Intertype interaction as a new paradigm in the principles of musicological terms.
In this report we will talk about the interaction of music in fundamentally different areas – academic and non-academic, in which there is a vision of elements of the musical language, expressive means from one sphere to another is happening, and a brand new quality musical material is produced. Under the “academic music” is understood the music of the West European classical tradition, under the “non-academic” – such directions as jazz and rock. Another musical area is folklore, and ethnic music is also regarded as a separate category.
The aim of this this presentation is to demonstrate the multi-functionality of intertype interactions in the music culture and also to find a reason of a paradigm change in the principles of musical thinking. Using the analytical method we are looking at music compositions on three levels (composition, intonation and timbre) we discover the level of mixing up different types of music. The sources used in preparation are works by Marshall McLuhan, Thomas Kuhn, Gunther Schuller, A. D. Patel.
Convenience of communication made it possible for representatives of various civilizations to get acquainted with the musical languages of other ethnic groups and subsequently apply the elements of these languages in individual composer creativity. This gave the ground for the emergence of a variety of musical directions in which interaction with different categories of music takes place.
In the report the interaction of ethnic music with other musical streams is specifically highlighted. Since ethnic music (folklore) has been predominantly in rural areas, interaction with such areas as jazz, rock, academic music, brought it to the urban, professional stage, in both, mixed and pure ways. Today, the presence of authentic musical instruments of various ethnic groups in professional academic orchestras, along with traditional classical instruments of the symphony orchestra has become very common.
As a result, we now understand that the new paradigm of musical perception lies in equality of all types of music. Thus, the distinction between the town and the village is eroded and blurred. On one hand in the arts urbanisation and technical obsession prevails, whereas on the other hand, in terms of social relationships the “global village” is happening. The globalization occurring in the world equates all the main musical categories (ethnics, classics, jazz, and rock), so that the perception of music from the discrete becomes holistic. Metaphorically speaking, authentic performers come to town, get urban. At the same time, cities become a “global village”, which reflects the Eastern wisdom about the unity of antipodes. The report also gives examples of such interaction of ethnic music with other musical areas.
IRYNA PALIY
Kotliarevsky University of Arts, Kharkiv, Ukraine
Was born in Ukraine in 1983. She developed her musical performance skills to a Masters’ Degree level and has graduated in 2007 as a performer on a Clarinet from Kotliarevsky University of Arts, Kharkiv, Ukraine with an excellence. Iryna gained her PhD in Music five years later (2012) at the same University. Her PhD thesis “Transduction as a Phenomenon of Musical Culture” was based on diverse and crossover fields such as academic and non-academic music, psychology, philosophy, and linguistics. It deals with various rock music band compositions including King Crimson and Pink Floyd.