home-Children's fashion-Literary music festival, relevance of the problem. Implementation of the “literary and musical living room” project within the educational system of the school

Literary music festival, relevance of the problem. Implementation of the “literary and musical living room” project within the educational system of the school

What a festival it is

This festival is already the third in a row. The popularity of the festival is growing and attracting more and more new groups and soloists. This year, thirty-five contestants took part in it, selected at a casting from seventy announced ensembles and performers. The level of the competitors is different: there are very strong teams, almost professional, and very weak ones, which are quite boring to listen to. That’s why the competition program was supposed to isolate grains of gold from the sea of ​​sand, and there were such. True, the main arbiter, the legend of Russian musical life Artemy Troitsky, whose voice should be decisive in separating the wheat from the chaff, this time was the “wedding general”.

A separate item in the festival program is the “Crafts Fair”, which this time took place on the territory of the Shushenskoye Museum-Reserve. There you could not only look at, but buy the products of master craftsmen (clay jugs, wooden dishes, wicker lace, pagan amulets, etc.), but also hit the anvil with a hammer in a blacksmith’s workshop or create a small one with your own hands using a potter masterpiece - clay pot.

The festival included a night of an ancient pagan ritual - ritual. Beating the tambourine, singing and dancing around the fire. For the first time, 7 sorcerers from Tyva, Khakassia and the Krasnoyarsk Territory are trying to bring themselves to ecstasy in order to drive away everything bad from the festival and the people at it. At its head is the powerful and formidable Ai-Churek Oyun, known from past festivals. This time she needed more strength and attracted helpers.

The ancient ritual impresses even non-skeptics. Thousands of people stand in a single circle. For the magic to happen, you need to touch your bodies and scream.

In the center of the circle, in addition to the fire, there is a sacred tree. The shamans tied it with ribbons and surrounded it with enchanted branches and cones. Before the ritual began, you could touch it and make a wish, you could stand longer.

The ritual this year was complex - both for security and for the weather and for luck. At first, the sorcerers were even against filming and photography. Kamlanie is a very intimate and energetically complex process. It develops according to its own laws and rules. Shamans never lose their rhythm and remember the ritual objects. The fire is sprinkled, the tambourines are raised and lowered. But in their state of altered consciousness, the shamans do not pay attention to the fact that by the middle of the ritual the circle of people around them becomes narrower, many, together with the sorcerers, enter a semi-trance. Many, on the contrary, are afraid to even approach. The ritual lasts about three hours. Few survive the ritual to the end. Because they don’t have a festival with their own god - music. Literally across the road from the shaman's clearing at the stadium, discos do not stop all night. There are DJ sets on the site until the early morning. The best bands and clubbers of the world from London, Moscow and other cities introduce the crowd with trance music. Instead of tambourines, there are completely different instruments here. eleven

“The braid is a girl’s beauty, stop dangling over your shoulders, it’s time to get out of the way.” Personally, I only knew the first part of this folk wisdom, but the whole meaning is lost. The braid was a girl's hairstyle, and as soon as the girl got married, the braids were tucked under a closed headdress called a kichka. Nadezhda Stepanovna, the director of the Children's Folk Center, came to the Sayan Ring ethnic music festival as part of the Pleten ensemble. She has been studying the life and clothing of the Slavs for a long time. She believes that it would be a good idea for us modern people to learn from our ancestors. After all, they lived in harmony with nature and even through clothing and everyday life they tried to protect themselves from evil forces and attract good ones to their side. Is it worth adopting Japanese or Indian wisdom, which are so popular with us today, if we have all this too? Nadezhda Nikolaevna finds many interesting differences in the culture of the Slavs and modern Russians. For example, “cuckold” for us means to change. And our ancestors wore horns boldly and even proudly. “The kittens of married women were often horned,” says Nadezhda Nikolaevna. “Unlike modern people, our ancestors perceived horns as a symbol of fertility. The woman walked around with horns until she could bear children.” Girls' hats were open, women's were closed. This is where the expression “goof off” comes from. No one should have seen the hair of a married woman. Russian women never cut their hair, and men never cut their beards. In general, an unemployed man was considered defective, all this is not news to us, after all, have you heard about Samson, whose hair was cut by Delilah, and as a result he lost his heroic strength? Like many other peoples, the Slavs believed that strength lies in hair. For example, the Khakass wore their hair and nails in an embroidered bag on their chest, just like the Khakas, the Russians had manists. This is an ornament that covers the neck. It was believed that the neck and chest were the most vulnerable places. Buddhist monks and Hare Krishnas think the same way. They all say out loud that there must be at least some kind of jewelry on the neck. It is believed that one can “get into the soul” through this vulnerable spot. But the Slavs not only tried to scare away bad energy, but also to attract good energy. Initially, red, the color of energy and strength, was worn on days of difficult work: the beginning of haymaking and sowing, only then this color became festive, since it already accompanied the end of the harvest. And during the period when the harvest was harvested, a wedding was held in Rus'. And young people were often dressed in red. We are often surprised by the customs of our ancestors, but we ourselves do not notice that sometimes we follow them. Let's take a pin and pin it on our clothes so that they don't jinx it. This year's innovation was the “city of craftsmen”. There you could not only buy various handicrafts (you could leave with purchases from previous festivals), but also see how these things come into being. And some masters even gave the audience the opportunity to participate in the process themselves. It was never empty near the potter's wheel. Everyone wanted to make a clay product with their own hands. Although in reality it turned out to be not entirely our own. Some tried to conquer the potter's wheel themselves - crookedly, but their own way, while others completely trusted an experienced master. 14

Vladlen Durov, a blacksmith from the community of Vissarion, brought a wooden pavilion to the festival, with a furnace, an anvil and other equipment without which blacksmithing is impossible. Vladlen and his two assistants specialize in making axes from Damascus steel. It is famous for the intricate pattern that forms on its surface.

Just for such a pattern to appear, it is necessary to make multilayer metal, up to 250 layers, and then “open” it. Vladlen's ax blanks are even bought by workshops that manufacture collectible weapons. And Vladlen himself likes to hand over his products personally to the buyer in order to see what kind of person will use his ax.

Experiment time

Experimental groups make up a large part of the festival; there are plenty of them among both participants and guests. The Novosibirsk ensemble “Seventh Heaven” itself cannot decide what kind of intricate musical path it has chosen. “Our work does not use any folklore in its pure form, of course,” says the group’s vocalist Victoria Chekovaya. - There is a process of absorbing all the music that you hear, and then processing and creating something of your own. Most often, the motives of Russian music appear, simply because we ourselves, Russians.”

From tops to roots

And yet, the main value of the festival is the presence of authentic (that is, coming from the original source) music. Last year, the team “Kylysakh” became a real star, a discovery. He amazed everyone with the color of Yakut songs and playing the khamus. The team is very prepared, not only musically. The musicians’ well-developed style and demeanor - everything indicates that the band is ready to “export”. The success of Tuvan, Yakut, Khakass groups abroad is colossal. Stepanida, a member of the Ailanys ensemble from Abakan, says: “Khakassian culture is new. Not much is known about her in America. Khakass groups often go there on tour. But in our country we are practically unfamiliar with this culture. We traveled to twenty cities of Russia, and everywhere we were warmly greeted, but there are almost no people who know the work of Khakass groups well.”

Therefore, it is not surprising that in the new year the Grand Prix of the festival was won by a Khakass group that performs authentic music. The Khakass song and dance ensemble “Ugler” is not unique. He is, perhaps, recognized as simply the best among the Khakass groups, of which there are traditionally many on the Sayan Ring.

One of the most striking events of the fair was the master class of the ensemble “Pleten” - a collective of the Shushensky Museum-Reserve. The ensemble presented a wedding ceremony and traditional Russian wedding games, in which ancient objects and symbols were involved, and authentic songs were sung at the performance. Spectators were also involved in the “wedding” and games. During the show, the ensemble members used authentic items used in 19th-century wedding ceremonies, including a homemade towel and a whip that was used to whip the bride to protect her from the evil eye. The costumes of the team members are made according to sketches recreated from ethnographic samples. By the way, a professional choreographer works with the Pleten ensemble. The clothing, songs and dances of the group represent various directions of Russian tradition with a predominance of southern Russian motifs.

The festival's guest, the famous Mola Sila, performed improvisation in African traditions and European free-jazz. Propa Ghandi, a DJ from London, also performed. And in the evening, everyone on the banks of the Shush River celebrated Ivan Kupala Day. According to all the traditions: with throwing wreaths into the water, searching for a fern flower and jumping over a fire. For the festival this year, special equipment was purchased for the first time. 15

The festival ended with a traditional galo concert with awarding of diploma winners in nine categories. For this occasion, Governor Alexander Khloponin specially flew to Shushenskoye - his charitable foundation is the main financial partner for the organizers of the ethnic festival from year to year. Speaking before the start of the final hit parade, Alexander Gennadievich noted that the festival has good prospects in the future.

Relevance of the Sayan Ring festival

Siberia is one of the world's reserves, where a bouquet of ethnic traditions and cultures has been preserved in their original form. Art and traditions are what unites all the territories of the “Sayan Ring”: Taimyr, Buryatia, Khakassia, Tyva, Krasnoyarsk Territory, Kemerovo and Irkutsk regions into a single unique Siberia.

In people's lives, various social, psychological and other conflicts arise that cannot always be resolved. As they accumulate, they sometimes lead to a person’s psychological or social “breakdown.” Art and creativity allows you to internally resolve conflict and relieve psychological stress. Ethnic PR companies are needed in multi-ethnic regions. They create a communicative aspect and ensure the transfer of ethnocultural information between generations.

The Sayan Ring festival is an extravaganza of ethnic music. The authentic sound of folk instruments, a living voice, ceremonial and ritual chants - this is what attracts audiences from all over Siberia. Even chamber performers adapt to the festival format. Even Vartan Markos, the former Markosyan, spoke. His violin on the Sayan Ring amuses us with Russian folk music. On the festival stage there are bands from all over the world. There are Hungarians, Tuvans, Englishmen and even a guest from Senigal on the Sayan Ring. African Mola Sylla performs a duet with a St. Petersburg resident. And the black vocalist sings about love - as is customary in his homeland. “The Sayan Ring” is also a professional festival; thirty groups competed for the main prize, but the ensemble “Ugler” won the grand prize.

The songs and dances of peoples carry the deep energy of our ancestors through the centuries. By preserving and passing them on to subsequent generations, we seem to support the fire of multinational traditions in our common home called Earth. By studying the culture of peoples, we get to know each other better, which means we learn to be friends and become closer. Therefore, our festival has a peacekeeping mission. The Sayan Ring is an ethnic festival that should be cherished by all residents of Siberia. Even seasoned musicians are sure of this. Nothing like this can be found in Russia or abroad.

