Культурология (cultural studies)
DOI: 10.12731/wsd-2014-11.3-6 UDC 398.221
CREATION OF STAVROPOL MUSICAL COMPOSITION TRADITION AND ITS PLACE IN THE REGION'S CULTURAL DIVERSITY
Kalantaryan L.A.
The article looks at the creation and development of Stavropol musical composition tradition. The author is especially concerned with the problem of music and its place in the region s cultural diversity, the study of the cultural processes, which define the infrastructure of regional musical culture, and the need for its effective development. The development of regional cultures has created the conditions for intercultural dialogue within the region's musical space. The author develops a concept of music education that has a priority task of popularizing professional musicianship and intercultural dialogue in the region's music environment. The study allowed the author to prove their concept of regional art music genesis and its place in the intercultural dialogue of the region's cultures.
Keywords: region's musical space; the concept of musical education, intercultural dialogue in the region's music environment; Stavropol musical composition tradition.
СТАНОВЛЕНИЕ КОМПОЗИТОРСКОЙ ШКОЛЫ СТАВРОПОЛЬЯ И ЕЕ МЕСТО В ДИАЛОГЕ КУЛЬТУР НАРОДОВ РЕГИОНА
Калантарян Л.А.
В статье дан анализ процесса становления регионального профессионального музыкального искусства, формирования композиторской школы Ставрополья. Основное вним ание автор уделяет осмыслению места профессионал ьного музыкального искусства в диалоге культур народов региона. Анализ социокультурных процессов детер-мини ровавших становление регионального музыкального иску сства, позволил выявить структурные компоненты музы кального пространства и инфраструктуры региональной музыкальной культуры необходимые для ее эффективного функционирования.
В пр оцессе выравнивания и развития национальных культур сложились необходимые условия для становления межкультурного диалога в музыкальном пространстве региона. Автор обосновывает концепцию музыкально-про-свет ительской филармонической деятельности, приори-тетн ым направлением которой становится популяризация регионального профессионального музыкального искус-
ства, углубление межкультурного диалога в музыкальном пространстве региона. Проведенный анализ позволил автору обосновать собственную концепцию генезиса реги-онал ьного профессионального музыкального искусства и высветить его приоритетное место в диалоге культур народов региона.
Ключевые слова: музыкальное пространство региона; концепция музыкально-просветительской филармонической деятельности, межкультурный диалог в музыкальном пространстве региона; композиторская школа Ставрополья.
At present the Russian society has the need to understand its cultural origins and foundations. Multiethnic art music is a high value and is a mechanism of fostering intercultural dialogue in the region. The study of professional musicianship and its role in regional intercultural dialogue can show its importance as a constituent element of the region's culture genesis. The system approach, which views culture as an integral unit, and culturological methods (genetic, comparative, axiological, etc.) identified the sociocultural factors, which determine the process of professional musicianship and its place in the region's intercultural dialogue.
When studying the intercultural dialogue of the region's ethnic groups we relied on the philosophical concepts of M.M. Bakhtin, N.Y. Danilevskiy, L.P. Karsavin, etc. It was important to detect the main ideas regarding intercultural dialogue in order to apply the concept to the regional musical environment and professional music composition.
The 20th century philosophy is centered around the problem of the dialogue as the basis of human life. There are various approaches to it in the European science (M. Buber, F. Cohen, F. Rosenzweig, etc.) and Russian science (M. Bakhtin, N. Danilevskiy, L. Karsavin, A. Losev, S. Frank, G. Shpet, L. Scherba, etc.). M.Buber's concept is based on the idea of human life's integrity. The individual needs to conduct the dialogue with the world; otherwise they become opposed to it instead of becoming its integral part.
L.P. Karsavin proves the principle of cultural interaction based on 'all-encompassing unity' and 'triunity' [4]. Karsavin analyzes the existence of culture and singles out its development stages: culture' genesis within another culture, its foundation and self-definition and the third stage - its interaction with other cultures and genesis of a new culture as the highest point of existence. The interaction between cultures takes place in the form of an intercultural dialogue, whose success depends on the values in common and readiness to accept each other [4] .
