О компенсаторной функции «новой простоты» в современной музыке

Abstract

The purpose of the article is to determine the essence of the compensatory function of the artistic and aesthetic principles of “new simplicity” as the style direction of modern composer practice. The methodology of the study is: a systematic method that allows you to consider individual elements of the style of works in a “simple” style, as those that are aimed at implementing a compensatory function; the comparative method, which allows to identify the general artistic and semantic vector of various composer versions of “simple” music and various levels of manifestation of the compensatory function of the “simple” style in modern music; as well as a musicological method of genre-style analysis, which is aimed at identifying the stylistic complex of “new simplicity”, which is focused on compensating for individual-author “deformations” of the musical language in previous epochs of composer creativity. The scientific novelty of the article is determined by the theoretical development of the compensatory function of musical art in the context of the artistic and aesthetic foundations of modern composer creativity. Conclusions. The compensatory function of “new simplicity” as the stylistic vector of modern composer practice is determined by the objective factors of the evolutionary logic of European musical professionalism and the ontological properties of musical art. This function is manifested at three levels: at the level of historical conditionality, which is associated with the current state of culture and man as its subject. This level is due to the “anthropological inquiry” of each historical era, which determines the forms and content of its artistic manifestations; on the level of the ontological foundations of human self-consciousness in the sense of its binary nature – the unity of personal consciousness, dissolved in the everyday life of social communication and worldly requests and its spiritual side, which is directed towards the transcendence of experiencing religious experience and higher emotions. This level determines individual composer attitudes to compensate for the “lost meaning” in a broad sense – both at the level of individual-personality existence, and at the level of understanding of music as a form of culture and art form; at the level of musical vocabulary, which compensates for the redundancy of individual author’s interpretations of the expressive properties of such elements of the musical language as melody, rhythm and harmony in the previous era of avant-garde composer styles, as well as the absolutization of the increased emotional tone of the musical expression of “life drama” in professional music from the New Age; this type of musical vocabulary compensates for the simplicity and “one-dimensionality” of those sound images of life universals that surround a modern person in his daily life in various forms of “light” or “mass” music.