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Authors
Violetta Yunussova
Doctor of Sciences in Study of Art, Professor, Foreign Music History Department
Tchaikovsky Moscow State Conservatory
Russian Federation
https://orcid.org/0000-0001-5526-6867Article information
Article publication date
2023-03-29
Article Page
52–59
Chapter
Arts & Humanities
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Abstract
The article discusses the interaction problem of the modern composer with the world's musical cultures, including its specifics in the East and West. The similarities and differences in the creative synthesis of elements from different cultures served as an impetus for comprehending the attitude of composers to “not their” material, whether it be a quotation, an electronic processing of an ethnographic record, or an artistic embodiment of philosophical ideas. The works of Olivier Messiaen, Karlheinz Stockhausen, John Cage, Tan Dun, Bakir Bayakhunov, and Halim El-Dabh are given as examples. From the perspective of musical culturology and musical oriental studies, the creative concepts of works that include one or another form of rethinking the borrowed material are analyzed. The typology of this phenomenon in Asian countries is given, and two types of interaction are defined: with cultures of the region, close by tradition, and with the cultures of the world, far from the initial. In Asian music, East-East and East-World interaction vectors are distinguished, which complement the existing East-West vector and determine the modern situation originality. In the process of the emergence and formation of these vectors, factors such as the development of communication means and sound recording technologies, as well as the tendency of Asian music to enter the world’s cultural space and the composer’s need for wider communication, were noted.
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Keywords
modern music of Asia
East-East
East-World
modern trends
interaction of cultures
music of the world
References
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Published:
2023-03-30
Дата подачи:
2023-07-13
Journal number
№ 1
Volume
11
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