Процесс академизации русского народного инструментального искусства

Abstract

The art of Russian folk instrumental music in the 20th century underwent an active stage of academization. Scholars have consentaneously interpreted it as the process of achievement of an academic level of performance and study. The author of the present article criticizes this kind of interpretation and proposes the conception of academization based on the theory of evolution. What is understood under the term academization here is the evolution of thinking and creative activity of humanity from authentic folklore to contemporary music of the academic type. Two types of academization are brought out: the natural and the artificial, demonstrating a single substance – the aspiration towards an ideal artistic paradigm. However, in the natural process the paradigm is formed spontaneously during the course of the artists’ creative search and the selective activity of society, and in the artificial it is borrowed from another culture, and so in the artificial process the reproductive function predominates over the creative. Both types are subjected to the “postacademic syndrome” – negative tendencies, which demonstrate themselves more acutely in the artificial process. Overcoming the “post-academic syndrome” is possible through the integration of academic art with the analogous tradition of the folklore variety, the development of the theory of national instrumentalism, removal of dualism of thinking from it and assertion of the integrity of the phenomenon of the folk trait of artistic creativity. Keywords: the art of folk instrumental music, the academization of art and education, the types of academization, evolutionary and synergetic natural laws.