Introduction

Chapter 1. Music festival as a form of dialogue: theoretical aspect

§ 1. Festival in the system of cultural communication

§ 2. Cultural potential of a music festival

§ 3. The problem of the origins of the modern music festival: improvisational creativity and

dialogue of cultures

Chapter 2. Music festival in the dialogical space of modern culture

§ 1. Music festival as a sociocultural phenomenon

§ 2. Models of a modern music festival

§ 3. Music festival in meaning

postmodern project

Conclusion

Bibliography

Introduction of the dissertation (part of the abstract) on the topic “Music festival in the dialogue of cultures”

INTRODUCTION

At the turn of the millennium, a new artistic picture of the world is emerging, due to the complex processes of globalization, the development of a post-industrial model of society and the economy, man-made changes, the rapid development of worldwide communication systems (the global Internet) and other factors. All this influences a person’s worldview, the nature of his interaction with the external environment and society, spiritual and creative self-expression in the spheres of art, religion, and philosophy. In the modern world, new forms of cultural creativity are constantly emerging, which coexist with traditional ones, and sometimes displace them.

In recent decades, one of the most popular forms

interaction between people in modern culture has become a festival.

The festival movement in Europe, the USA and Russia is constantly expanding,

capturing increasingly vast layers of cultural space. Not

exception and the music festival movement. Musical

The festival is a bright and original phenomenon. At first glance, it appears to be developing

regardless of global social and political processes and has

your internal logic. Meanwhile, the change in the nature of perception of this

phenomenon reveals the presence of patterns in festival events

on a general cultural scale: the music festival movement can

be placed on a par with other cultural phenomena in

space of modernity. In the context of cultural studies

the music festival begins to be perceived as a sociocultural

phenomenon, a specific form of intercultural communication, within

which realizes the creative and intellectual intentions of our

time. Indeed, in recent decades the music festival

stepped beyond the scope of a musical event and acquired significance as a form of cultural communication. It is increasingly becoming one of the main forms of contact between performers and the listening audience. At the same time, the music festival has not yet become the object of close attention and study by specialists studying the general patterns of development of modern culture and cultural communication, theorists, historians and sociologists of culture. Music festival projects continue to be described and studied from the perspective of applied knowledge about the dynamics of the modern performing and creative process, rather, noting their diversity, content, range of participants, etc. Thus, there is a need to understand the music festival as a phenomenon of modern culture, included in the system of dialogic relations between different national cultures. This determines the relevance of this study.

The degree of scientific development of the problem.

The most significant in the context of the dissertation are the works of M.M. Bakhtin, creator of the cultural concept of dialogue, founder of the school of “dialogue of cultures” B.C. Bibler, European and domestic scientists M. Buber (creator of the religious “philosophy of dialogue”), his follower E. Levinas, Yu.M. Lotman (creator of the semiotic concept of cultural dialogue), representatives of the Western “philosophy of dialogue” F. Rosenzweig, O. Rosenstock-Hüssy, author of the “pedagogy of dialogue” method P. Freire1. Along with this dialogue,

1 Bakhtin M.M. Philosophical aesthetics of the 1920s / Collection. op.: in 7 volumes; Institute of World Literature named after. A.M.Gorky RAS.- M.: Rus. dictionaries; Languages ​​of Slavic cultures, 2003.- T. 1. - 957 e.; Bakhtin M.M. Problems of Dostoevsky's poetics: works of the 1960-1970s. / Collection op.: in 7 volumes; Institute of World Literature named after. A.M. Gorky RAS. - M.: Rus. dictionaries; Languages ​​of Slavic cultures, 2002. - T. 6. -

800 units; Bibler B.C. Culture. Dialogue of cultures (definition experience) / Issue. philosophy. - 1989. - No. 6. - P.31-42; Bibler B.C. From scientific teaching to the logic of culture. Two philosophical introductions to the twenty-first century. -M.: Politizdat, 1991.-413 pp.;BuberM. Two images of faith. - M.: Republic, 1995.-494 p. - (Thinkers XX

century); Levinas E. Time and the other = Le temps et l"autre; Humanism of another person = Humanisme de l"autre

psychological research J.I.C. Vygotsky2, in which dialogue is studied as a mechanism of human thinking, aimed at the individual himself and “at others.”

Understanding the role of the music festival in the structure of sociocultural interactions of our time was facilitated by works devoted to the theory of communication. The philosophical justification for the category of “communication” is presented in the works of existentialists K. Jaspers and J.-P. Sartre, as well as in the theory of communicative action of J. Habermas3. Problems of the general theory of communication, the study of the mechanisms of sociocultural, interpersonal, intracultural and intercultural communication are reflected in the works of G.M. Andreeva, S.N. Artanovsky, N.M. Bogolyubova, S.B. Borisneva, T.M. Dridze, B.M. Erasova, M.S. Kagana, A.B. Kovalenko, V.P. Konetskaya, G. Laswell, A.N. Leontyev, M. McLuhan, Yu.V. Nikolaeva, T.M. Newcomb, L.V. Petrova, G.G. Pocheptsova, X. Raimann, A.P. Sadokhina, A.B. Sokolova, J. Hartley, E.T. Hall, F.I. Sharkov and others4.

homme / E. Levinas; lane from fr. A.B. Paribka. - SPb.: Higher. religious-philosophical school, 1998. - 265 euros; Levinas E. The Path to the Other / E. Levinas; lane E. Bakhtina. - St. Petersburg: St. Petersburg Publishing House. University, 2007. - 240 e.; Lotman Yu.M. Mechanisms of dialogue // Semiosphere: Culture and Explosion. Inside thinking worlds. Articles. Research. Notes (1968-1992). - St. Petersburg: Art-SPb., 2004. - P. 268-276; Rosenstock-Hüssi O. God makes us speak. - M.: Canon+ “Rehabilitation”, 1998. - 288 p. - (Series “History of Philosophy in Monuments”); Rosenstock-Hüssi O. Speech and reality. - M.: Labyrinth, 2008. - 272 p.

2 Vygotsky L.S. Thinking and speech. - M.: Labyrinth, 2008. - 352 p.

J Jaspers K. The meaning and purpose of history / trans. with him. - M.: Politizdat, 1991. - 527 p. - (Thinkers of the 20th century); Sartre J.-P. Problems of the method / trans. from French; note V. P. Gaidamaki. - M.: Academic project, 2008. -224 e.; Habermas Yu. Moral consciousness and communicative action / trans. with German; edited by D.V. Sklyadneva, afterword. B.V. Markova. - St. Petersburg: Nauka, 2000. - 380 p. - (“The Word about Existence”),

4 Andreeva G.M. Attributive processes in conditions of joint activity // Communication and optimization of joint activity. - M.: Moscow State University Publishing House, 1987. - P. 152 - 166; Artanovsky S.N. At the crossroads of ideas and civilizations: East. Forms of communication between peoples: world cult, contacts, multinational. state. - St. Petersburg. : SPbGAK, 1994. - 224 e.; Bogolyubova N.M. Intercultural communication and international cultural exchange / N.M. Bogolyubova, Yu.V. Nikolaev. - St. Petersburg: SPbKO, 2009. - 415 euros; Bogolyubova N.M. Cultural exchange in the system of international relations / N.M. Bogolyubova, Yu.V. Nikolaev. - St. Petersburg: St. Petersburg State University Publishing House, 2003. - 192 units; Borisnev S.B. Sociology of communication: textbook. village - M.: UNITY-DANA, 2003. - 270 e.; Dridze T.M. Text activity in the structure of social communication. Problems of semiosociopsychology. - M.: Nauka, 1984. - 268 e.; Dridze T.M. Language and social psychology. - M.: Higher. school, 1980. - 224 e.; Erasov B.M. Social cultural studies: / textbook. 3rd ed., add. and processed - M.: Aspect Press, 2000. -591 e.; Kagan M.S. The world of communication: the problem of intersubjective relations - M.: Politizdat, 1988. - 319 p. - (What are philosophers working on and arguing about); Kovalenko A.B. Culture and mass communication. - M; Science, 1986. - 303 e.; Konetskaya V.P. Sociology of communication. / Int. University of Business and Management. - M., 1997. - 304 e.; Leontyev A.N. Psychology of communication. - M.: Meaning:

The study of the festival as a specific form of organizing cultural communication is presented only in individual works with a social and practical orientation. These include works in the field of sociology of art and sociocultural activities, including the works of N.V. Garustovich, N.A. Zapesotskaya and A.M. Menshikova5.

The historical formation and development of the festival form (in particular, music) and the festival movement have not previously been covered as a topic for independent research. Certain aspects of this problem are covered by J. Huizinga6 (the question of the origin of the festive spectacle based on the game), the history of ritual and play actions and folk festive forms in the Middle Ages and the Renaissance in the works

M.M. Bakhtina, V.P. Darkevich, M.A. Saponova), processes of festival artistic practice at the turn of the 19th - 20th centuries. in publications by I.A. Azizyan, A. Artaud, J. Cocteau, A.M. Menshikova, G.G. Pospelov and others8.

Academia, 2008. - 365 euros; McLuhan M. Understanding Media: External Extensions of Man = Understanding Media: The Extensions of Man /. - M.: Kuchkovo pole, 2007. - 464 e.; McLuhan M. The Medium is the Massage: An Inventory of Effects / M. McLuhan, Q. Fiore. - N.Y.: Random House, 1967. - 160 p.; Petrov L.V. Communications in culture: processes and phenomena / L.V. Petrov. - St. Petersburg: Nestor, 2005. - 197 e.; Pocheptsov G.G. Theory of communication / G.G. Pocheptsov. - M.: Refl-book, 2001. - 656 euros; Sadokhin A.P. Intercultural communication: textbook. village - M.: Alfa-M: INFRA-M, 2004. - 288 e.; Sokolov A.V. General theory of social communication: textbook. village - St. Petersburg: Publishing house Mikhailov V.A., 2002. - 460 e.; Sharkov F.I. Communicology: foundations of communication theory: textbook. / F.I. Sharkov. - M.: Publishing-trading. Dashkov and Co. Corporation, 2010 - 592 euros; Hartley J. Communication, cultural and media studies: the Key Concepts / J. Hartley; with additional material by M. Montgomery, E. Rennie and M. Brennan. - Third Edition. - & New York: Routledge, Taylor & Francis Group, 2004. - 262 p.

5 Garustovich H.B. Producer activity in the modern sociocultural sphere of the Republic of Belarus: abstract. dis. ...cand. ped. Sciences: 13.00.05 / Belarusian State. University of Culture. - Minsk, 2003. - 20th; Zapesotskaya N.A. Project culture as the basis of professional skills of a manager in the socio-cultural sphere: abstract of thesis. dis. ...cand. ped. Sciences: 13.00.05 / SPbGUKI. - St. Petersburg, 2007. - 20th; Menshikov A.M. Festival as a sociocultural phenomenon of the modern theatrical process: abstract. dis. ...cand. Art history: 17.00.01 / RATI (GITIS). -M., 2004.-20 p.

6 Huizinga J. Homo ludens. In the Shadow of Tomorrow / J. Huizinga. General ed. and after. G.M. Tavrizyan. - M.: Publishing house. group "Progress", "Progress Academy", 1992. -464 p.

