Traditional Musical Culture in the Contemporary World
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Abstract
The article dwells on the problem of the dynamics of traditional
musical culture and its adaptation to contemporary conditions. The
author gives characterization to natural, unregulated processes
that are conditioned by the logic of development of culture and
the change of the social-cultural context, as well as the artificial,
regulated processes, which are constructed by means of scientists
and state authorities.
At the present time one can observe a narrowing of the sphere
of existence of traditional culture, a reduction of the quantity
of texts transmitted orally, their replacement with fixated texts
by composers, the supplanting of complex forms with simple
ones. These changes have led to modification of the correlation
of the core and the periphery of the genre system, weakening of
its integrating mechanisms and fragmentation. Dissemination
of folklore is carried out predominantly in organized forms and
with the use of contemporary technical devices and informational
technologies.
The fixation of contemporary society on obtaining new
knowledge stipulates the contradiction between its aspirations and
traditional culture, which is geared on reiteration of information.
Globalization and multiculturalism are connected with the
expansion of the tradition of migrants, who expel the individual
strata of folklore not only from the sphere of everyday life, but
also from memory.
Regulation and state support of traditional culture in
correspondence with the “Convention for Preservation of
Immaterial Cultural Heritage” of UNESCO from 2003 is
carried out in Russia for the most part in the sphere of organized
forms (folklore studies) by means of organizing festivals and
presentations in conferences.
The experience of designing social-cultural processes
by scholars and scientists in conjunction with governmental
structures during the last third of the 20th century in the USSR
resulted in the emergence of the folklore trend, which has found
official presentation in the social structure, the “Russian Folklore
Union.” At present, developing at an early, formative stage in the
vein of the idea of “preservation and revival” of traditions and
authentic folk music performance, it is guided by the principle of
“living tradition.”
In conclusion, special mention is made of the specific
features regional and ethnic folklore, the irregularity and
nonequilibrium of development of the processes in the various
spheres of traditional culture.
Keywords: traditional musical culture, the folklore
movement, folklore studies, authentic folk music performance,
multiculturalism
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