The Phenomenon of Musical Modernism in the European Culture of the 20th Century: Prerequisites, Patterns, Stages

Authors

DOI:

https://doi.org/10.31318/2522-4190.2020.129.219721

Keywords:

European culture, postclassical type of culture, modernism, style, musical modernism, evolution, periodization, musical language

Abstract

The relevance of the study and scientific novelty of the research are determined by its main objective and consist in revealing the phenomenon of musical modernism by discovering its specific characteristics in terms of definition, temporal attribution and internal periodization, as well as in the introduction of appropriate conceptual and terminological discourse.

Methodology of the research: historical method reveals the general content and artistic specificity of the selected segment of European musical history; culturological method focuses research on the category of type of culture, which allows to raise it to a much higher level of musical-historical generalization; systemic method embodies the most effective approach to the analysis of disparate, but extremely rich cultural facts, as well as introduces a relevant view of the musical history of the twentieth century; phenomenological method provides the study of certain conceptual contours and promotes the semantic differentiation involved in the analysis of multilevel cultural and artistic phenomena.

Conclusions. The main results and conclusions of the study of musical modernism proposed in the article allow us to consider this phenomenon as an epoch-making period in European culture of the first half of the last century; to reveal its transitional essence in the movement of European art from the classical to the postclassical type of culture; to affirm the fundamental role of intra-stylistic processes of development of modernist musical culture as multiple, decentralized and pluralistic in nature; to introduce the concept of “stylistic complex”, which marks the early, central and late stages of the evolution of musical modernism; to outline the circle of cardinal changes in the field of academic musical vocabulary of the first half of the 20 th century and to define cross-cutting lines of further cultural development.

Significance of the research. The scientific novelty of the article is due to the presentation in general terms of the author's concept of musical modernism, consistent with the well-established approaches of Western musicology, but independent in a number of specific positions.

Author Biography

Olena Korchova, Tchaikovsky National Music Academy of Ukraine

Candidate of Art Criticism, Associate Professor, Professor at the Department of World Music History

References

Berehova, O. (2012). Music of the XX−XXI centuries. Eastern Europe and Ukrainian abroad [Muzyka ХХ–ХХI stolit. Skhidna Yevropa ta ukrainske zarubizhzhia]. Book 1. Part 1. Tchaikovsky National Music Academy of Ukraine. Kyiv, 296 p. [in Ukrainian].

Vysockaja, M. and Grigor’eva, G. (2011). Music of the 20th century: from the avant-garde to the postmodern [Muzyka XX veka: ot avangarda k postmodernu]: textbook allowance. Moscow: Moskovskaja konservatorija, 440 p. [in Rassian].

Gerasymova-Persydska, N. (2008). 21 century and musica mundana [ХХI stolittia i musica mundane]. In: Journal of the Tchaikovsky National Music Academy of Ukraine [Chasopys Natsionalnoi muzychnoi akademii Ukrainy imeni P. I. Chaikovskoho]. Issue 1 (1), pp. 90–97 [in Ukrainian].

Hnativ, T. (1993). Musical culture of France at the turn of the 19−20 centuries: Claude Debussy, Maurice Ravel [Muzychna kultura Frantsii rubezhu ХІХ–ХХ stolit: Klod Debiussi, Moris Ravel]: textbook manual for higher and among music textbook institutions. Kyiv: Muzychna Ukraina, 207 p. [in Ukrainian].

Smirnov, V., ed. (1999). History of foreign music [Istorija zarubezhnoj muzyki]: textbook for conservatories. Leningrad State Conservatory named after N. A. Rimsky-Korsakov. Issue 6: Beginning of the 20th century — middle of the 20 th century [Nachalo XX veka — seredina XX veka], ed. V. Smirnov. Moscow: Muzyka, 626 p. [in Rassian].

Kyianovska, L. (2017). What is the style outside today? [Yakyi sohodni styl nadvori?]. In: Scientific herald of Tchaikovsky National Music Academy of Ukraine Scientific herald of Tchaikovsky National Music Academy of Ukraine [Naukovyi visnyk Natsionalnoi muzychnoi akademii Ukrainy imeni P. I. Chaikovskoho]. Iss. 119: Scientific dialogues with N. O. Gerasymova-Persydska [Naukovi dialohy z N. O. Herasymovoiu-Persydskoiu], ed. by I. Tukova. Kyiv, pp. 65–90 [in Ukrainian].

Korchova, O. (2008). Modernist origins of modern compositional rationalism [Modernistychni vytoky suchasnoho kompozytorskoho ratsionalizmu]. In: Scientific herald of Tchaikovsky National Music Academy of Ukraine [Naukovyi visnyk Natsionalnoi muzychnoi akademii Ukrainy imeni P. I. Chaikovskoho]. Iss. 73: Musical creativity and science in historical space. [Muzychna tvorchist ta nauka v istorychnomu prostori]. Kyiv, pp. 16−22 [in Ukrainian].

Krasnoshchok, K. (2012). Composer’s interpretation of the artistic and aesthetic heritage of Jean Cocteau in the works of representatives of French modernism of the 20th century [Kompozytorska interpretatsiia khudozhno-estetychnoho spadku Zhana Kokto v tvorchosti predstavnykiv frantsuzkoho modernizmu XX stolittia]: The dissertation author’s abstract for gaining the degree of the Candidate of Art Criticism by specialty 17.00.03 Music Art. Kharkiv National Kotlyarevsky University of Arts. Kharkiv, 16 p. [in Ukrainian].