7 Bakhtin M.M. The work of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance / M.M. Bakhtin. -2nd ed. - M.: Artist. lit., 1990. - 543 e.; Darkevich V.P. Folk culture of the Middle Ages: secular festive life in the art of the 9th-16th centuries. - M.: Art, 1988 - 343 e.; Salonov M.A. Minstrels: a book about the music of medieval Europe / M.A. Saponov. - M.: Classics-XX1, 2004. - 400 p.

8 Azizyan I.A. Search for a synthesis of arts // Dialogue of the Arts of the Silver Age. - M.: Progress-tradition, 2001. - P. 245-306, 333-345; Arto A. Theater and its double. - M.: Martis, 1993; Cocteau J. Rooster and Harlequin. - St. Petersburg: Crystal, 2000. - P. 609-612; Menshikov A.M. Festival as a sociocultural phenomenon of the modern theatrical process: abstract. dis. ...cand. Art history: 17.00.01 / RATI (GITIS). - M., 2004. - 20

In the context of the study, works that illuminate the content of current geocultural processes of our time were of great importance. This explains the appeal to works that reflect various aspects of globalization processes. Among the most significant works are S. Bereshva, V.P. Bolshakova, V. Galetskosh, L.E. Grinina, K.K. Kolina, A.A. Koroleva, A.V. Kostina, M.A. Muntyan, I.V. Novikova, S.N. Ikonnikova, E.A. Ostrovskoy, R. Park, M.E. Tondera, G.G1 Khorina, A.I. Shendrik and others.9

Problems of the theory and history of musical art, including jazz art (on the example of which modern trends in the festival movement are considered) are reflected in the works of Russian and foreign researchers E. Barban, F. Bergereau, Yu.T. Vermenich, A.R. Galitsky, G. Grimes, V.D. Konen, Y. Panasier, W. Parker, EL. Rybakova, W. Sargent, Y. Saulsky, M. Stearns, V.B. Feyertag, Yu. Chugunov and others10. However, in these works there is virtually no

e.; Pospelov G.G. Jack of Diamonds: primitiveness and urban folklore in Moscow painting of the 1910s. -M.: Soviet Artist, 1990. P. 9-25.

9 Beregov S. Melting pot [Electronic resource] / S. Beregov. - Access mode: http://www.polemics.ru/articles/?articleID=9333&hideText=0&itemPage=l; Galetsky V. Critical apology for multiculturalism [Electronic resource] / V. Galetsky. - Access mode: http: //www.magazines.russ.ru/druzhba/2006/2/gal4; Grinin L.E. Globalization and national sovereignty. History and modernity. - No. 1. - 2005. - P. 6-31; Colin K.K. Neo-globalism and culture: new threats to national security // Knowledge. Understanding. Skill. - 2005. - No. 2. - P. 104-111; Colin K.K. Neo-globalism and culture: new threats to national security (end) // Knowledge. Understanding. Skill. - 2005. - No. 3. - P. 80-87; Korolev A.A. Methodological seminar “Subject, structure and methods of global studies” // Knowledge. Understanding. Skill. - 2005. - No. 1. - P. 189-191; Kostina A.B. Subject and problem field of global studies // Knowledge. Understanding. Skill. - 2005. - No. 3. - P. 101-102; Muntyan M.A. Globalization: what is it [Electronic resource] / M.A. Muntyan. - Access mode: http://www.ispr.ru/CJNFER/conferl$4.html; Novikova I.V. Globalization, state and market: retrospective and prospect of interaction. - Mn.: Academician. ex. under the President of the Republic Belarus, 2009. -218 euros; Ostrovskaya E.A. Globalization of culture // Theory of culture: textbook. village edited by C.H. Ikonnikova, V.P. Bolshakova. -SPb.: Peter, 2008. - P. 546-565; Theory of culture: textbook. village edited by C.H. Ikonnikova, V.P. Bolshakova. - St. Petersburg: Peter, 2008. - 592 e.; Tondera M.E. Multiethnicity and multiculturalism in the structure of the American nation: history and modernity: diss. ...cand. political Sciences: 23.00.02, 07.00.03 / Institute of World Economy and International Relations Russian Federation. Academy of Sciences. - M. 2005.- 181 e./ Access mode: http: //www.; Khorina G.P. Globalism as an ideology // Knowledge. Understanding. Skill. - 2005. - No. 1. - P. 7178; Shendrik A.I. Globalization in the system of cultural coordinates // Knowledge. Understanding. Skill. -2004. -No. 1.-S. 59-71; A.I. Shendrik//Knowledge. Understanding. Skill. - 2005. - No. 1. - P. 56-68; Park R. Race and Culture.-N.Y., 1950-403 p.

10 Barban E. Jazz portraits: book. 1. - St. Petersburg: Composer, St. Petersburg, 2010. - 304 e.; Barban E. Jazz portraits: book. 2. - St. Petersburg: Composer. St. Petersburg, 2010. - 284 euros; Barban E. Jazz dialogues. - SPb.: Composer. St. Petersburg, 2006. - 304 euros; Barban E. Jazz experiments. - St. Petersburg: Composer, St. Petersburg, 2007. - 336 e.; Bergereau F. History of jazz since the times of bop / F. Bergereau, A. Merlin. - M.: Astrel; Ast, 2004. - 160 e.; Vermenich Yu.T. Jazz: History. Styles Masters. - M.: Lan:

systematized and generalized material on the history of musical

festival movement. Festival projects from America, Europe and Russia

in the 1930s-2010s. presented in the Internet system of electronic resources."

Studying the current state of the music festival

movements, both in academic and jazz and rock music, prompted

turn to research into general artistic practice of our time

and, in particular, its postmodern tendencies. Various aspects

postmodern theory touched upon in the dissertation are presented in

works of R. Barthes, F. Guattari, J. Deleuze, J. Derrida, W. Eco; the specificity of the artistic creativity of postmodernists is reflected in the studies of J. Bignell, V.V. Bychkova, V.M. Dianova, S.N. Ikonnikova, M. McLuhan, N.B. Mankovskaya, S.T. Makhlina, N.H. Suvorova, H.A. Khrenova, H.A. Shirokova and others.13

Planet of Music, 2011. - 608 euros; Galitsky A.R. The musical language of Dave Brubeck's jazz creativity: abstract. dis. ...cand. art history: 17.00.02 / St. Petersburg. state Conservatory named after H.A. Rimsky-Korsakov, St. Petersburg, 1999. - 23rd; Konen V.D. The Ways of American Music. - M.: Sov. composer, 1977. - 446 euros; Konen V.D. The birth of jazz. - M.: Coa composer, 1984.-311 p.; Panasie Yu. History of authentic jazz [Electronic resource] / Yu. Panasie. - Access mode: http://¡azz-iazz.ru/?category=interesting&altname= yug panaseistoriyapodlinnogo dzhaza: Rybakova E.L. Development of pop music in modern Russia: traditions, research prospects. - St. Petersburg: SPbGUKI, 2006. - 280 e.; Rybakova E.L. International summer seminar in the field of cultural and arts management at the Pori University Consortium, Finland / E.L. Rybakova // Bulletin of Orlovsky State! about the university. -2011. - No.5 - P. 251-253; Sargent W. Jazz: Genesis. Musical language. Aesthetics / W. Sargent. - M.: Music, 1987. - 294 euros; Sterne M. History of jazz [Electr., resource] / M. Sterne. - Access mode: // http: //

jazz-jazz.ru/?category=interesting&altname=marshall_sterns_istoriyadzhaza; Feyertag V.B. Jazz: XX century. -

St. Petersburg: Skifia, 2001. - 564 e.; Chugunov Yu. Soviet jazz: a brief history of Soviet jazz [Electr, resource] / Yu. Chugunov, Yu. Saulsky. - Access mode: // http: // www.norma40.ru/articles/sovetskiv-dzhaz-istoriya.htm.: Grimes G. Sings Along The Road Köln. - Koln: Buddy's Knife Jazzedition, 2007. - 129 p.; Parker W. Who Owns Music? - Koln: Buddy's Knife Jazzedition, 2007. - 141 p.

11 Art Center: international festivals and competitions // http: // www.art-center.ru. - [Electric, resource]; Asian-American Jazz [Electronic resource]. - Access mode: http://en.wikipedia.org/wiki/Asian American_iazz: Music festivals [Electronic resource]. - Access mode: // http: // mfc.su/blog/muzykalnye_festivali/l-0-13; Fifteen main festivals in Europe [Electronic resource]. -Access mode: // http: //www.eventguide.ru/9/: Savitsky D. International jazz festivals. Newport 57 [Electronic resource]. - Access mode: http://www.svobodanews.ru /content/transcript/24323463.html; Guide to jazz festivals // http: // www.iazz.ru/festival/#world. - [Electrician, resource].

12 Bart R. Selected works. Semiotics. Poetry Comp., total. ed. and entry Art. G.K. Kosikova. - M.: Publishing house. group "Progress", 1994. - 615 euros; Deleuze J., Guattari F. Thousands of plateaus. Capitalism and schizophrenia, trans. from fr. and after. ME AND. Svirsky - Establishment of the Russian Acad. Sciences Institute of Philosophy RAS. Ekaterinburg: U-Factoria: Astrel, 2010. - 892 e.; Derrida, J. On Grammatology Trans. from fr. and entry Art. Natalia Avtonomova. - M.: Ad Marginem, 2000. - 511 p.; Eco U. Open work: form and uncertainty in modern poetics. - St. Petersburg: Symposium, 2006. - 412 p.

13 Bychkov V.V. The artistic apocalypse of culture: stromata of the 20th century: in 2 books. - M.: Cultural Revolution, 2008. - Book. 1. - 816 units; Bychkov V.V. The artistic apocalypse of culture: stromata of the 20th century: in 2 books. - M.: Cultural Revolution, 2008. - Book. 2. - 832 e.; Dianova V.M. Postmodernism as a phenomenon

Thus, the lack of monographic studies of the music festival phenomenon makes it relevant to study it from the point of view of cultural science as a phenomenon included in the sociocultural and creative processes of our time. It is necessary to systematize the extensive factual material about the dynamics of the festival movement in the musical art, comparing and contrasting it with the diverse panorama of artistic cultural phenomena at the turn of the 20th-21st centuries.

The object of research is the musical culture of the late XX - early XXI

The subject of the study is a music festival as a specific form of communication in modern culture.

The purpose of the study is to identify the cultural creative potential of the music festival and study it from the perspective of the theory of dialogue of cultures.

