On Professionalism in Traditional Musical Culture
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Abstract
Professionalism in traditional musical culture as a self-contained issue began undergoing its formation rather recently – since the end of the preceding century. The author emphasizes the fact that it has not been studied before, as well as the special complexity and multifaceted qualities of the phenomenon. On the basis of systemic-comparable analysis the article highlights ten traits of oral professionalism, interconnected with various aspects of musical thought. on the comparative plane they are presented, on one hand, in the context of folklore and, on the other hand – of compositional work. The most essential signs of professional music of the oral tradition present themselves are: the oral form of artistic creativity, the cardinal role of aesthetical artistic origins, the complexity of musical texts, a high level of possession of performance technique, the necessity of specialized instruction, special forms of authorship, a possible possession of a special type of fixation of notation, provision of means of material existence, autochtonous scientific reflection, and a partial dissolution of syncretism (characteristic for folklore). The features of traditional professionalism characterize the various styles and genres of the corresponding types of traditional musical culture, such as, for instance: church service genres connected with both monotheistic religions and polytheistic ones; secular types of “music for hearing”; the epos of various peoples; shamanism. Research of professional musical culture of the oral tradition is one of the most important tasks of ethnomusicology, as well as musicology in general.
Keywords: musical folklore, traditional music, music of the oral tradition, signs of professionalism in traditional music
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