Aesthetic conflict in Chinese traditional music in the aspect of the contemporary globalization processes

Abstract

Statement of the problem. In the conditions of globalization, art becomes the result of the interaction of many factors, artistic cooperation and competition within the framework of the formation and functioning of artistic communities. The world of traditional Chinese music provides an excellent opportunity to study how members of the artistic community respond to the differences brought about by the processes of globalization. Therefore, consideration of the aesthetic conflict in traditional Chinese music, which arises in the context of globalizing world processes, appears as a topical issue and determines the content of this article. The theoretical basis of this article refers to works devoted to the study of the concept of globalization in art and culture. The analysis of publications on the topic show that the issue of globalization as a dynamic factor of the Chinese musical culture has not been extensively studied, while it is acknowledged that the influence of European music on Chinese one has always contributed to the formation of a certain aesthetic conflict. Objectives, methods, and novelty of the research. The purpose of the study is to highlight the specifics of the development of Chinese traditional musical culture in the context of the conflict of acceptance/rejection of the globalization influences of Western culture. For the first time, the concept of aesthetic conflict as a means of dynamic progressing Chinese musical art in the context of the globalization of the cultural space is considered. As research instruments, historical and comparative, hermeneutic, interpretive, and dialectical methods are used. Research results. The article highlights three forms of changes that cultural globalization can introduce to the world of art: – creation of conditions for the transnational circulation of works and forms of art for the construction of completely new artistic concepts; – the accumulation of modern trends, namely new techniques and approaches to artistic production, in the concrete artistic world; – cases of global aesthetic influences, where ideologies and values can guide the creation of an artistic object and form criterions for defining what can be considered authentic and appropriate for a certain culture. Regular influences from the West contributed to the fact that Chinese traditional music culture began to develop from the positions of either adapting to these influences or resisting new trends in the interpretation of musical culture. From this follows the conclusion that cultural globalization is not only a process brought from outside, but also a reality that is actively created by the subjects who are involved in it. Among the transformations of Chinese musical art in the process of globalization, the ways of formation of “Chinese traditional music” are considered as a response to the integration of Western influences. Conclusion. In the course of the research, it was found that the aesthetic conflict in Chinese musical culture was formed by the way of integrating cultural resources, which is due to globalization processes and leads to the state of coexistence of different types of cultures. Such coexistence indicates the acceptance of multiculturalism by musicians in the era of globalization, when the latter creates a context for the emergence of aesthetic conflict as a means of overcoming the perception of only one culture. It is emphasized that the focus on the preservation of identity of the Chinese musical culture actualizes the option of glocalization as a means of preserving one’s own in multicultural conditions.