Determining the purpose, object and subject of research allows us to formulate a number of research tasks:

1. characterize the phenomenon of the festival in a cultural context, determine its place in the system of modern cultural communication, identify signs of the cultural-dialogical nature of the festival;

2. study the music festival as a special form of cultural creativity, examining this phenomenon in historical dynamics;

culture // Introduction to cultural studies: a course of lectures. Ed. Yu.N. Solonina, E.G. Sokolova. - St. Petersburg: St. Petersburg State University, 2003. - P. 125-130; Mankovskaya N.B. Aesthetics of postmodernism. - St. Petersburg: Aletheia, 2000. - 347 p. - (Gallicinium); Makhlina S.T. Dictionary of semiotics of culture. - St. Petersburg: Art-SPb., 2009. - 752 e.; Makhlina S.T. Lectures on semiotics of culture and linguistics. - St. Petersburg: SPbKO, 2010. - 468 e.; Theory of culture: textbook. village edited by S.N. Ikonnikova, V.P. Bolshakova. - St. Petersburg: Peter, 2008. - 592 p.; Suvorov N.N. Elite and mass consciousness in the culture of postmodernism. - St. Petersburg. : SPbGUKI, 2004. - 371 e.; Khrenov N.A. Spectacles in the era of mass uprising. - M.: Nauka, 2006. - 646 e.; Khrenov N.A. Social psychology of art: a transitional era. - M.: Alfa-M, 2005. - 624 e.; Shirokova N.A. Jazz in postmodern artistic culture: main development trends: dis. ...cand. cultural studies [Author's manuscript]: 24.00.01 / St. Petersburg State. University of Culture and Arts. - St. Petersburg, 2011. - 155 euros; Bignell J. Postmodern media culture. - Edinburgh: University Press, 2000. - 240 p.; McLuhan M. The Medium is the Massage: An Inventory of Effects / M. McLuhan, Q. Fiore. -N.Y.: Random House, 1967. - 160 p.

3. identify the origins of the modern music festival by considering the types of music festivals in comparison with “dialogical” types of improvisational creativity;

4. study a music festival as a sociocultural phenomenon in a system of social interactions between individuals belonging to different national communities and cultures, social groups (communities), etc.;

5. explore the main models of the music festival of the 1990s-2010s in relation to their dialogic nature, identify two main types of festivals;

6. analyze the concept of a modern music festival in connection with the artistic practice of postmodernism, considering it as a postmodern project.

Methodological basis and research methods.

The methodological basis of the work is the cultural and philosophical theory of dialogue, developed in the 20th century.

The work also used theoretical-cultural, historical-cultural, sociocultural and comparative-historical research methods. The theoretical-cultural method contributed to the understanding of the festival phenomena, in particular the musical one, in the context of the dialogue of cultures and artistic communication. The use of the historical and cultural method made it possible to consider and comprehend the logic of the formation and development of the festival movement in the space of world artistic culture and, especially, in the field of modern musical art. Turning to the sociocultural method made it possible to study the festival movement in the context of social relations. The comparative historical method was used to

Along with this, the work used a typological method, which helped clarify the typological features of a music festival of recent decades in comparison with the creative principles of postmodernism.

Scientific novelty of the research.

1. A cultural analysis of the festival was carried out from the perspective of a dialogue of cultures, the essence of the festival phenomenon was determined in the context of modern culture.

2. The key characteristics of a music festival are considered and identified: dialogism (dialogical structure), multi-subjective relationships, polycentricity, pluralism, democracy, creative and playful atmosphere, entertainment.

3. During the historical study of the festival movement in music, two types of festival organization were identified: concert-monologue and dialogic.

4. Based on extensive factual material, the origins of a modern music festival of two types are studied and identified: concert-monological and dialogic. It is shown that by the 1990-2010s. In pop-jazz and rock music, a festival of a dialogic type based on improvisational music-making began to predominate.

5. A study was carried out of the music festival movement as a sociocultural phenomenon, in the system of interpersonal and intercultural communication; geocultural factors that had the greatest influence on enhancing the communicative significance of the festival in the second half of the 20th - early 21st centuries were studied.

6. Using the example of organizing modern jazz and rock music festivals, a dialogic context has been identified that dominates the main models of a dialogical festival:

Based on equal relations between participants representing different national traditions;

Based on the synthesis and organic fusion (combination) of ethnonational and creative traditions of various cultures.

7. In order to study postmodern trends in contemporary musical art, materials on festival practice in the 1990-2010s have been summarized and systematized; the refraction of the most important postmodern principles (dialogue, game principle, spontaneity, spontaneity, improvisation, freedom, autonomy, incompleteness, openness, performativity) in the content and spatio-temporal organization of modern festivals is characterized.

Provisions submitted for defense.

1. Musical (Bestival is a specific type of social

cultural dialogue, implemented in forms of creative communication based on pluralism and equality of its participants.

2. Typological features of a music festival, including: dialogism, creative playful atmosphere, representativeness, entertainment and others are formed on the basis of the carnival-festive tradition and creative play-spectacle, play-improvisation of the eras of Antiquity, the Middle Ages and the Renaissance.

3. The basis of a modern music festival is improvisational creativity as an independent form of dialogue between musicians, an alternative to concert practice. The creative act is here

reveals the properties of improvisation-composition and “open work”.

By the 1990-2000s. the form of improvisational music-making prevailed over traditional forms of concert performance.

4. A modern music festival is included in a system of complex sociocultural interactions; in the 2000s it becomes one of the forms of implementation of global intercultural relations. The wide spread of the festival movement in contemporary art is one of the important components of the overall process of globalization and the expansion of creative intercultural communication.

5. The dependence of the festival movement on the sociocultural trends of the time is manifested through the formation of two dialogical models of the festival in the form of a dialogue of cultures: based on equal interaction of participants representing different national traditions and based on the organic fusion and synthesis of various styles and movements of modern music belonging to different national cultures. The second model of the festival is becoming the most popular.

6. The typological characteristics of a modern music festival make it part of postmodern culture, one of its synthetic audiovisual forms.

A jazz festival can be considered indicative of postmodern culture, which belongs to the category of spectacular forms of culture that dominate in times of crisis and bring to life the energy of the collective principle as opposed to the individual and personal. This is due to the need to adapt to the dynamic conditions of existence in a crisis environment, to guarantee stability and resistance to destructive processes in culture.

7. The festival, as a dynamic and dialogical creative event, performs the function of a spontaneous-emotional and creative compensator for its participants.

Theoretical and practical significance of the research.

The materials of the dissertation research have scientific, theoretical and practical significance, since they can be used for the further development of a whole range of problems of the existence of modern musical art in the space of modern culture. They can also be the ideological and theoretical basis for organizing various art festivals.

The dissertation materials can be used in the educational process, in the study of general courses in the theory and history of musical and, more broadly, artistic culture, as well as in creating a special course devoted to the problems of the modern festival movement in the context of cultural communication.

Similar dissertations in the specialty "Theory and History of Culture", 24.00.01 code VAK

  • Jazz improvisation as a way of nurturing the creative individuality of the performer and listeners 2002, candidate of pedagogical sciences Shpakovskaya, Ekaterina Borisovna

  • The art of improvisation in jazz of the last third of the 20th century: to the problem of sound ideal 2007, candidate of art history Shulin, Vyacheslav Valerievich

  • Improvisation in music: essence, structure, methods of formation and professional improvement in the process of musical classes: on the material of educational work in pop-jazz art classes 2011, candidate of pedagogical sciences Ovcharov, Igor Vladimirovich

  • The influence of jazz on professional composing in Western Europe in the first decades of the 20th century 2003, candidate of art history Matyukhina, Maria Vladislavovna

  • Jazz in the cultural space of the 20th century 2009, candidate of cultural studies Kornev, Petr Kazimirovich

Conclusion of the dissertation on the topic “Theory and history of culture”, Shirokova, Elena Anatolyevna

The conclusions made during the cultural study of the music festival indicate that this phenomenon must be studied in a broad context, from the standpoint of fundamental humanitarian knowledge. Being a fact of modernity, the music festival reflects all the diversity of levels of cultural existence at the turn of the 20th-21st centuries; it refracts general trends, patterns, and dynamics of cultural development. This explains the significance of further development of the topic “Modern forms of dialogue in culture.” Our subsequent developments will be devoted to its understanding.

CONCLUSION

The music festival is a bright and original phenomenon in the general panorama of modern artistic culture. At first glance, it develops independently of global social and political processes and has its own internal logic. This is how the dynamics of the festival movement are perceived from an applied point of view, in journalistic materials, on the pages of newspapers and magazines, in analytical reviews of art critics. Meanwhile, the change in the nature of the study reveals the presence of patterns on a general cultural scale in festival events: the music festival movement becomes common with other cultural phenomena and begins to manifest its cultural and semantic role in the space of our time. The implementation of such a view of the problem is possible thanks to the application of a cultural approach to the phenomena of musical creativity of the 1990-2000s. In the context of cultural studies, a music festival is perceived as a sociocultural phenomenon, a specific form of intercultural communication, within the framework of which the creative and intellectual intentions of our time are realized.

Asking the question why at the turn of the 20th-21st centuries. prerequisites arise for the total penetration of festival principles into culture, why the festival practically displaces other, primarily concert, forms of communication between performers and spectators; one cannot help but notice that this is due to the current general cultural trend of strengthening the role of intercultural interactions and contacts based on creative dialogue. The main factor that influenced the development of this trend is globalization - the process of worldwide economic, political and cultural integration and unification. On

147 replacement of “monocultures”, organized, as a rule, around one ethnonational, geopolitical, etc. core, a model of global culture comes, in the depths of which complex communicative relationships are established between representatives of various ethnic, national, social and other communities. This explains the manifold increase in the role of the dialogue mechanism in modern culture, and with it those forms of cultural creativity that are based on this mechanism. Thus, in the context of globalization, a music festival is being transformed into a widely popular form of intercultural (sociocultural) dialogue, becoming a kind of platform for dialogic interactions through musical creativity. This allows us to determine its essence from the perspective of cultural studies: a music festival is a specific type of socio-cultural dialogue, implemented in the forms of creative communication based on the pluralism of worldviews of its participants.

Understanding the cultural and historical origins of the music festival, one can come to the conclusion that they have deep roots. Thus, its inherent typological features, including: dialogism, creative-playful atmosphere, representativeness, entertainment - were formed in the eras of Antiquity, the Middle Ages and the Renaissance, in ritual, theatrical-game and carnival-festive environments. As a prototype of the festival form, we can consider ritual-game actions and celebrations organized on the basis of creative play - a competitive dialogue-opposition of at least two parties, or participants. At the same time, the traditions of creative improvisation games, based on spontaneous communication between performers (musicians) and the public, are of particular value for the formation of the idea of ​​a music festival.

During the historical development of the music festival as a special type of spectacle, an academic festival of the concert-monologue type was formed. The concert as a separate creative event and a way of organizing relations between the public and the artist does not imply creative spontaneity in the dialogue of the musician (performer-interpreter, composer, singer) with other performers and the viewer; it has a thematic focus and programmaticity. Therefore, the concert-monologue type festival is based on individual concert programs dedicated to the work of a particular performer (group of performers, or musical group), style direction, musical genre, etc. It should be noted that for a long time this type of festival prevailed in artistic practice.

Approval of the cultural-dialogical function of a music festival in the 20th century. The processes of formation of a single (worldwide) cultural and symbolic space, destruction of Eurocentric stereotypes, integration and interaction of various national traditions, which began at the turn of the 19th and 20th centuries, contributed to this. The result was the development and organization of many creative projects in the form of a festival event, implemented in various fields of art. Subsequently, the growing interest in the festival form is expressed in the practice of musical performance.

