Soviet Musical Avant-Garde in the Context of Time (in the mid. 1950s – 1980s): Historical and Cultural Studies and Philosophical Aspects

Introduction. Interest in the work of avant-garde artists does not wane as they move away from the 20th century. This is due to the fact that the musical avant-garde, becoming a sign of the time, reflected the most important trends of the outgoing era. In the paper, the Soviet musical avant-garde is considered in the historical, cultural and philosophical aspect in the context of the historical era, which determines the novelty of the study. An aspect of novelty is the analysis of music as a sphere of intercultural communication.

Methodology and sources. The research methodology is based on the analysis of sources and literature, taking into account interdisciplinary approaches. A special role in the understanding of the theoretical aspects of the problem play the work of musicologists Yu. N. Kholopova, V. N. Kholopova, V. S. Price, R. L. Pospelova, A. I. Demchenko. Among the sources highlighted in cinema, photo- and phonodocuments, which depicts a vivid image of the era. The interviews with composers, which presents a wide canvas of social and musical life (A. Schnittke, A. Ivashkina entry and volkonskii, recording E. Dubinets) are of considerable interest. Historical, comparative, systematic and semiotic methods of analysis were used. Applies a comprehensive approach (formation and civilization methods of research and the Annales school). This allows for a new approach to the historical era of the middle1950s – 1980s.

Results and discussion. Postwar culture is examined as a single space, in which a special role was played by the impulses of the “thaw”. They gave cultural phenomena such inertial dynamics, which preserves the spiritual maturity of society and produced changes of the 1990s, the results of the study show that in contrast to the political and socio-economic processes, cultural life in these years continued to feel the pulses of the “thaw”. Retaining the inertial dynamics of development, cultural processes have been far from stagnation, which casts doubt on the overall rating this time as the “era of stagnation”. This allows you to put a discussion question on the revision of the political clichés in relation to the period of the middle 1960s – 1980s in the Soviet Union as the “era of stagnation”.

Conclusion. Soviet avant-garde, expressing the spirit of the time, represents the unique phenomenon in which reflected global trends, and the uniqueness of national culture. Experience avant-garde shows that cultural processes of the epoch middle 1950s – 1980s had a high development dynamics. The study of this period, especially in its spiritual sphere, requires interdisciplinary approaches and the use of modern, including foreign methods. Interest methods of the Annales school in its historical retrospect and the “new cultural history”.

1. Batagova, T.E. (2018), “On some aspects of the performance of Russian vocal music of the Avant-garde II”, Bulletin of Moscow state University of culture and arts, no. 3 (83). pp. 97–105.

2. Kholopov, Y.N. (2011), “New paradigms of musical esthetics of 20th century”, available at: https://www.holopov.ru/pgdom.html (accessed 19.10.2019).

3. Petrenko, G.K. and Shumkov, A.A. (2014), Rech' i muzyka: tochki soprikosnoveniya [Language and music: touch points], ETU Publishing House, SPb, RUS.

4. Kolomiets, G.G. (2010), “Sense and value of music”, Tsennosti I Smysly [Values and meanings], no. 1 (4), pp. 43–57.

5. Suminova, T.S. (2012), “Problem of searching for the harmony as a system – concept of creation”, Bulletin of Moscow state University of culture and arts, no. 6 (50), pp. 26–31.

6. Demchenko, A.I. (2013), “Music cosmogony”, Problemy Muzykal'noj Nauki, [Music Scholarship], no. 2 (13), pp. 125–133.

7. Maiorov, G.G. (1996), “Fate and work of Boethius”, Boetsii. «Uteshenie Filosofiei» i drugie traktaty [Boethius. Consolation of Philosophy and other tractates], in Maiorov, G.G. (ed.), Nauka, Moscow, RUS.

8. Bychkov, V.V. and Man'kovskaya, N.B. (2011), “Postmodern Aesthetics as Phenomena of Technocratic Civilization”, Art Studies Magazine, no. 1–2, pp. 188–210.

9. Stepin, V.S. and Kuznetsova, L.F. (1994), Nauchnaya kartina mira v kul'ture tekhnogennoi tsivilizatsii [Scientific worldview in the culture of technocratic civilization], RAS Institut of Philosophy, Moscow, RUS.

