Systemogenesis of performing activity in the music of the XX century

Abstract

The importance of determining the systemic determinants of cultural genesis of performing art in the context of the ecosystem approach to the interpretation of musical art is emphasized. The purpose of the article is to determine the system-making directions of the transformation of performing activity in music, in particular, in Kyiv vocal school as a phenomenon of sociocultural explanations of the leading determinants of musical synthesis — anthropological, semiological and visual turns. The methodology is determined by comparative and systemic approaches, which make it possible to conduct a comparative analysis of musical systems of performing arts; phenomenological and dialectical methods that help to determine the figurative transformations of musical culture as the integrity of performing strategies — skills, abilities, creativity. The scientific novelty. The theory of systemogenesis and the ecosystem approach to the analysis of large sociocultural systems of reflection provide an opportunity to understand the musical space as a unity of systemogenesis and culturegenesis. Mimetic, logistic and reflexive approaches to the formation of a musician’s performance skill are characterized using the example of vocal and instrumental components of a modern art work. Modern performance skills are technological and specified within the framework of anthropic, media-textual and visual patterns that make an impact on performance. The dichotomy of performance as a division into verbal and instrumental is to a certain extent overcome when all the latest theses, which include information transformation mechanisms on the screen, give a synthetic image. All this, in one way or another, determines the latest genre configurations that often change the trajectory of the development of the systemogenesis of music. Performance in art could not develop without those experiments when vocals enter the symphony, in particular, by A. Schoenberg in “Moon Piero” and others. It could not have developed without those broad creative intentions, which appeared with development of music. The results. More creative, broader and more global systems are emerging that apply the achievements of the virtual, iconic, visual turn, include screen communications, the modern theater scene, which is becoming more radicalized, different than it was before. The ecological instruction as an appeal to metaphysical origins to a certain extent emphasizes the diversity of systemogenesis in performing culture. On the one hand, it is a metaphysical way of shifting all boundaries, on the other hand, it is a local fragmentation and an appeal to the origins of one’s own performing experience in art. All syntheses, which are carried out on the basis of a musical element, musical text, metatext of musical discourse, require adequate performance skills, abilities and creativity. The more different types of arts are involved here, the more they are needed in order to show a musical image integrally and perfectly, to convey an idea. An idea is already a matter of taste, direction, arrangement and a problem of the interaction of various actors of the complex modern process of medialization, dialogue of cultures, artistic tools of various types of arts and performer. After all, the dialogism of performing technologies in music is transformed into a certain miracle. A miracle and a complete artistic image emerge. The image of the completed XX century, which is already understood as a work of art. The practical significance. The practical significance of the study lies in the fact that the categorical apparatus of the ecosystem approach is introduced into the cycle of musicological and cultural reflection, which makes it possible to expand the horizon of the sociocultural functioning of a musical work to its understanding of a certain ecosystem, focused on preserving the cultural and historical potential of musical performance.