The immediate basis of the modern type of festival can be considered improvisational music-making - a form of organizing the interaction of musicians, in which spontaneous communication occurs on the basis of creative exchange-competition. The most important features of improvisational creativity: fundamental semantic content) “openness”, experimentation, variability of the artistic result achieved in the course of music-making, determined its value for modern performers and spectators. If in

1930-1940s jam session (jam session) represented an independent type of creative dialogue, an alternative to concert practice, and later it was re-evaluated. There has been a tendency to synthesize improvisational communication and traditional concert practices. In the structure of jazz festivals of the 1960s-x-l 980s. the idea of ​​improvisation prevailed over the idea of ​​a concert, improvised creative dialogue over compositional performance. In the 1990-2000s. festivals based on improvisational music-making have become the main type of performing practice in jazz. Thus, improvisational dialogue has become the basic model of a jazz festival, influencing the formation of a modern type of festival project with elements of improvised play dialogue.

However, the communicative value of a music festival is not limited to its significance in the structure of interpersonal communication. It is equally important that its space reveals all the diversity and complexity of social interactions between individuals belonging to different national communities and cultures, social groups (communities), etc., a system of interactions between various cultural spheres and institutions. In other words, within the framework of a music festival, the mechanisms of intracultural and intercultural communication are refracted. While studying the history of the festival movement of the 1940-2010s. We discovered that in the middle of the 20th century, festival events were conceived as a way of creative communication between musicians of the same national (cultural) community. They were characterized by an intimate atmosphere, local creative connections between participants, stylistic and genre orientation; The program of these festivals expressed the idea of ​​restoring intracultural forms of creative communication of the post-war era. By the end of the 20th - beginning of the 21st centuries, there was a tendency towards the consolidation and complexity of festivals.

150 projects by expanding the range of participants belonging to various ethnic and national communities. The music festival has been actively transformed into a way of carrying out intercultural dialogue.

By the beginning of the 21st century. The values ​​of globalization have finally prevailed in festival practice, especially in the field of jazz: instead of festivals of the traditional type (based on a series or cycle of concert programs), dialogical festivals have come to the fore, in the structure of which signs of dynamic models of dialogue are found. The latter include two types of intercultural dialogue carried out:

Based on equal self-expression of participants representing different ethno-national and creative traditions;

Based on the organic fusion and synthesis of different ethno-national and creative traditions.

It should be noted that within the framework of this work, these two models of dialogue of cultures are considered as independent.

The situation of “dialogue of cultures”, characteristic of the turn of the 20th and 21st centuries, became a prerequisite for the creation of a unified musical space. For example, in the art of jazz, this leads to the formation of an international jazz community that includes representatives of all ethnic groups of the world. In 2000-2010s. festivals are organized with the widest possible genre, style and ethno-national coverage of participants; In essence, we are talking about a music and variety community, within which almost all ethnonational and cultural layers of musical creativity coexist in non-conflict unity (integration). Signs of a “dialogue of cultures” are genre and style expansion, “multilingualism” of music and the festival movement due to the involvement of more and more new traditions of ethnic and national music. The result of the “dialogue of cultures” in the music festival space

151 can be considered an expansion of the circle of participants in creative communication to a global scale, with the inclusion of representatives of all ethnic and national cultures of our time. At the same time, the mechanism of creative dialogue develops into integrative intercultural interaction.

Another model, on the contrary, implies a consistent convergence and interpenetration of primary ethno-national musical (style, genre and other) elements in the festival space. In this model of intercultural communication, the greatest importance is the “melting” in the “crucible” of the creative synthesis of all the primary components participating in the dialogue between musicians and performers. This model implements such stages of creativity as the sequential establishment of creative contacts, “conflict” (competition, direct creative contact), “adaptation” (adaptation in the process of creative exchange) and assimilation, i.e. mixing, “melting” of primary elements in the structure of the emerging festival action. The result of the festival can be considered the mutual influence of musical traditions and performers representing different cultures. At the same time, it is important to emphasize that bearers of certain ethno-national traditions in a situation of creative dialogue adopt the norms, values ​​and traditions of another school, direction, style, etc. The origins of the formation of this type of music and, in particular, jazz festival in the multiethnic cultural environment of the United States of America, representing a conglomerate of the most diverse cultural elements.

The relevance of such a festival model is determined by the fact that in the process of combining heterogeneous cultural layers, themes, motifs, genre and style formations within its framework, a radically new artistic experience arises: an artistic discovery produced by synthesizing the heterogeneous experience of performers becomes the goal of musical dialogue.

During the analysis, it was discovered that such different, at first glance, types of festival organization coexist quite organically in contemporary art; Moreover, their signs often appear within the framework of one festival project. This can be explained by the commonality of the sociocultural mechanism underlying them. Despite the substantive differences, they are built according to the scheme of intercultural communication; The defining component of creative communication in both cases is active dialogue.

Turning to the study of the current state of the festival

Movements in musical art, one cannot ignore the question of its relationship with current artistic phenomena. The latter includes postmodernism, which widely influenced the art of the turn of the millennium. Consideration of this issue makes it possible to understand that the expansion of the festival movement in the 2000-2010s. is due to another regularity: a music festival is a form of virtualized spectacle, in demand in the crisis postmodern era. Based on the concepts of H.A. Khrenova and

A.V. Kostina, we tried to consider the festival in the context of the theory of spectacular forms and prove that this form of creativity acquires exceptional importance in the postmodern era. Along with other spectacles that have spontaneity and the most active impact on a person, the music festival performs the function of a spontaneous, emotional and creative compensator, helps to increase the emotional and psychological stability and resistance of the individual to destructive processes in modern culture. The intensity of globalization processes experienced by an individual becomes the reason for the actualization of collective forms of cultural existence, which can include a music festival.

Thus, the spread of festival events in music at the turn of the century

The XX-XXI centuries confirms the conclusions about the growing role of spectacular forms of artistic creativity during the crisis period.

In addition, when comparing the typological features inherent in the festival as a cultural form and the artistic language of postmodernism, it was discovered that in the space of a music festival there are all the prerequisites for organizing a postmodern artistic environment. This is due to such features of a modern festival as dialogism; reliance on the gaming principle; attraction to spontaneity, spontaneity, improvisation of artistic expression, process, organization of space; freedom and autonomy; incompleteness, openness; performativity. In general, the festival movement, like no other area of ​​contemporary art, meets the urgent creative needs of postmodernists and can serve as a platform for the successful implementation of a postmodern experiment.

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Please note that the scientific texts presented above are posted for informational purposes only and were obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

youth culture, creative activity, festival, leisure, youth.

Annotation:

The article is devoted to the phenomenon of “youth culture” and its role in the continuity of generations. The author analyzes the importance of communications in the process of entertainment events as an aid in determining the social role and the formation of creative activity. Based on the study, a number of features have been established in organizing leisure time for young people and realizing the creative needs of this social group.

Article text:

Is it easy to be young? It hasn't been easy at all times. And now many new youth problems have arisen. But at the same time, youth is also a wonderful time, when energy is overflowing and you want to comprehend everything, learn about everything. We are already independent in many ways, but we are not yet concerned to the same extent as adults with problems of home, family, money, and health.

And in this unique period, we must have time to know, comprehend and do as much as possible. Any society, any culture is not indifferent to what choice an individual makes.

We can also say that youth are a necessary link in the relay of generations, a living connection between the past and the future. Although youth were not always considered as a special social group - a generation, the problem of conflict and continuity of generations constantly arose in society.

Back in the second half of the twentieth century, in connection with the construction of the so-called “technogenic civilization,” the phenomenon of youth culture arose. If previously the culture was not divided into youth and adults, everyone, regardless of age, sang the same songs, listened to the same music, danced the same dances, but now everything has changed. Serious differences appeared between “fathers” and “children” in value orientations, fashion, methods of communication, and often in lifestyle in general [Dragicevic-Sesic, Stojkovic 2000; 45].

Currently, the acute question has arisen about what modern culture should be like for the full development and formation of creative activity of young people.

According to A.D. Zharkov, human contacts in the process of entertainment events are especially positive for mutual influence since they occur in leisure conditions, in a relaxed atmosphere, when the most free nature of behavior is conducive to mutual understanding. Therefore, all types and forms of cultural and leisure activities are developed and improved on the basis of communication [Zharkov 1998; 67].

Currently, there are a large number of forms of leisure activities for young people. To solve this problem, we highlight such a form as a festival.

The festival is a mass celebration during which achievements in such areas as music, cinema, theater, pop and much more are demonstrated. Thanks to the festival, the need for social communication among young people, for public assessment of the work done, and for psychological relaxation is satisfied. Holding festivals has a significant impact on the cultural and leisure time of young people

[Mazaev 1978; 21].

We agree with A.D. Zharkov, speaking about the subjective side of communication during the festival, on the basis of which a person’s assessment of his role and place in a social group can be determined. This is directly related to a person’s comparison of his personal qualities and assessment of his social status [Zharkov 1998; 48].

It should be noted that the festival as a form of work with youth is quite relevant. After all, solving the problem of forming creative activity through this activity is an important task in organizing leisure time for this social group [Belousov 2006;25].

Thanks to festivals, the creative potential of young people is revealed and their mental and psychological state improves. And as a result, communication between people in a concert and festive atmosphere becomes a synthesis of various interests and emotional and aesthetic components. Of course, this is a complex and diverse process that promotes mutual understanding and empathy among individuals, where collective experiences are a factor in the effect of the greatest involvement in the events of the festival [Benifand 2006; 56].

The organizational aspects of festivals are mentioned by such authors as D.M. Genkin “Organization and methodology of artistic and mass work”, as well as in the textbook “Mass Holidays”; A.I. Chechetin “Fundamentals of Drama and Theater Concert”; O.I. Markov “Script and director’s foundations of the artistic and pedagogical activities of the club”; L.P. Sharapov and V.G. Kosyakov “Methodological recommendations to help organize mass events.”

As part of our research, we identified a number of features in organizing leisure time for young people through the festival.

In the program content of the festival, it is advisable to use methods and means of influencing all the senses of the participants. For example, the lighting, sound and artistic design of festival programs should be highlighted. This contributes, in our opinion, to the rapid inclusion of festival participants in the atmosphere of action [Bibartseva 1999; 45-48].

The relevance of studying youth leisure as a means of developing their creative activity is due to the fact that organizing leisure time for modern youth is one of the primary problems, since many of the needs of young people are realized in this area. Currently, leisure is an important factor that influences the process of creative development of an individual, including a young person. Since in this area young people can realize their individuality, in it they become free from professional and family responsibilities; in addition, within its framework, institutional pressure on the personality of a young person is weakened, which can lead to a change in values ​​and the inability to properly organize one’s free time. Therefore, in modern Russian society, in which there is instability of normative value systems, the problem of youth leisure and the development of their creative activity becomes particularly acute and requires study [Birzhenyuk 1999; 67-75]

In addition, leisure is one of the areas that determine the well-being of any person.

