова, Ія Федорівна

dc.contributor.author	Федорова, Ія Федорівна
dc.date.accessioned	2020-11-17T08:43:46Z
dc.date.available	2020-11-17T08:43:46Z
dc.date.issued	2020
dc.identifier.citation	Федорова І. Ф. World music: походження, особливості еволюції та сучасні модифікації явища : дис. на здоб. наук. ступеня канд. мистецтвознавства : 17.00.03 «Музичне мистецтво» / І. Ф. Федорова ; М-во культури, молоді та спорту України. НМАУ ім. П. І. Чайковського. – Київ, 2020. – 235 с.	uk_UA
dc.identifier.uri	http://elib.nakkkim.edu.ua/handle/123456789/2369
dc.description	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).	uk_UA
dc.description.abstract	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.	uk_UA
dc.language.iso	uk_UA	uk_UA
dc.publisher	Національна музична академія України імені П. І. Чайковського	uk_UA
dc.subject	world music, етнічна музика, експеримент, принцип цитування, еклектизм, принцип «звалища», адаптація етніки, український фольклор, музично-видова взаємодія	uk_UA
dc.title	World music: походження, особливості еволюції та сучасні модифікації явища	uk_UA
dc.title.alternative	World music: origin, evolution features and modern phenomenon modifications	uk_UA
dc.type	Other	uk_UA