Phenomenon and Concept of "New Simplicity" in Foreign and Domestic Musicology
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Abstract
The article is devoted to the study of the phenomenon of “new simplicityˮ in scientific discourse. The author seeks to reveal the main musicological directions of studying this phenomenon: both a stylistic orientation and an aesthetic concept.
The purpose of this study is to highlight the main approaches to understanding the phenomenon of “new simplicityˮ in modern musical art. The main task is to analyze various aspects in studying “new simplicityˮ in musicology. The object is to manifest “new simplicityˮ in the composerʼs work.
The work presents musicological research, in any case it is devoted to the phenomenon of “new simplicityˮ. The author divides them into two vectors, pointing out that the absence of a major style line of modern compositional creativity a priori excluding the conflict of “old and newˮ, “traditional and innovative”, “simple and complexˮ significantly complicates research activities.
In musical creativity, the “new simplicityˮ is manifested in different ways, each composer chooses his own way of simplifying musical vocabulary, starting from individual views on creativity and musical art in general, which naturally causes the need to consider the “new simplicityˮ based solely on the authorʼs philosophical and aesthetic concept.
In conclusion, the author of this study concludes that the “new simplicityˮ is a kind of counter-process initiated by crises of cultural conditions, which at a certain historical stage generates an oversaturated musical art in technical and linguistic terms. The phenomenon of “new simplicityˮ should be considered as a stylistic trend and an individual authorʼs philosophical and aesthetic concept aimed at simplifying musical expression and returning the communicative function to music.
Keywords: “new simplicityˮ, “irrelevant styleˮ, simplification, composing practice, postmodernism.
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