Along with the emergence of public interest in the concepts of “leisure” and “free time,” attention to the study of the concept of “youth” increased. Sociology emphasizes the importance of this age category due to the fact that it is a conductor of new ideas, initiatives, and acts as a bearer of the latest knowledge and creativity [Zimin 2006;29].

One of the first sociological definitions of the concept of “youth” in the late 1960s was formulated by sociologist V.T. Lisovsky: “Youth is a generation of people who are going through the stage of socialization, acquiring (and at a more mature age having already acquired) educational, professional and cultural functions and being prepared (prepared) by society for the acquisition and fulfillment of social roles. Depending on specific historical conditions, the age criteria for young people can range from 14 to 35 years” [Belova 2011; 55].

Important attributes of cultural leisure of modern youth are a high level of cultural and technical equipment, the use of modern leisure technologies and forms, methods, aesthetically rich space and a high artistic level of the creative leisure process [Ilyin 2008; 16].

The need for creativity is deeply characteristic of every person, and especially the young. It brings mental satisfaction and at the same time is a means of personal improvement and development. Many forms of leisure include elements of creativity, and the opportunity to create is not open to everyone, since some young people do not want or cannot fully reveal or realize themselves, however, at the genetic level, every person is capable of creativity.

The creative process is an attempt to convey one’s feelings through words, musical sounds, gestures, and facial expressions. As a result, life’s problems, merging with creativity, turn into images.

Thus, it was concluded that in the current political, economic and cultural state, such a social group of society as young people is looking for where and how to realize themselves in the creative aspect. It is the festival movement that can become this aspect and help young people develop not only spiritually, but also creatively. The above convincingly proves that the activities of organizing festivals play a huge role in this formation.

Bibliography

Belova A.S. Intercultural dialogue and spiritual and moral development of personality through the means of art // Pedagogy of Art (electronic journal), No. 4, 2011.

Belousov Ya.P. Holidays old and new. - Alma-Ata, 2006.

Benifand A.V. Holidays: essence, history, modernity. - Krasnoyarsk, 2006.

Bibartseva T.S. Educational and game training for specialists in the socio-cultural sphere. St. Petersburg, 1999.

Birzhenyuk G.M. Markov A.P. Fundamentals of regional cultural policy and the formation of cultural and leisure programs, St. Petersburg, 1999.-128P.

Dragicevic-Sesic M., Stojkovic B. Culture: management, animation, marketing. - Novosibirsk: Tigra, 2000.

Zharkov HELL. Technology of cultural and leisure activities. - M.: MGUK, 1998.

Zimin A. A. Holidays and rituals. – M.: Vekha, 2006.

Ilyin V.I. Everyday life and holiday. // Consumption as a discourse. – St. Petersburg: Intersocis, 2008.

Mazaev A.I.. Holiday as a social and artistic phenomenon: Experience of historical and theoretical research. – M.: Nauka, 1978. – p.21.

The article is devoted to the phenomenon of “youth culture” and its role in the succession of generations. The author analyzes the importance of communications in the course of recreational activities as an aid in determining the social roles and the formation of creative activity. Based on the study set a number of features in the organization of leisure of youth and the implementation of creative needs of this social group.

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays

Shirokova, Elena Anatolyevna. Music festival in the dialogue of cultures: dissertation... candidate of cultural studies: 24.00.01 / Shirokova Elena Anatolevna; [Place of protection: St. Petersburg. state University of Culture and Arts]. - St. Petersburg, 2013. - 171 p.: ill. RSL OD, 61 13-24/35

Introduction

Chapter 1. Music festival as a form of dialogue: theoretical aspect 15

1. Festival in the system of cultural communication 15

2. Cultural potential of a music festival 34

3. The problem of the origins of the modern music festival: improvisational creativity and dialogue of cultures 63

Chapter 2. Music festival in the dialogical space of modern culture 86

1. Music festival as a sociocultural phenomenon 86

2. Models of a modern music festival 103

3. Music festival in the meaning of the postmodern project 121

Conclusion 147

Bibliography 155

Introduction to the work

Relevance of the research topic.

At the turn of the millennium, a new artistic picture of the world is emerging, due to the complex processes of globalization, the development of a post-industrial model of society and the economy, man-made changes, the rapid development of worldwide communication systems (the global Internet) and other factors. All this influences a person’s worldview, the nature of his interaction with the external environment and society, spiritual and creative self-expression in the spheres of art, religion, and philosophy. In the modern world, new forms of cultural creativity are constantly emerging, which coexist with traditional ones, and sometimes displace them.

In recent decades, one of the most popular forms of interaction between people in modern culture has become a festival. The festival movement in Europe, the USA and Russia is continuously expanding, capturing ever larger layers of cultural space. The music festival movement is no exception. The music festival is a bright and original phenomenon. At first glance, it develops independently of global social and political processes and has its own internal logic. Meanwhile, the change in the nature of the perception of this phenomenon reveals in festival actions the presence of patterns on a general cultural scale: the music festival movement can be placed in a general row with other cultural phenomena in the space of our time. In the context of cultural studies, a music festival begins to be perceived as a sociocultural phenomenon, a specific form of intercultural communication, within the framework of which the creative and intellectual intentions of our time are realized. Indeed, in recent decades, the music festival has moved beyond the scope of a musical event and has acquired the significance of a form of cultural communication. It is increasingly becoming one of the main forms of contact between performers and the listening audience. At the same time, the music festival has not yet become the object of close attention and study by specialists studying the general patterns of development of modern culture and cultural communication, theorists, historians and sociologists of culture. Music festival projects continue to be described and studied from the perspective of applied knowledge about the dynamics of the modern performing and creative process, rather, noting their diversity, content, range of participants, etc. Thus, there is a need to understand the music festival as a phenomenon of modern culture, included in the system of dialogic relations between different national cultures. This determines the relevance of this study.


Degree of scientific development of the problem

The most significant in the context of the dissertation are the works of M.M. Bakhtin, the creator of the cultural concept of dialogue, the founder of the school of “dialogue of cultures” V.S. Bibler, European and domestic scientists M. Buber (creator of the religious “philosophy of dialogue”), his follower E. Levinas, Yu.M. Lotman (creator of the semiotic concept of cultural dialogue), representatives of the Western “philosophy of dialogue” F. Rosenzweig, O. Rosenstock-Hüssy, author of the “pedagogy of dialogue” method P. Freire. Along with this dialogue, psychological research by L.S. is devoted. Vygotsky, in which dialogue is explored as a mechanism of human thinking, aimed at the individual himself and “at others.”

Understanding the role of the music festival in the structure of sociocultural interactions of our time was facilitated by works devoted to the theory of communication. The philosophical justification for the category of “communication” is presented in the works of existentialists K. Jaspers and J.-P. Sartre, as well as in the theory of communicative action of J. Habermas. Problems of the general theory of communication, the study of the mechanisms of sociocultural, interpersonal, intracultural and intercultural communication are reflected in the works of G.M. Andreeva, S.N. Artanovsky, N.M. Bogolyubova, S.V. Borisneva, T.M. Dridze, B.M. Erasova, M.S. Kagan, A.V. Kovalenko, V.P. Konetskaya, G. Laswell, A.N. Leontyev, M. McLuhan, Yu.V. Nikolaeva, T.M. Newcomb, L.V. Petrova, G.G. Pocheptsova, H. Reimann, A.P. Sadokhina, A.V. Sokolova, J. Hartley, E.T. Hall, F.I. Sharkov and others.

The study of the festival as a specific form of organizing cultural communication is presented only in individual works with a social and practical orientation. These include works in the field of sociology of art and sociocultural activities, including the works of N.V. Garustovich, N.A. Zapesotskaya and A.M. Menshikov.

The historical formation and development of the festival form (in particular, music) and the festival movement have not previously been covered as a topic for independent research. Certain aspects of this problem are covered by J. Huizinga (the question of the origin of the festive spectacle based on the game), the history of ritual and play actions and folk festive forms in the Middle Ages and the Renaissance in the works of M.M. Bakhtin, V.P. Darkevich, M.A. Saponov), processes of festival artistic practice at the turn of the 19th – 20th centuries. in publications by I.A. Azizyan, A. Artaud, J. Cocteau, A.M. Menshikova, G.G. Pospelov and others.

In the context of the study, works that illuminate the content of current geocultural processes of our time were of great importance. This explains the appeal to works that reflect various aspects of globalization processes. Among the most significant are the works of S. Beregov, V.P. Bolshakov, V. Galetsky, L.E. Grinina, K.K. Kolina, A.A. Koroleva, A.V. Kostina, M.A. Muntyan, I.V. Novikova, S.N. Ikonnikova, E.A. Ostrovskoy, R. Park, M.E. Tondera, G.P. Khorina, A.I. Shendrick and others.

Problems of the theory and history of musical art, including jazz art (on the example of which modern trends in the festival movement are considered) are reflected in the works of Russian and foreign researchers E. Barban, F. Bergereau, Yu.T. Vermenich, A.R. Galitsky, G. Grimes, V.D. Konen, Y. Panasier, W. Parker, E.L. Rybakova, W. Sargent, Y. Saulsky, M. Stearns, V.B. Feyertag, Yu. Chugunov and others. However, these works lack systematized and generalized material on the history of the music festival movement. Festival projects in America, Europe and Russia in the 1930s–2010s. presented in the Internet system of electronic resources.

The study of the current state of the music festival movement, both in academic, jazz, and rock music, prompted us to turn to research into the general artistic practice of our time and, in particular, its postmodern tendencies. Various aspects of postmodern theory touched upon in the dissertation are presented in the works of R. Barthes, F. Guattari, J. Deleuze, J. Derrida, W. Eco; the specificity of the artistic creativity of postmodernists is reflected in the studies of J. Bignell, V.V. Bychkova, V.M. Dianova, S.N. Ikonnikova, M. McLuhan, N.B. Mankovskaya, S.T. Makhlina, N.N. Suvorova, N.A. Khrenova, N.A. Shirokova and others.

Thus, the lack of monographic studies of the music festival phenomenon makes it relevant to study it from the point of view of cultural science as a phenomenon included in the sociocultural and creative processes of our time. It is necessary to systematize the extensive factual material about the dynamics of the festival movement in the musical art, comparing and contrasting it with the diverse panorama of artistic cultural phenomena at the turn of the 20th–21st centuries.

Object of study– musical culture of the late 20th – early 21st centuries.

Subject of study– a music festival as a specific form of communication in modern culture.

Purpose of the study– identifying the cultural creative potential of a music festival, studying it from the perspective of the theory of dialogue of cultures.

Defining the goal, object and subject of research allows us to formulate a number of research problems:

1. characterize the phenomenon of the festival in a cultural context, determine its place in the system of modern cultural communication, identify signs of the cultural-dialogical nature of the festival;

2. study the music festival as a special form of cultural creativity, examining this phenomenon in historical dynamics;

3. identify the origins of the modern music festival by considering the types of music festivals in comparison with “dialogical” types of improvisational creativity;

4. study a music festival as a sociocultural phenomenon in a system of social interactions between individuals belonging to different national communities and cultures, social groups (communities), etc.;

5. explore the main models of the music festival of the 1990s–2010s in relation to their dialogic nature, identify two main types of festivals;

6. analyze the concept of a modern music festival in connection with the artistic practice of postmodernism, considering it as a postmodern project.

