Features of the origin and development of musical criticism. "Disgusting abomination": how great composers were scolded by contemporaries

Appeal to the analysis of the phenomenon of music criticism is due today to the objective need to understand the many problems of its role in the difficult and ambiguous processes of intensive development of modern national culture.

In the conditions of recent decades, a fundamental renewal of all spheres of life is taking place, associated with the transition of society to the information phase1. Accordingly, the need inevitably arises for new approaches to various phenomena that have replenished culture, in their other assessments, and in this the role of musical criticism as part of art criticism can hardly be overestimated, especially since criticism, as a kind of information carrier and as one of the forms of journalism, acquires in today the quality of a mouthpiece of unprecedented power, addressed to a huge audience.

Undoubtedly, music criticism continues to fulfill the traditional tasks given to it. It forms aesthetic and artistic and creative tastes, preferences and standards, determines the value-semantic aspects, systematizes the existing experience of musical art perception in its own way. At the same time in modern conditions its scope is significantly expanding: thus, the information-communicative and value-regulatory functions of musical criticism are implemented in a new way, its socio-cultural mission as an integrator of the processes of musical culture is enhanced.

In turn, criticism itself experiences the positive and negative impacts of the socio-cultural context, which make it necessary to improve its content, artistic, creative and other

1 In addition to industrial, modern science distinguishes two phases in the development of society - post-industrial and informational, which A. Parkhomchuk writes about in his work "Information Society"

M., 1998). sides. Under the influence of many cultural, historical, economic and political processes of transformation of society, musical criticism, as an organic element of its functioning, sensitively captures all social changes and reacts to them, changing internally and giving rise to new modified forms of critical expression and new value orientations.

In connection with the foregoing, there is an urgent need to comprehend the features of the functioning of musical criticism, to identify the internal dynamic conditions of its further development, patterns of generation of new trends by the modern cultural process, which determines the relevance of posing this topic.

It is important to establish what cultural and ideological result modern music criticism has and how it affects the development of culture. This kind of approach to the interpretation of musical criticism as one of the forms of existence of culture has its own justifications: firstly, the concept of musical criticism, often associated only with its very products (articles, notes, essays belong to it), in the cultural aspect reveals a much larger number of meanings, which, of course, expands an adequate assessment of the phenomenon under consideration, functioning in the conditions of the new time in the changed system of modern socioculture; secondly, a broad interpretation of the concept of musical criticism provides grounds for analyzing the essence and specifics of inclusion in sociocultures2

Without going into the analysis of the existing definitions of the concept of “culture” in this work (according to the “Encyclopedic Dictionary of Cultural Studies”, their number is estimated at more than one hundred definitions), we note that for the purposes of our work, it is important to interpret culture, according to which it “acts as a concentrated , the organized experience of mankind, as the basis for understanding, comprehension, decision-making, as a reflection of any creativity, and finally, as the basis for consensus, integration of any community. The extremely valuable idea of ​​Yu.Lotman about the information purpose of culture can also contribute to the strengthening of the dissertation provisions. Culture, the scientist writes, "at the present time could be given a more generalized definition: the totality of all non-hereditary information, ways of organizing and storing it." At the same time, the researcher clarifies that "information is not an optional feature, but one of the main conditions for the existence of mankind" . ny process of a wide audience, not just as a recipient, but in a new capacity as a subject of co-creation. It is logical to represent this side of the phenomenon under study from the standpoint of the situation of artistic perception, which makes it possible to reveal the psychological foundations of this art, as well as to highlight the general features that characterize the mechanism of musical criticism; thirdly, culturological analysis allows us to present musical criticism as a special phenomenon in which all levels of social consciousness are integrated, the leading oppositions of the system of modern culture (elite and mass, scientific and popular, science and art, musicology and journalism and

Thanks to music criticism in modern culture, a special information space is being formed, which becomes a powerful means of mass transmission of information about music and in which the multi-genre, multi-darkness, multi-faceted nature of music criticism finds its place and manifests itself more than ever before - a special quality of its polystylistics, in demand and objectively determined by the conditions of time. This process is a dialogue within culture, addressed to the mass consciousness, the center of which is the evaluation factor.

These characteristics of music criticism are the most important preconditions for overcoming the unambiguous, private scientific attitude to music criticism as some self-valuable local education.

