On the Comparative Analysis of the Eurasian Region Cultures

Abstract

An early article is devoted to the study of the concept of Eurasianism in the context of comparative art history. The presented article emphasizes that modern art history requires methodological innovations that will reveal the features not only of the national specifics of music, but also the parameters of its dialogue with other cultures. The article discusses the concept of musical genocide as an analogue of an innate program that determines the vectors of the artistic culture evolution. As a result, it is possible to determine both universal ethnocultural and the specificity of regional conditioned properties of culture. The purpose of the research is to determine the comparative parameters of the Eurasian culture. The research methodology lies in the method of historicism. Of fundamental importance, he can reveal the logic of historical thinking. The prospect of using the method of historicism lies in the possibility of approaching the complex whole of Eurasian culture in its historical movement, in the unity and development of its constituent parts. Behind the variety of manifestations, the main, common lines of the historical development of Eurasia are being built. The scientific novelty of the research undertaken in this article is to form a number of provisions of the comparative analysis. For example, the concept of a gene formula, a typological series. Conclusions. The category of the gene formula formulated in the article is a historically conditioned sign function of culture. The gene formula is generated by the collective experience of the ethnos and has semantic meaning. At the same time, the gene formula defines a specific type of pitch that ensures the vitality of the music and realizes the identity of the culture.