Methodological basis and research methods.

The methodological basis of the work is the cultural and philosophical theory of dialogue, developed in the twentieth century.

The work also used theoretical-cultural, historical-cultural, sociocultural and comparative-historical research methods. The theoretical-cultural method contributed to the understanding of the festival phenomena, in particular the musical one, in the context of the dialogue of cultures and artistic communication. The use of the historical and cultural method made it possible to consider and comprehend the logic of the formation and development of the festival movement in the space of world artistic culture and, especially, in the field of modern musical art. Turning to the sociocultural method made it possible to study the festival movement in the context of social relations. The comparative historical method was used to identify meaningful parallels between ritual, festive and mass spectacles of various historical eras and the festival.

Along with this, the work used a typological method, which helped clarify the typological features of a music festival of recent decades in comparison with the creative principles of postmodernism.

Scientific novelty of the research.

    A cultural analysis of the festival was carried out from the perspective of a dialogue of cultures, the essence of the festival phenomenon was determined in the context of modern culture.

2. The key characteristics of a music festival are considered and identified: dialogism (dialogical structure), multi-subjective relationships, polycentricity, pluralism, democracy, creative and playful atmosphere, entertainment.

3. During the historical study of the festival movement in music, two types of festival organization were identified: concert-monologue and dialogic.

4. Based on extensive factual material, the origins of a modern music festival of two types are studied and identified: concert-monological and dialogic. It is shown that by the 1990–2010s. In pop-jazz and rock music, a festival of a dialogic type based on improvisational music-making began to predominate.

5. A study was carried out of the music festival movement as a sociocultural phenomenon, in the system of interpersonal and intercultural communication; geocultural factors that had the greatest influence on enhancing the communicative significance of the festival in the second half of the 20th – early 21st centuries were studied.

6. Using the example of organizing modern jazz and rock music festivals, a dialogic context has been identified that dominates the main models of a dialogic-type festival:

– on the basis of equal relations between participants representing different national traditions;

– based on the synthesis and organic fusion (combination) of ethnonational and creative traditions of different cultures.

7. In order to study postmodern trends in contemporary musical art, materials on festival practice in the 1990–2010s have been summarized and systematized; the refraction of the most important postmodern principles (dialogue, game principle, spontaneity, spontaneity, improvisation, freedom, autonomy, incompleteness, openness, performativity) in the content and spatio-temporal organization of modern festivals is characterized.

Provisions submitted for defense.

1. A music festival is a specific type of socio-cultural dialogue, implemented in forms of creative communication based on pluralism and equality of its participants.

2. Typological features of a music festival, including: dialogism, creative playful atmosphere, representativeness, entertainment and others are formed on the basis of the carnival-festive tradition and creative play-spectacle, play-improvisation of the eras of Antiquity, the Middle Ages and the Renaissance.

3. The basis of a modern music festival is improvisational creativity as an independent form of dialogue between musicians, an alternative to concert practice. The creative act here reveals the properties of improvisation-composition and an “open work”. By the 1990–2000s. the form of improvisational music-making prevailed over traditional forms of concert performance.

4. A modern music festival is included in a system of complex sociocultural interactions; in the 2000s it becomes one of the forms of implementation of global intercultural relations. The wide spread of the festival movement in contemporary art is one of the important components of the overall process of globalization and the expansion of creative intercultural communication.

5. The dependence of the festival movement on the sociocultural trends of the time is manifested through the formation of two dialogical models of the festival in the form of a dialogue of cultures: based on equal interaction of participants representing different national traditions and based on the organic fusion and synthesis of various styles and movements of modern music belonging to different national cultures. The second model of the festival is becoming the most popular.

6. The typological characteristics of a modern music festival make it part of postmodern culture, one of its synthetic audiovisual forms.

A jazz festival can be considered indicative of postmodern culture, which belongs to the category of spectacular forms of culture that dominate in times of crisis and bring to life the energy of the collective principle as opposed to the individual and personal. This is due to the need to adapt to the dynamic conditions of existence in a crisis environment, guarantee stability and resistance to destructive processes in culture .

7. The festival, as a dynamic and dialogical creative event, performs the function of a spontaneous, emotional and creative compensator for its participants.

Theoretical and practical significance of the research.

The materials of the dissertation research have scientific, theoretical and practical significance, since they can be used for the further development of a whole range of problems of the existence of modern musical art in the space of modern culture. They can also be the ideological and theoretical basis for organizing various art festivals.

The dissertation materials can be used in the educational process, in the study of general courses in the theory and history of musical and, more broadly, artistic culture, as well as in creating a special course devoted to the problems of the modern festival movement in the context of cultural communication.

Approbation of work. Testing of the main provisions and materials of the dissertation was carried out throughout the entire period of the study. The content of the dissertation and the results obtained were discussed at meetings of the Department of Theory and History of Culture of the St. Petersburg State University of Culture and Arts; The dissertation was recommended for defense.

Various aspects of the dissertation research were reflected in speeches at the International scientific and practical conference of graduate students, students and young scientists “World of Culture” (Chelyabinsk, June 8, 2011, June 6-7, 2012), scientific and practical conference “Cultural historical reality in the research of young scientists" (St. Petersburg, April 20-21, 2011), in scientific articles published in peer-reviewed scientific and practical journals and collections of scientific papers (Gorno-Altaisk, Tambov, Chelyabinsk).

Structure of the dissertation. The dissertation consists of an Introduction, two chapters (six paragraphs), a Conclusion, and a bibliography containing 172 titles. The total volume of work is 171 pages.

Cultural potential of a music festival

Modern culture is distinguished by the multiplicity of forms of creative realization of the individual; it is characterized by pluralism, content and semantic heterogeneity, and a variety of artistic worldviews. In conditions of continuous experimentation with the content and forms of creativity, current culture is formed as a complex communicative set of texts, ideologies, values, judgments, etc., entering into complex relationships determined by its subject - a person of culture, an author (artist, or creator). It is no coincidence that the idea of ​​creative dialogue within culture, which allows coordinating the artist’s searches, realizing the experience of spiritual and aesthetic self-identification, and presenting the author’s interpretation of the “eternal” issues of art, acquires special significance. This explains why the most popular forms of cultural creativity today are those in which artistic ideas are exchanged and practical experience is integrated, communication as a way of intellectual and creative interaction. Among the many similar forms, in recent decades the festival has come to the fore - a kind of socio-practical and artistic-symbolic model of cultural dialogue.

In modern humanities (art history and creativity theory), the concept of a festival is characterized mostly from an applied point of view. Indeed, the main meaning of the word “festival” (French, from Latin festivus) is “celebration”, “holiday”, “spectacle”, which indicates its main purpose: to serve as a form of social action with elements of a holiday. Let us give a very characteristic encyclopedic definition of the concept in this vein: “a festival is a mass celebration, including a display of achievements in the field of music, theater, cinema, and pop.” The fact that the phenomenon is perceived for the most part as practically applied is also evidenced by the way its varieties are classified. For example, A.M. Menshikov distinguishes among them “...universal (covering several types of art), specialized (for one type of art - theater, music, film festivals, etc.), monographic (dedicated to one author, playwright, director, composer, actor), thematic (dedicated to a specific genre, era or stylistic direction), highly specialized (for example, a festival of folk, children's, youth songs)." From this classification it becomes clear that the phenomenon of the festival is described from a purely utilitarian point of view. The applied approach is also used when characterizing various festival forms. Thus, when defining a music festival in a socio-practical sense, they note that these are “... cycles of concerts and performances, united by a common name, a single program and taking place in a particularly solemn atmosphere”1; The purpose of a theater festival is, for the most part, explained through synonymous concepts: “show, competition, Olympiad, display, review of the achievements of theatrical art”17. Thus, it should be recognized that the understanding of the festival category occurs, rather, descriptively, since it records only the external parameters of the phenomenon, but in no way

In a slightly different content plan, but from the same methodological perspective, the concept in the field of modern sociology is considered. Here, the festival is defined as one of the forms of mass performances included in the space of popular social projects, which gives the right to perceive it as “a sociocultural phenomenon in market conditions and the development of the basic principles of a marketing strategy”18. It is no coincidence that, from the standpoint of sociological science, the festival is studied as an object of marketing, and the subject of research is the mechanisms of the socio-economic organization of the creative process, which contribute to the successful implementation of the propaganda, communicative, educational and entertainment functions of the festival. In this context, the festival is understood in the meaning of a “product” of culture, through which the connection between society and the socio-cultural sphere is realized. Being a “product” offered to the viewer-“consumer”, it can serve to educate the artistic taste and aesthetic guidelines of the public (more broadly, influence the nature of their formation), perform the function of an information field and be a means of bringing to the public consciousness information about qualitatively new things in the field of art. culture, have a compensatory value (as an element of the entertainment environment), etc. In this case, the purpose of the festival can be considered to be the regulation and improvement of relations in the “artist - society” system, as a result of which the economic and social mechanisms of organizing the festival acquire such great importance

The problem of the origins of the modern music festival: improvisational creativity and dialogue of cultures

During the historical development of the music festival as a special type of spectacle, the concert firmly took a leading position in the structure of festival programs. This is how an academic festival of concert-monologue type developed. This type of festival performance is characterized by: thematic focus, programming, stability of relations between the public and performers. It is based on individual concert programs dedicated to the work of a particular performer (group of performers, or musical group), style direction, musical genre, etc. The concert-monologue type of festival prevailed in artistic practice until recently, i.e. to the point of increased interest in dynamic, open forms of communication between musicians and audiences.

An example of a traditional music festival organized as a concert is the Slavic Bazaar. First implemented in 1992 on the territory of Belarus (in the city of Vitebsk), this project has a clearly defined thematic focus. This is indicated by the name of the festival, the purpose of which is to present to the public a kind of “fair” of the musical achievements of the Slavic peoples. This determines the concept of the programs and main directions of the “Slavic Bazaar”. Within its framework, several forms of concert communication with the audience are implemented in parallel: an international pop song competition, an international children's music competition, gala concerts of art masters from Belarus, Russia and Ukraine, solo concert programs of pop stars, as well as thematic Days of the Union State dedicated to music. culture of one of the CIS countries66. It should be emphasized that thanks to the involvement of creative forces (soloists and groups) from other countries, the concept of the festival has undergone some changes over time. Thus, the participation of musicians from Azerbaijan, Bulgaria, Greece, Kyrgyzstan, the Netherlands, Poland, Slovakia, Turkey, Uzbekistan, Switzerland, etc. made it possible to shift the emphasis from the idea of ​​a “Slavic fair” of talent to the idea of ​​an international “bazaar” of musical art. By the end of the 2010s. The concept of common national ties between peoples finally prevailed in the festival program. It is no coincidence that the motto of the event became the words: “Through art - to peace and mutual understanding.”