Thanks to system analysis, it is possible to imagine the action of music criticism as a kind of spiral, the “unwinding” of which involves various forms of functioning of the cultural system (for example, mass culture and academic culture, trends in the commercialization of art and creativity, public opinion and qualified assessment). This spiral makes it possible to reveal the local meaning of each such form. And the constant component of different levels of consideration of criticism - the evaluation factor - becomes in this system a kind of "central element" to which all its parameters are drawn. In addition, the consideration of this model is based on the idea of ​​integrating the scientific, literary and journalistic contexts in which musical criticism is simultaneously implemented.

All this leads to the conclusion that music criticism can be understood both in a narrow sense - as a product of material-critical statements, and in a broad sense - as a special process, which is an organic connection between the product of music criticism and the integral technology of its creation and distribution. which ensures the full functioning of music criticism in the socio-cultural space.

In addition, we have the opportunity to find in the analysis of musical criticism answers to the question of its cultural-creating essence and the possibilities of increasing its significance and artistic quality.

Of particular importance is also the regional aspect, which implies consideration of the functioning of music criticism not only in the space of Russian culture and society as a whole, but also within the Russian periphery. We see the expediency of this aspect of considering musical criticism in that it allows us to even more reveal the emerging general trends due to the new quality of their projection from the radius of capital cities to the radius of the province. The nature of this switch is due to the centrifugal phenomena noted today, which concern all spheres of social and cultural life, which also means the emergence of an extensive problem field for finding one's own solutions in peripheral conditions.

The object of the study is domestic musical criticism in the context of the musical culture of Russia in recent decades - mainly magazine and newspaper periodicals of central and regional publications.

The subject of the research is the functioning of musical criticism in terms of the transformational dynamics of its development and influence on modern national culture.

The purpose of the work is to scientifically comprehend the phenomenon of domestic musical criticism as one of the forms of self-realization of culture in the information society.

The objectives of the study are determined by its purpose and lie in line with, first of all, musicological, as well as cultural understanding of the problems of music criticism:

1. Reveal the specifics of musical criticism as a historically established socio-cultural form;

2. To comprehend the ethical essence of musical criticism as an important mechanism for the formation and regulation of the evaluation factor;

3. Determine the value of the factor of creativity in musical and journalistic activity, in particular, the effect of musical criticism in terms of rhetoric;

4. Reveal the new information qualities of music criticism, as well as the peculiarity of the information environment in which it operates;

5. Show the features of the functioning of music criticism in the conditions of the Russian periphery (in particular, in Voronezh).

Research hypothesis

The research hypothesis is based on the fact that the full disclosure of the possibilities of musical criticism depends on the realization of the potential of creativity, which, probably, should become an artifact that "reconciles" and synthesizes scientific knowledge and mass perception. The effectiveness of its identification depends on the personal approach of the critic, which resolves at the individual level the contradictions between the academic promises of his knowledge and the mass requests of readers.

It is assumed that the effectiveness and dynamics of music criticism in the conditions of the periphery is not a simple reflection or duplication of metropolitan trends, some circles diverging from the center.

The degree of development of the research problem

In processes artistic life and scientific research, music criticism occupies a very unequal position. If the practice of critical utterance has long existed as an element of musical culture, inextricably linked with creativity and performance, and has its own considerable, almost two hundred year history,3 then the field of its study - although it occupies many researchers - still retains many white spots and clearly does not achieve the necessary adequacy in terms of relation to the meaning of the phenomenon itself, which, of course, becomes a requirement of today. Yes, and in comparison with their close "neighbors" in science - with literary criticism, journalism, theater criticism - the study of the problems of musical criticism is clearly losing. Especially against the background of fundamental studies of the historical and panoramic plan, devoted to art criticism. (Even individual examples are indicative in this sense: History of Russian criticism. In two volumes - M., JL, 1958; History of Russian journalism of the ХУ111-Х1Х centuries - M., 1973; V.I. Kuleshov. History of Russian theater criticism. In three volumes - JL, 1981). Probably, it is precisely this chronological "delay" of comprehension from the very research

3 Speaking about the birth of music criticism, the modern researcher of these problems T. Kurysheva points to the eighteenth century, which, in her opinion, represents the milestone when the needs of culture, associated with the complication of the artistic process, made art criticism an independent kind creative activity. Then, she writes, "professional music criticism emerged from the public, from the listener (educated, thinking, including the musicians themselves").

