Anthropological turn in musical culture of the XX century

Abstract

The anthropological turn in the system of cultural and musicological reflection determines the transformation of the image of man in the culture of the XX century. The ontological and phenomenological dimensions of the presentation of a person in the media space are changing. If the semiological turn was defined as a movement of structuralist and post-structuralist studies, and the visual turn is associated with the transformation of visual practices, the emergence of a certain visual environment, then the anthropological turn in music touches on the deep psycho-physiological foundations of the formation of a musical image. The purpose of the article is to determine the cultural characteristics of these turns as an aesthetic and anthropological phenomenon. The methodology is presented with comparative and systemic approaches, which makes it possible to determine the integrity of performance in music as a meta-cultural and meta-artistic integrity. The scientific novelty. The anthropological turn occurs as a systemogenesis of cultural paradigms. Systemogenesis is the uneven development of system components (subsystems). A person as a cultural phenomenon can be considered as a system, albeit in a certain context, from a certain point of view. Systemogenesis of reflection as an anthropological turn characterizes the change of the image of a person in different realities of reflection — philosophical, cultural, and art. These paradigms, in fact, musical, creative, and artistic become ecological, because they are lifesaving in terms of preserving the integrity of a person, culture, in particular musical and performing culture. The anthropological turn indicates the artist-performer behind the realization of the musical space, music as the integrity of culture. Semiological is related to notation systems, information transmission and understanding of music as a symbolic phenomenon. The visual turn characterizes the communicative aspects of performance in musical culture as a whole. The results. Cultural genesis in performance is a system genesis of paradigms dominated by either a symbiotic or a monistic paradigm, focused on authenticity, creativity, deconstruction, decomposition, etc. All this can be noted as paradigms of creativity in general. The integrity of the modeling of the modern musical space is being formed, in particular a genetic algorithm with all the properties of sound and other configurations of a synthetic vision of an artistic image. The practical significance of the article. The practical significance of the work lies in the fact that practicing musicians and musicologists join the modern cultural reflection focused on the ecosystem approach. In particular, performing activities in music are oriented both on the anthropological constants of the performer and on preserving the traditions of national performing schools. In post-classical musical cultural studies, performing activity is interpreted as a certain systemogenesis. The creation of new systems of performing culture arises as a self-sufficient synthesis based on an appeal to the origins of national musical culture, and the entire corpus of problems of performing art is presented in the context of premodern, modern and postmodern types of reflection.