The content of the festival is based on the classical form of a thematic concert for concert practice. For example, in 1992, during the first Slavic Bazaar, programs devoted to the songwriting of Slavic countries predominated. Subsequently, the range of musical directions of the festival expanded, but the general principle of organizing the festival space did not change. The content of individual concert programs is determined by the direction of the musical style of a particular performer, group, or folk group. Among the regular participants of the festival are the National Concert Orchestra of Belarus, the Folk Choir named after. G.I. Tsitovich, “Turetsky Choir”, National Honored Academic Dance Ensemble of Ukraine named after. P. Virsky, choreographic ensemble "Khoroshki", vocal and instrumental ensembles "Golden Ring", "Pesnyary", "Syabry", groups "Lube", "BI-2", "Night Snipers", pop performers N. Baskov, V Leontyev, F. Kirkorov, V. Meladze, B. Moiseev, S. Rotaru, etc. By 2010, “Slavic Bazaar” expanded by attracting the creative forces of jazz musicians, such as the I. Butman Quartet, N. Katamadze and group “Insight”, jazz cabaret by O. Skripka, project show “Latino-Brazil festival”, as well as pop-jazz dance groups (including the ballet “Street Jazz”, ballet A. Dukhova “Todes”, “Step- dance"). In recent years, classical and academic musicians have also begun to show interest in the festival program, for example, the world-famous vocalist D. Hvorostovsky. In general, the forms of creative interaction between individual performers and groups with the festival organizing committee are stable and stable.

Over the twenty-year period of the Slavic Bazaar, not only a clearly defined space for the festival’s sites has been formed, but also its listening and viewing audience. Each of the concert directions of the project has its own addressee. Concert events of the “Slavic Bazaar” are focused on the range of artistic and taste preferences of certain social groups, primarily the mass, most democratic audience, as a result of which some programs are “tested” many times in different halls, both in Vitebsk and beyond. Since 2003, individual (key in importance) concerts have been taken to regional centers of Belarus.

In general, the Slavic Bazaar project is distinguished by its programmatic completeness, thematic focus, and the stable nature of the relationship between the performing musicians and the public.

Another example of a project organized according to the concert-monologue type is the international music festival “White Nights of St. Petersburg”. It was first held in 1992; its programs were organized annually during 1993-1995; subsequently, with interruptions, gala concerts of “White Nights” took place in 2003 and 2006. A successful attempt to revive the project dates back to 2011, when the status of festival events was supported by representatives of show business from major European countries, including Great Britain and Holland , Monaco, France68. Like any thematic festival, White Nights has its own concept. It is determined by the goals of the project presented on the website by the organizers:

Models of a modern music festival

Previously, we tried to explore the nature and cultural creative potential of a music festival from the perspective of the theory of cultural dialogue. This made it possible to include this phenomenon in a broad cultural context and to understand what place it occupies in the structure of modern artistic culture. One of the key conclusions made during the analysis can be considered a judgment about the communicative value of a modern festival and, in particular, a jazz festival, for all participants in the creative process (both performing musicians and the public) and, more broadly, for the entire space of contemporary culture. Having asked what factors this is due to, it should be noted: along with the universal quality of dialogism inherent in festival events, their inclusion in the system of social interactions between individuals belonging to different national and cultural communities, social groups (communities), etc. is no less important. d., inclusion in the system of interactions between various spheres and institutions of culture and, first of all, art and society. In other words, a music festival can be considered as a sociocultural phenomenon, in the structure of which mechanisms of social communication are found.

Indeed, contemporary art is closely interconnected with sociocultural processes and reflects all the diversity and specificity of social relations inherent in our time. This statement is especially true in relation to such forms of artistic creativity in which the idea of ​​communication initially predominates, i.e. the orientation toward the interpersonal, interethnic, intercultural, etc. is clearly expressed. communication and information exchange. It is precisely such models of creative interaction that include the modern music festival, which over time is increasingly used as a way of conducting cultural dialogue. In this regard, there is a need to consider this phenomenon in relation to the concept of communication.

The category of communication is widely reflected in various fields of scientific knowledge. This is quite natural, since the space of human culture is inseparable from the mechanisms of interaction between people. After all, according to the fair remark of I.K. Moskvina, “culture is a field of various interactions, communications, dialogues, which are extremely important for its existence and development”119. The field of understanding the category is formed within the framework of philosophy, linguistics, and information theory120. The ideas of existentialists K. Jaspers and J.-P. are devoted to the idea of ​​communication. Sartre, the theory of communicative action of J. Habermas, works devoted to the “philosophy of dialogue” (M. Buber, M. M. Bakhtin, B. S. Bibler, E. Levinas, F. Rosenzweig, O. Rosenstock-Hüssy)122, works on the theory “ clarification of linguistic experience" by L. Wittgenstein123. In modern humanities - cultural studies, sociology, political science, psychology - the general theory of communication has been widely developed. Among the works devoted to its various aspects are studies by G.M. Andreeva, S.V. Borisneva, T.M. Dridze, B.M. Erasova, M.S. Kagan, A.V. Kovalenko, V.P. Konetskaya, G. Laswell, A.N. Leontyeva, Yu.M. Lotman, M. McLuhan, T.M. Newcomb, L.V. Petrova, G.G. Pocheptsova, X. Raimann, A.P. Sadokhina, A.V. Sokolova, J. Hartley, E.T. Hall, F.I. Sharkov and others.124

According to L.V. Petrov’s definition, communication is “specific social relations that arise in the process and are preserved as a result of the exchange of information between individuals or their associations and contribute to the preservation and development of the spiritual unity of the human community”125. As noted by L.V. Petrov, the term “communication” simultaneously contains the meaning of transmission, message, information, and also “contains the phenomenon of complicity that arises during the public reception of information, the formation of a certain community of people who received this information”126.

According to A.P. Sadokhin, one of the key problems of the general theory of communication is the definition of the term “communication” itself and the analysis of its content in connection with the concept of “communication”. Since this directly affects the question of the essence of a jazz festival as a modern form of organizing sociocultural communication, it makes sense to understand in more detail the approaches developed in science to this problem.

According to the fair statement of A.P. Sadokhin, the concepts of “communication” and “communication” are closely related to each other, since the elementary meaning of the Latin word “communicatio” is “to make common,” “to connect,” “to communicate”127. At the same time, researchers tend to view the nature of the relationship of definitions with each other differently. This explains the existence of different approaches to the problem. A.P. Sadokhin offers a unique classification of research points of view on this issue128. Thus, the first group of scientists identifies these concepts based on their etymological similarity, and does not see a fundamental difference in their content. The second group, on the contrary, differentiates the concepts, believing that “...communication has both a practical, material, and spiritual, informational, and practical-spiritual nature, while communication is a purely informational process - the transmission of certain messages”1. It is noted that communication is a unidirectional process, while communication is built as an active interaction in which “... there is no sender and recipient of messages - there are interlocutors, partners in a common cause.” The third group of studies is based on the idea of ​​such a relationship of concepts with each other, in which the term “communication” is more general, and the concept “communication” characterizes “... only those processes of information exchange that represent specific human activity aimed at establishing and maintaining relationships and interactions between people”132. We present here the author’s point of view of A.P. himself. Sadokhin, who systematized this material: based on the theory of X. Reimann, who argued that “...communication should be understood not as the message itself or the transmission of a message, but primarily as mutual understanding” of the participants in the interaction1 3, the scientist makes the judgment that the basis of communication is mutual understanding, without which communicative processes are meaningless. As a result of this, A.P. Sadokhin considers the communication process as a desire for mutual understanding between individuals (communities) involved in interaction, a process of “exchange of thoughts, ideas, ideas, emotional experiences and information, aimed at achieving mutual understanding and influence of communication partners on each other” 4.

Music festival in the meaning of a postmodern project

When comparing these postmodern characteristics with the key characteristics of a music festival, many points of agreement can be found. Let us once again define the most significant features of a modern music festival, identified earlier, to make sure of this. These include: - dialogism; - creative play atmosphere created on the basis of the traditions of creative play-spectacle and techniques of play-improvisation, improvisation of writing; - meaningful polycentricity and creative pluralism; - “intertextuality” of interactions between a musical work, participants and spectators (listeners) of the festival, due to the multi-subjectivity of creative communication; - fundamental semantic (content) “openness”, experimentalism, variability of the artistic result achieved during festival music-making; - representativeness, entertainment.

A simple comparison reveals the similarity of a number of characteristics that are generic, in one case, for the practice of postmodernism, in another - for music festival practice. However, like no other area of ​​contemporary musical art, the jazz festival meets the urgent creative needs of postmodernists. It is this that can serve as a truly fruitful platform for successful creative experimentation in this direction. If postmodernism and its ideas penetrate into some areas of contemporary creativity gradually and, perhaps, artificially, the field of the jazz festival seems to be created in order to implement the most daring innovative projects of a postmodern nature. The nature of a jazz festival contains all the prerequisites for organizing a postmodern artistic environment, rich in intertextual interactions, implying an open, improvisational creative process, active dialogue between representatives of different national cultures, style trends, etc. In addition, a jazz festival is a space organized according to performative laws; it attracts viewers and listeners with its brightness and entertainment and therefore can serve for the public manifestation and demonstration of new artistic techniques, work models, and technologies.

It was previously noted that the festival environment is conducive to experimentation in conditions of live communication and dialogue. I would especially like to highlight such features in the organization of the festival space as autonomy, dramatic integrity and a certain self-sufficiency. Each modern festival project claims to have independent significance and truly resembles the image of a rhizome, existing on the basis of complex branched (“root”) interactions between its individual programs (concerts, events, etc.) and participants. All these factors are highly inherent in the postmodern situation of creativity. It is therefore not surprising that many festivals of recent decades, in essence, represent a postmodern project included in an active general space of postmodern art.

When discussing the reasons for the actualization of the festival movement in the era of postmodernism, one cannot help but dwell on one more aspect of this problem. Following the judgments of some modern researchers, it can be argued that the main reason for the demand for a jazz festival is its entertainment. At the same time, we are not talking about the simple attractiveness of the “outer shell” of festival events, their “glossy” accessibility. Not at all: entertainment is the most important component of cultural existence for a person living in a transitional era, which includes the postmodern period. This point of view is presented in the works of N.A. Khrenova and A.V. Kostina, dedicated to the study of the cultural situation at the turn of the 20th-21st centuries. As A.V. Kostina believes, the current state of culture can be called a crisis for an individual who is experiencing enormous stress from a collision with the external environment, a contradiction between the personal and social aspects of existence, experiencing numerous stresses in the post-industrial world. This explains a person’s interest in such cultural forms that could help him overcome such conflicts and sublimate the energy of environmental negation into unconditionally positive, creatively productive facts of life. According to N.A. Khrenov, spectacle becomes such a relevant cultural form of the era of transition. It is the spectacle that is activated “... in situations of extreme social and cultural tension, generating Chaos and then overcoming it through the reorganization of Order”199. As A.V. Kostina notes, entertainment layers carry enormous positive potential, harmonize a person and society, neutralize the destructive forces inherent at this stage in both the person himself and social systems. This is why, as scientists believe, spectacle and spectacular forms are especially in demand in crisis situations.



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