Cultural Genesis of Concert Performance in the Twentieth-Century Music

Abstract

Cultural genesis in music is linked to the various systems of actualization of the musical phenomenon—a stylistic, genre resource of music in unity with the natural dimensions of sound production, with the movement of musical time. Performing activity is structured both vertically and horizontally. Horizontally, it is assimilation of ethno-cultural, amateur, stylistic, genre, multicultural, multicultural, metaartistic, hermetic artistic codes, techniques, and systems of interpretation. Vertically, in the terms of J. Deleuze, it is elaboration of form creation, the unity of individual and the world, unity with the absolute, which is system- and structure-creating. Thus, the mechanism of a person’s vertical independence in the world is a guarantor of their ability to find an intensive metric of musical matter alongside all other possibilities—mixes, configurations of composition in music. Music perseveres despite all the innovations of psychedelism and all the transformations of melos and folklore occurring during the 20th century.