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Music and Time Annotation << Back
To the problem of ethnocultural identity in piano music Dagestani composers of the post-Soviet period |
N.V. Sypalo
The article is devoted to one of the central problems of any national composer school – the specifics of the dialogue between the local ethnic and European in the formation of an original form of artistic synthesis. The very phenomenon of "cultural bilingualism" is examined with positions of a special way of ethnocultural self-determination. Analysis piano music of modern composers of Dagestan confirmed coexistence and now two creative systems, due to the dominance or canons of traditional musical culture, or a universal pan-European logos. But if the existence of the first system preserves the principle of ethnic identity composer, then the second, corresponding to the postmodernism with its language games, techniques of deconstruction and proclaimed Bart "Death of the Author", initiates a special attention to the problem ethno-cultural self-determination. Analytical examination of a number of works of modern Dagestan composers found in the value of a constant basis text forming the principle of rhizome, which is a new model artistic integrity. In the search for the principle of ethnocultural the identity of contemporary Dagestani composers was palliative of the significance of rhizome: as a new universal model of the integrity of the modern world and as a model, ontologically rooted in the mentality of the East. The second meaning of rhizome, correlated no longer with the aesthetics of postmodernism, but with metaphysical the basis of Eastern culture, allowed to amend the new criterion for identification of Dagestani composers through integration a local-ethnic canon with the Islamic East in the East model of cultural integrity.
Keywords: Dagestan, text, structure, derivation, rhizome.
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Pp. 50-57. |
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