According to M.M. Bakhtin the dialogue is the basis of existence. As a creative product culture is the result of the interaction between the world and the individual. A real dialogue is impossible without a deep insight into the interlocutors' psychology. M.M Bakhtin used dialogue as a universal research method and singled out its subtypes in the form of inner and outer dialogue. Outer dialogue is the main type of interaction; it occurs between cultures and results in cross-fertilization. Inner dialogue takes place within one culture during the interaction between the local cultures, it comprises and results in togetherness and exposure of one culture to the other. In both dialogues spiritual commonality presupposes preserving individual traits of every culture [1].
The concept of a cultural dialogue and acceptance of a different culture while preserving one's own cultural identity can help to understand intercultural dialogue in modern Russia. N.N. Velikaya viewed cultural dialogue as a safety factor of civilization process: 'Modern culture can enter a dialogue only as a cohesive variety, characterized by the unity of sense, its completeness and definiteness'. Effective communication in modern intercultural dialogue presupposes several conditions: long-present self-concept, i.e. differentiating oneself from others, self-identification; being interested in communication; feedback; language of communication; values in common. Taking its origins in the past every people's culture embraces its historic memory, spiritual experience and high intellectual and spiritual achievements' [2 p. 70].
The process of establishing cultural dialogue between the region's peop les introduced the concepts of 'local cultures alignment' and 'prime of local folk cultures'. Alignment is 'developing the creative potential of all ethnic groups, alignment of poorly developed cultures with the most advanced ones' [3, p.139]. The dynamic revival of local culture is characterized by 'an advancement in education, science, art and all-rounded creative development of both larger and smaller ethnic groups' potentials; development of the culture's internal resources and potential; continuing adoption by the local culture of the things, which the culture and other local cultures need to develop' [3 p. 138].
The process of local cultures alignment in the North Caucasus included creating favourable conditions for cross-cultural communication. There was a considerable advancement in ethnic literature and ethnic theatre and in the field of professional music the results were far more modest.
From the 1950s-60s the development of ethnic musical culture has included the unfolding of spiritual potential and cultures' inner resources, a deeper perception of values, and an acquisition of spiritual commonality with other cultures, i.e. making cultural dialogue more dynamic.
In the 50s the focus of propaganda and education in musical field was shifted to the promotion of art music, the work of Stavropol professional composers and enhancing the cultural exchange between the region's ethnic music cultures. It was a time when the concept of musical education was developed that had the priority tasks of promoting the best classical and Soviet music, educating agricultural workers, children and teenagers about music and aesthetics, cooperating with amateur talent groups, introducing new repertoire, enhancing the content of lectures on music, further training of musicians, performers, and developing relationships with regional composers, representatives of local ethnic cultures, and other republics within the USSR.
The creation of musical composition tradition in the Stavropol Territory was complicated by the low level of local music culture in postwar years. There was no educational infrastructure, but the Stavropol philharmonic remained an important cultural centre and a place where local composers continued their work. However, in later 40s -early 50s cooperation between the philharmonic and local composers was on the decrease.
In the latter 1950s local amateur song-writers N. Zinchenko, A. Virtsev, S. Polyakov, etc. started their careers and the Stavropol Territory became the main leitmotif of their songs. By late 50's the pieces by local Stavropol composers were on the philharmonic repertoire, especially at children and teenage concerts. In 1960 a branch of
All-Soviet Union Choral Society and the 'Bureau of Amateur Composers' opened in Stavropol, which fostered the development of professional music in the region.
In the 60s ethnic music cultures started prospering. Salim Kryms-kiy, Stavro Kolianidi and a young Circassian composer Aslan Daurov became popular, new composers like Leonid Eresko, Mikhail Sevru-kov, etc. appeared. 'The Bureau of Amateur Composers' organized a number of events (concerts, meet the artist sessions, seminars, etc.) aime d at promoting the region's music and cooperation among local composers. The regional annual singing contest in Stavropol was among them.
'Music Autumn in the Stavropol Territory' was a milestone event, which fostered cross-cultural dialogue in the region's music field. As an innovative cultural event the festival fosters cross-cultural
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