UDC 78
DOI: 10.36871/hon.202401014
Authors
Alexander N. Yakoupov,
Russian State Specialized Academy of Arts, Moscow, 121165, Russian Federation
Abstract
In the musical environment of philharmonic concert venues and musical educational institutions, the compositions of past centuries prevail over the music of modern styles and trends. This article discusses a number of issues related to the causes of this imbalance and analyses its impact on the formation of the repertoire preferences of the audience and the development of musical thinking of the admirers of academic music. In addition, the author brings up for professional discussion the topic of the responsibility of performing musicians for the formation of a sound environment that plays a decisive role in shaping public thinking. The article raises a delicate topic of evaluating the actions of some representatives of the musical and educational community who claim a monopoly of absolute truth regarding which styles and trends in modern music are worthy of being performed in the “temple of art” and which are not. When identifying the reasons for the current attitude of performing musicians towards the work of modern composers, the author of the article, based on the provisions of information theory, suggests considering a musical work both as a result of the composer’s creative activity and as an example of creating an information message for society. This approach allows drawing performers’ attention to the need for mastering the modern musical language, whose synthetic sign system is uniform for all participants in musical communication: the composer, the performer and the audience. The proposals for addressing this important problem are outlined in the final part of the article.
Keywords
musical avant-garde, composer, performer, listener, communication, repertoire, types of thinking, sonorics, modern means of expression
