古典音乐家流行观念的演变:历史文化分析

K. Bakirova
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引用次数: 0

摘要

音乐文化在文化的历史发展中占有重要地位。表演者面临着在世界上找到自己的位置,选择个人发展和职业发展的轨迹的问题,如今这些问题已经成为音乐家专业团体的紧迫问题。研究人员需要解决的一个复杂问题是音乐表演流行概念的演变。尽管音乐家受欢迎的话题,特别是在壮观的表演流派中,已经得到了广泛的研究,但很少有作品关注文化语用学背景下的古典音乐表演者。通过对从古代世界到现在欧洲文化发展的一个重要历史时期的研究,可以发现在不同历史时期对流行概念的解释有一些特点。以复杂文化分析为主要研究方法,考察各个时期的独特特征。该研究分析了古典音乐演奏者在特定社会文化背景下的受欢迎程度,并得出了一套独特的历史特定的受欢迎程度概念。本文提出了公众对音乐表演态度演变的研究结果,并探讨了决定流行程度的历史群体价值观。值得注意的是,流行是教会和世俗音乐的问题。古典音乐表演者有意无意地解决了公众的文化教育问题,形成了他们的价值观。与此同时,音乐家直接依赖于听众现有的品味和偏好。这种流行的悖论在欧洲音乐文化的各个时代都存在。受欢迎的形式可能从喜爱到讨厌。在古典音乐领域,受欢迎是由具有某种魅力的人获得的,就对公众的吸引力而言,这种魅力比专业更重要。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
volution of the Concept of Popularity of a Classical Musician: Historical and Cultural Analysis
Music culture plays an important role in historical development of culture. Performers face the problems of finding their place in the world, choosing the trajectory for their personal evolution and professional development and nowadays these issues have become pressing for the professional community of musicians. One of the complex issues researchers need to address is the evolution of the concept of popularity of music performance. Even though the topic of the popularity of the musician, especially in the spectacular genres of performance, has been extensively studied, there are very few works, which focus on the performer of classical music in the context of cultural pragmatics. The study of a significant historical period in the development of European culture from the Ancient World to the present reveals a number of features in the interpretation of the concept of popularity in different historical periods. Complex cultural analysis as the primary method of research was used to investigate the unique features of each period. The study analyzed popularity of the performer of classical music within a particular sociocultural context and resulted in a set of distinct historyspecific concepts of popularity. This paper presents the findings on the evolution of public’s attitude toward musical performance and investigates historical group values determining popularity. It is noted that popularity is a matter of both church and secular music. Classical music performer, intentionally or not, addresses the problem of cultural education of the public and forms their values. At the same time, musicians directly depend on the existing tastes and preferences of their audience. This paradox of popularity has existed through all ages of European music culture. Popularity may take various forms from adoration to hate. In the field of classical music, popularity is achieved by people who have a certain charisma that in terms of attractiveness to the public matters more than professionalism.
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