Zhitomirskii, D. ed. (1976−1987). Music of the twentieth century (1890−1945) [Muzyka ХХ veka (1890–1945)]. Essays, in 2 vls., 5 books, ed. D. Zhytomyr; All-Union Research Institute of Art History; Leningrad State Institute of Theater, Music and Cinematography of the Ministry of Culture of the RSFSR. Moscow: Muzyka [in Russian].

Neboljubova, L. (1990). Musical culture of Germany and Austria at the turn of the 19– 20 centuries: Gustav Mahler, Richard Strauss [Muzykal’naja kul’tura Germanii i Avstrii rubezha XIX–XX vekov: Gustav Maler, Rihard Shtraus]: textbook allowance for higher and middle special textbook routine. Kyiv: Muz. Ukraina, 164 p. [in Russian].

Neboljubova, L. (1993). Systemic and stylistic problems of Austro-German romanticism (typology of late stages in the history of art). [Sistemno-stilevye problemy avstro-germanskogo romantizma (tipologija pozdnih jetapov v istorii iskusstva)]. In: Historical and theoretical problems of musical style [Istoricheskie i teoreticheskie problemy muzykal’nogo stilja]: thematic sat of the scientific works. Kyiv, pp. 55–71 [in Russian].

Pavlyshyn, S. (2005). Music of the twentieth century [Muzyka dvadtsiatoho stolittia]: textbook manual. Lviv: BaK, 232 p. [in Ukrainian].

Privalov, S. (2010). Foreign musical literature, the end of the 19th century — the 20th century. The era of modernism [Zarubezhnaya muzykal'naya literatura, konets XIX veka — XX vek. Epokha modernizma]: a textbook for senior and graduate classes of children’s music schools, colleges and lyceums. Sankt-Petersburg: Kompozitor, 533 p. [in Russian].

Redja, V. (2010). “There are subtle power ties …”. Integrative processes in the music of the Silver Age [“Est’ tonkie vlastitel’nye svjazi…”. Integrativnye processy v muzyke Serebrjanogo veka]: a monograph. National Academy of Culture and Arts Management. Kyiv, 320 p. [in Russian].

Rzhevska, M. (2005). At the turn of time: the music of Dnieper Ukraine in the first third of the twentieth century in the socio-cultural context of the era [Na zlami chasiv: muzyka Naddniprianskoi Ukrainy pershoi tretyny ХХ stolittia u sotsiokulturnomu konteksti epokhy]. Kyiv: Avtohraf, 352 p. [in Ukrainian].

Ross, A. The Rest is Noise. Listening to the twentieth century [Dal’she — shum. Slushaja ХХ vek], transl. from English by M. Kaluzkskyi, A. Gindina. Moscow: AST; Corpus, 2014. Available at: http://loveread.ec/read_book.php?id=47518&p=1 (accessed: 16.05.2020) [in Russian].

Rusakova, L. (2012). Modernism: interpretation in Ukrainian musicology [Modernizm: tlumachennia u vitchyznianomu muzykoznavstvi]. In: Problems of interaction of art, pedagogy and theory and practice of education: coll. science work [Problemy vzaiemodii mystetstva, pedahohiky ta teorii i praktyky osvity]. Kharkiv State Kotlyarevsky University of Arts. Iss. 34. Kharkiv, pp. 86–102 [in Ukrainian].

Tsenova, V. ed. (2005). Theory of modern composition [Teorija sovremennoj kompozicii]: textbook manual for university students majoring in 051400 Musicology, Tchaikovsky Moscow State Conservatory. Moscow: Muzyka, 616 p. [in Russian].

Tukova, I. (2017). Non-classical paradigm of music and natural science of the 20th — beginning of the 21st centuries [Neklassicheskaja paradigma muzyki i estestvoznanija ХХ — nachala ХХI vekov]. In: Scientific herald of Tchaikovsky National Music Academy of Ukraine [Naukovyi visnyk Natsionalnoi muzychnoi akademii Ukrainy imeni P. I. Chaikovskoho]. Iss. 119: Scientific dialogues with N. O. Gerasymova-Persydska [Naukovі dіalogi z N. O. Gerasimovoju-Persydskoju], ed. by I. Tukova. Kyiv, pp. 91–105 [in Ukrainian].

Dahlhaus, C. (1989). Nineteenth-Century Music. Trans. by J. Bradford Robinson. Berkeley: University of California Press, 417 p. [in English].

Danuser, H. (1991). Hustav Mahler and His Time [Gustav Mahler und seine Zeit]. LaaberVerlah, 380 p. (The Graite Composers and Their Time) [Grosse Komponisten und ihre Zeit] [in German].

Albright, D. ed. (2004). Modernism and Music An Anthology of Sources. Chicago: University Chicago Press, 440 p. [in English].

Taruskin, R. (2004). The Oxford history of Western music. In. 6 vols. Oxford: Oxford University Press, 4272 pp. [in English].

Tunbridge, L. (2014). Introduction. In: Journal of the Royal Musical Association. Vol. 139. Issue 1: Round Table: Modernism and its Others. Available at: https://www.tandfonline.com/doi/full/10.1080/02690403.2014.887301 (accessed: 16.09.2019) [in English].

Published

2020-10-27

Issue

Section

MUSICAL CULTURE: HISTORICAL PERSPECTIVE OF RESEARCH