10. Stepin, V.S. (2011), Tsivilizatsiya i kul'tura [Civilization and culture], Univ. of the Humanities and Social Sciences, SPb, RUS.

11. Tsaregradskaya, T.V. (2016), “The space of the Gestures in the Work of John Cage”, Russian Gnesins Academy of Music, no. 2 (17), pp. 19–42.

12. Sukhonosova, S.V. (2012), “The theory of frames: the opportunities to study of everyday life”, Chelovek v Mire Kul'tury [Man in the world of culture], no. 2, pp. 29–34.

13. Mureyko, L. and Bakhtin, M. (2014), “Postmodernism: from destruction of “structure” to identification of elementary thinking acts”, Vestnik Moskovskogo gosudarstvennogo oblastnogo universiteta. Seriya: Filosofskie nauki [Bulletin of Moscow State regional university. Series: philosophical sciences], no. 4, pp. 51–64.

14. Pospelova, N.I. (2007), “Intellectual and playing aspect of musical creation”, Herald of Vyatka State University, no. 17, p. 55–58.

15. Tarasov, A.N. (2008), “Poststructuralism as a philosophical basis of art culture of postmodernism”, Izvestia: Herzen University Journal of Humanities & Sciences, no. 34 (74), pt. 1, pp. 478–483.

16. Tarasov, A.N. (2014), Sotsiokul'turnaya transformatsiya: postmodernizm [Socio-cultural transformation: postmodernism], Izdatel'stvo Pershina R.V., Tambov, RUS.

17. Andreeva, O.V. (2019), “The Soviet culture of the second half of 1960-s and the first half of 1980-s: stagnation or a society cultural maturity?”, National cultures in social space and time: materials of the VI international scientific conference, Prague, CZE, March 01–02, 2019, pp. 8–17.

18. Okuneva, E. (2010), “Images of specularity in the "Suite of mirrors" by A. Volkonsky”, Israel XXI. Music magazine, no. 6 (24), pp. 1–4.

19. Zaidel', N. (2009), “Andrey Volkonsky, friends, fates”, Zametki po evreiskoi istorii [Notes about Jewish culture], available at: http://berkovich-zametki.com/2009/Zametki/Nomer5/Zajdel1.php (accessed 19.10.2019).

20. Shekalov, V.A. (2007), “The harpsichord revival in Russia in the second half of ХХ century”, Izvestia: Herzen University Journal of Humanities and Sciences, vol. 9, no. 46, pp. 118–127.

21. Dubinets, E.A. (2010), Knyaz' Andrei Volkonskii. Partitura zhizni [Prince Andrey Volkonsky. Score of life], RIPOL Klassik, Moscow, RUS.

22. Seidova, G.N., (2010), “Mugam Art in the Traditional Culture of Muslim Shiits”, Voprosy Kul'turologii, [Culturology issues], no. 7, pp. 97–102.

23. Zenkin, K. (2009), “Andrey Volkonsky: between avant guarde and tradition, between the East and the West”, Israel XXI. Music magazine, no. 4 (17). pp. 1–6.

24. Andreeva, O.V. (2019), “The music of A. Schnittke in intercultural space”, Actual problems of linguistics, ETU Publishing House, SPb, RUS, pp. 136–143.

25. Pereverzeva, M.V. (2015), “Aleatory composition as one of the principles of composition”, Dr. Sci. (Art history) Thesis, Moscow Conservatory, Moscow, RUS.

26. Anufrieva, N.I. and Avramkova, I.S. (2018), “Influence of culture of the West Europe on Russian musical art of 20 th century in the context of intercultural communication”, Uchenye zapiski RGSU [Scientific notes of Russian State Social University], vol. 17, no. 3 (148), pp. 85–93.

27. Grinberg, R.S. (2009), “Unlearned lessons”, Dialog of cultures and partnership of civilizations. International scientific readings by Likhachev, SPb, SPbGUP Publishing House, RUS, pp. 56–63.

28. Sidneva, T.B. (2011), “Music in the context of changes worldview paradigms”, Bulletin of Nizhny Novgorod University, no. 3 (1). pp. 361–366.