Interesting, however, is the position on this issue of the well-known sociologist V. Konev, who expresses a slightly different view of the epistemology of the phenomenon art criticism. He considers the process of isolating criticism into an independent field of activity as a result not of the general state of culture and the public, but the result of the "splitting" of the artist, the gradual separation, as he writes, of "the reflective artist into an independent role." Moreover, he notes that in the 18th century in Russia, the artist and the critic did not yet differ, which means that the history of criticism, in his opinion, is limited to lesser chronological framework. my phenomenon and explains the features of the genesis of scientific knowledge about musical criticism4.

In the conditions of modern times 5 - when the multiplicity and ambiguity of the processes taking place in musical life especially need timely assessment, and assessment - in "self-assessment" and scientific understanding and regulation - the problem of studying music criticism becomes even more obvious. “In today's era of rapid development of the mass media, when the dissemination and propaganda of artistic information have acquired a total mass character, criticism becomes a powerful and independently existing factor,” researchers noted the beginning of this trend back in the 80s, “a kind of institution not only of mass replicating ideas and assessments, but acts as a powerful force that has a huge impact on the very nature of the further development and modification of some essential features of artistic culture, on the emergence of new types of artistic activity and a more direct and direct correlation artistic thinking with the entire sphere of public consciousness as a whole. The increased role of journalism entails changes in the entire system of functioning of music criticism. And if we follow V. Karatygin’s proposed demarcation of criticism into “intramusical” (focused on the psychological foundations of this art) and “extramusical” (based on the general cultural context in which music functions), then the process of change will be from

4 Naturally, many modern tendencies and influences of musical criticism are common, similar to other types of art criticism. At the same time, the scientific understanding of musical criticism is aimed at comprehending its nature and specificity, which is associated with the reflection and refraction of the phenomena of musical culture and music itself, in which V. Kholopova rightly sees a “positive, “harmonizing” attitude towards a person at the most important points his interaction with the world and with himself.

5 Here, the new time is understood as the period from the beginning of the 90s of the last century, when the processes of change in Russia declared themselves so strongly that they gave rise to scientific interest in this period and to distinguish it from the general historical context - as really containing a number of qualitatively new properties and characteristics in all areas of social and artistic life. razhen equally at both of these levels, mutually influencing each other with their transformations.

Therefore, given the complexity and multidimensionality of the “other being” of modern music criticism, the “separate” (internal) principle of its analysis, as a rule, and applied to it, can today be considered only as one of the possible approaches to the problem. And here, an excursion into the history of these problems, the degree of their coverage in Russian science, or rather, in the sciences, can bring clarity to the awareness of the prospects of one or another approach to modern problems of music criticism.

So in the 20s of the XX century, Russian scientists began to seriously worry about methodological aspects - as questions of the most general and constitutive nature. An important stimulus for the development of a system of knowledge about music criticism was the programs developed at the Department of Musicology at the Leningrad Conservatory 6. Asafiev's own contribution to the development of critical thought has long been recognized as indisputable and unique, and it is not by chance that "Asafiev's striking phenomenon of critical thought," according to JI. Danko, "should be studied in the trinity of his scientific knowledge, journalism and pedagogy" .

In this synthesis, a brilliant cascade of works was born that opened up prospects for the further development of the Russian science of music criticism, both monographs that touch on the problem under consideration among others (for example, “On the Music of the 20th Century”) and special articles (to name a few: “Modern Russian Musicology and its historical tasks”, “Problems and methods contemporary criticism”, “The Crisis of Music”).

At the same time, in relation to music criticism, new research methods are proposed and considered in the program articles of A. Lunacharsky, included in his collections “Issues of the sociology of music”, “In the world of music”, the works of R. Gruber: “Installation of musical and artistic

6 Department, just opened in 1929 on the initiative of B.V. Asafiev, by the way, for the first time not only in the Soviet Union, but also in the world. concepts in the socio-economic plane”, “On musical criticism as a subject of theoretical and historical study”. We also find coverage of the same problems in a large number of articles that appeared on the pages of magazines of the 1920s - Musical News, Music and October, Musical Education, Music and Revolution, in addition to the sharp discussions that have unfolded about music criticism in the journal "Worker and Theater" (No. 5, 9, 14, 15, 17, etc.).

