ФЕНОМЕН МЕТА-ЖАНРОВОЇ ФОРМИ У МУЗИЧНІЙ ТВОРЧОСТІ ДОБИ МОДЕРНІЗМУ ТА ПОСТМОДЕРНУ

Abstract

The aim of the study is the conceptual and semantic separation of the phenomenon of meta-genre form as a type of musical creativity that reveals a transgressive form of relationship in terms of the academic system of genre roles. The essence of this question is determined by the history of the theory of musical genres - from ideas about certain standards and even technologies of musical composition to the structure of musical genre forms in accordance with historically composed academic traditions. The methodological foundation of the study is the latest theoretical judgments about the genre form in music; and especially in relation to its semantic invariant as a type of content and certain principles of its structure, which act in the praxeological aspect as a certain reference indication (epistemological / cognitive discourse). The scientific novelty of the study is that the phenomenon of meta-genre form is considered a synergistically new algorithm of musical thinking, which relies on the metaphysical scientific picture of the world and thus regulates the evaluation of an extraordinary approach to genre creation. Conclusions: The approach to genre algorithms characteristic of modernist and postmodern periods in music, reveals intentions of transgressive breakthrough beyond the academically composed system of music genres, but despite the emergence of the latest system-creating algorithms, it continues the tradition of the semantic structuring of the genre phenomenon. It is proved and asserted that the objectifying factor is the eternally true nature of the World of Music as a sound intonation environment, and the differentiated (subjective) factor is the semantization of the sound idea of form, which as a strategy of sound thinking replaces the classical canons of linguistic thinking.