CULTURAL ASPECTS OF THE STUDY OF REGIONAL MUSICAL TRADITION
Authors: Markov Viktor Ivanovich, Dr of Culturology, Professor, Professor of Department of Culturology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: firstname.lastname@example.org Egle Lyudmila Yuryevna, PhD in Culturology, Associate Professor, Associate Professor of Department of Musicology and Applied Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: email@example.com
Number of views: 151
The culturological vision of the world of culture is based on two axioms: the recognition and accentuation
of cultural diversity and the tendency toward a holistic, systemic consideration of cultural phenomena.
The article provides an analysis of the existing approaches to musical culture from the point of view of its
consistency. But often, the general principle is not taken into account that each methodological approach and
technique has its limitations, beyond which they become non-heuristic and even unacceptable in general. It can
be argued that, generally, when applied to a culture, its level structure should be taken into account. And only
some of these levels, it makes sense to consider in a systemic manner, namely, national and ethnic cultures.
In relation to regional musical culture, one can only talk about individual manifestations of systemic
nature. But in general, it does not and cannot achieve a sufficient level of integrity. Due to its maximum
openness, a regional musical culture is not a system but rather a mosaic of heterogeneous in origin, different at
different times, different in sociocultural and ethnic foundations and manifestations of musical phenomena and
forms, which are interconnected only partially but mostly intertwined into the overall picture of Russia and,
moreover, world music culture.
Accordingly, the description of the musical culture of the region cannot be strictly logical presentation
of subordinate and coordination links, the allocation of system-forming moments, etc. It will be, as close to
reality as possible, if it does not explicitly explain everything but naturally the most vivid and specific forms
and manifestations of the musical culture of a given region in conjunction with the general conditions of their
origin and development. Further, the empirical material demonstrates the stated thesis about some systemic
effects that still occur in the region’s musical culture. One of the most vivid manifestations of this effect
in Kuzbass is the various transformations of the German music and singing culture, which turned out after
the forced relocation during the war years in a foreign cultural environment.