Symptomatic for the period of the 1920s was the choice by scientists of the sociological aspect as a general, dominant one, although they designated and emphasized it in different ways. So, B. Asafiev, as N. Vakurova notes, justifies the need for a sociological research method, starting from the specifics of critical activity itself. Defining the scope of criticism as “an intellectual superstructure growing around a work”, as one of the means of communication “between several parties interested in creating a thing”, he points out that the main thing in criticism is the moment of evaluation, elucidation of the value of a musical work or a musical phenomenon. .. As a result the same complex multi-stage process of perception of an artistic phenomenon and the struggle of “assessments” and its true value, its “social value” is determined (N. Vakurova emphasizes), when the work “begins to live in the minds of the totality of people, when groups of people, society, are interested in its existence, state when it becomes social value» .

For R. Gruber, the sociological approach means something else - "the inclusion of the fact being studied in the general connection of surrounding phenomena in order to clarify the ongoing impact." Moreover, the researcher sees a special task for the science of that time - the allocation of a special direction in it, an independent field of knowledge - "critical studies", which, in his opinion, should, first of all, focus on the study of musical criticism in the contextual - social aspect. “The result of the combined use of methods will be a more or less exhaustive picture of the state and development of musical critical thought at any given moment of time,” R. Gruber writes, asking a question and immediately answering it. - Shouldn't the criticist stop there and consider his task accomplished? In no case. For to study a phenomenon of a sociological order, which, undoubtedly, is musical, like any other, criticism; what, in essence, is all art as a whole, without connection with the social order and the socio-economic structure of the hostel - would mean the rejection of a number of fruitful generalizations and, above all, from the explanation of the musical-critical facts ascertained in the process of scientific study.

Meanwhile, the methodological guidelines of Soviet scientists then corresponded to general European trends, which were characterized by the spread of sociological approaches to the methodology of various, including the humanities and musicology7. True, in the USSR, the expansion of the influence of sociology was to some extent associated with ideological control over the spiritual life of society. Nevertheless, the achievements of domestic science in this area were significant.

In the works of A. Sohor, who most consistently represented the sociological trend in Soviet musicology, a number of important methodological issues were developed, including the definition (for the first time in Soviet science) of the system of social functions of music, the rationale for the typology of the modern musical public.

The picture depicting the origins of musical sociology, its formation as a science, is very indicative both in terms of recreating the general development of scientific thought about art, and in terms of determining the methodology with which the beginning of the scientific understanding of musical criticism was connected. Period

7 A. Sohor wrote in detail about the birth and development of the sociological trend in art history in his work “Sociology and Musical Culture” (Moscow, 1975). According to his observations, as early as the 19th century, the concepts of sociology and music began to be used in pairs.

12 of sociological methodology became, in essence, at the same time a period of comprehension of musical criticism by science. And here arises - with the proper coincidence of the method and the subject of its study - their paradoxical discrepancy in the sense of priority. The subject of study (criticism) should generate a method for the purpose of studying this subject, i.e. the subject in this chain of the scientific process is both the initial and the final, closing logical point: at the beginning - an incentive for scientific research, and at the end - the basis for scientific discovery (otherwise scientific research is meaningless). The method in this simple chain is only a mechanism, a middle, connecting, auxiliary (though obligatory) link. It was on this, however, that science then concentrated, placing musical criticism under the conditions of the “probability theory”: it was given the opportunity to be investigated with the help of a well-known or developed methodology. In many ways, this picture remains in science to this day. Still in the center of attention of researchers (which, perhaps, is also a kind of sign of the times - as a result of the influence of scientistic tendencies in all sciences, including the humanities) are the problems of methodology, although already going beyond sociological. This trend can also be traced in works on related types of art criticism (B.M. Bernstein. History of art and art criticism; On the place of art criticism in the system of artistic culture ", M.S. Kagan. Art criticism and scientific knowledge of art; V.N. Prokofiev Art criticism, history of art, theory of the social artistic process: their specificity and problems of interaction within art history, A. T. Yagodovskaya Some methodological aspects of literary and artistic criticism of the 1970-1980s, and in materials on music criticism (G M. Kogan On art history, musicology, criticism, Yu.N.

E. Nazaykinsky, V. Medushevsky, L. Danko, E. Finkelstein, L. Ginzburg, V. Gorodinsky, G. Khubov, Yu. Keldysh, N. Vakurova, L. Kuznetsova, M. Galushko, N. Yuzhanin. But in general, this does not change the general situation in the science of music criticism, which L. Danko points out in his article: “Summing up a brief overview of the state of the historical science of music criticism,” the author writes, takes place in comparison with the history of literary criticism and journalism, and in recent years - theatrical criticism. Since the publication of this article inciting musicologists to action in 1987, research on music criticism has been replenished with just one work, which, however, was an interesting generalization and the result of the author’s extensive practical work at the Department of Musicology of the Moscow Conservatory. This is T. Kurysheva's book "The Word about Music" (M., 1992). "Information for learning" and "information for reflection" the researcher calls his essays. Musical criticism in them is shown as a special field of activity, revealing to the reader its scope and richest opportunities, "hidden riffs and major problems." Essays can serve as a basis for the practical development of the profession of a music critic-journalist. At the same time, the author, following many other researchers, again emphasizes the relevance of the problems of music criticism, which still require attention from science. “Along with specific recommendations and theoretical systematization of the most important aspects of musical critical activity, it is extremely important to look at the process of existence of musical critical thought, especially at the domestic practice of the recent past,” she writes.

Meanwhile, a scientific view of the process of existence of musical criticism has always been difficult for quite objective reasons. (Probably for the same reasons, the question of the legitimacy of setting the task of a scientific approach to the problems of musical criticism arises, which hinders the research initiative). Firstly, the doubtfulness, bias, and sometimes incompetence of critical statements that easily penetrate the pages of the press had a very discrediting effect on the subject itself. However, we must pay tribute to those critics who dispute such a “reputation” of their colleagues with a professional approach, although, as a rule, it finds a place for itself more often on the pages of “closed” academic publications than in democratic publications of “wide consumption”.

In addition, the value of critical statements, it would seem, is offset by the transience of their real existence: creation, "printed" expression, time of demand. Quickly imprinted on the pages of print, they seem to also quickly leave the “newspaper scene”: critical thought is instantaneous, it acts as if “now”. But its value does not apply only to today: undoubtedly, it is of interest as a document of the era, to the pages of which researchers, one way or another, always refer.

And, finally, the main complicating factor influencing the development of scientific thought about musical criticism is the “contextual” nature of the subject under study, which is clearly open in nature, provoking variability in the formulation of the problem. If a piece of music can be analyzed "from the inside" - to identify the structural patterns of the text, then music criticism, only partially allowing a theoretical approach to the study of its phenomena (style, language), involves an open, contextual analysis. In the complex communicative system of the functioning of art and culture, it is secondary: it is a direct product of this system. But at the same time, it has its own intrinsic value, or intrinsic value, born as a result of its freedom, which manifests itself - again, not in the internal potential of the means, but in the ability to actively influence the entire system. Thus, musical criticism becomes not only one of its components, but a strong mechanism for managing, regulating, and influencing culture as a whole. This reveals its common property with other subsystems of art, reflecting various aspects of the impact on the life of society - a common, in the words of E. Dukov, "regulative modality" . (The researcher offers his own concept of the historical process of the functioning of music, the originality of which lies in the fact that it traces the transformations of the forms of organization of musical life, from time to time acting either in the direction of social consolidation or in the direction of differentiation). In continuation of his thought in relation to the phenomenon of journalism, it would be possible to reveal its potential in the implementation of the task of confronting the total plurality of modern society, its “differentiation, which today goes not only through different sound “spaces” - layers of the “musical biosphere” (K. Karaev), but also according to the different social and historical experience of the listeners, as well as the peculiarities of the context in which the music falls in each individual case.

In this perspective, its "secondary" turns into a completely different side and acquires a new meaning. As the embodiment of the value-determining principle, music criticism (and B. Asafiev once wrote that it is “criticism that acts as a factor that establishes the social significance of a work of art, and serves as a barometer indicating changes in pressure environment in relation to this or that recognized or struggling for recognition of artistic value ") becomes a necessary condition for the existence of art as such, since art is completely within the value consciousness. According to T. Kurysheva, "it not only needs to be evaluated, but in general it really performs its functions only with a value attitude towards it" .

Secondaryity”, proceeding from the contextual nature of musical criticism, manifests itself in the fact that it endows its subject with the property of an “applied genre”. Both in relation to musicology (T. Kurysheva calls music criticism “applied musicology”), and in relation to journalism (the same researcher puts music criticism and journalism in ranks, assigning the first role of content, and the second - of form). Musical criticism finds itself in a dual position: for musicology, it is subordinate in terms of problems due to the lack of scores as the material of the proposed study; for journalism - and at all attracted only from time to time. And its subject is at the junction of different practices and their corresponding sciences.

Moreover, music criticism realizes its intermediate position at one more level: as a phenomenon that balances the interaction of two poles - science and art. Hence the originality of the journalistic view and statement, which “is due to a combination of objective scientific and social value approaches. In its depths, a work of a journalistic genre necessarily contains a grain of scientific research, - V. Medushevsky rightly emphasizes, - quick, operational and relevant reflection. But thought acts here in a stimulating function, it values-orientates culture.

One cannot but agree with the conclusions of the scientist about the need for cooperation between science and criticism, among the forms of which he sees the development of common themes, as well as mutual discussion and analysis of the state of the “opponent”. In this sense, the scientific study of music criticism, in our opinion, can also take on the role of a mechanism for this convergence. Thus, it will pursue as its goal an analysis that regulates the proportion q of scientificity in journalism, which must necessarily be present there.

8 “Publicism is wider than criticism,” the researcher explains here. - It can be said that criticism is a kind of journalism specific to art criticism, the subject of which is art: works, artistic movements, trends. Publicism, on the other hand, concerns everything, the entire musical life. as a guarantee of the adequacy and objectivity of a critical statement, although remaining at the same time, using figurative expression V. Medushevsky, “behind the scenes”.

All this reveals the synthetic nature of the phenomenon under study, the study of which is complicated by many different analytical contexts, and the researcher is faced with the choice of a single aspect of analysis. And possible, conditioned-preferable from many others in this case it is presented - as the most generalizing and synthesizing - culturological method, in its own way "significant" for modern methodology.

Such an approach to the study of music - and music criticism is a part of "musical life" - has existed in science for only a few decades: not so long ago, in the late eighties, a lot was said about its relevance on the pages of Soviet Music. Leading Russian musicologists actively discussed the problem that had come to the fore at the time, which was formulated as "music in the context of culture", by analyzing external determinants and their interaction with music. At the end of the seventies, as noted, a real methodological "boom" occurred - the product of revolutions in scientific fields close to art criticism - in general and social psychology, semiotics, structuralism, information theory, hermeneutics. New logical, categorical apparatuses have entered into research use. The fundamental problems of musical art were actualized, much attention began to be paid to questions about the nature of music, its specificity among other arts, and its place in the system of modern culture. Many researchers note that the culturological trend is gradually moving from the periphery to the center of the methodological system in the science of music and is gaining a priority position; that "the current stage in the development of art criticism is marked by a sharp increase in interest in cultural issues, its kind of expansion into all its branches" .

By no means a success, but a serious shortcoming, the need of modern science for fragmentation, for specialization, is also presented to V. Medushevsky, who, sharing the point of view of scientists, expresses regret that he has to put up with it due to an unprecedented increase in the volume of knowledge and wide branching.

Musical criticism as a particularly synthetic subject, open to multi-level approaches and related fields of knowledge, seems to be the most “programmed” by its nature to comply with the cultural method of research, its multidimensionality and variability in terms of posing and considering problems. And although the idea of ​​introducing musical criticism into the general aesthetic and cultural-historical context is not new (one way or another, art critics have always turned to it, choosing criticism as the subject of their analysis), nevertheless, despite the wide coverage of the problems presented in recent studies9, a number of areas continues to be "closed" to modern musicology, and many problems are just beginning to manifest themselves. Thus, in particular, the significance of the positive field of information about academic art as a counterbalance to the destructive tendencies of "furious reality" and technocratic civilization is still not clear; the evolution of the functions of musical criticism, their transformed expression in the conditions of modern times, requires explanation; also a special area of ​​problems are the features of the psychology of the modern critic and the social psychology of the listener-reader; a new purpose of musical criticism in regulating the relations of academic art - the former

9 In addition to the above articles and books, these include L. Kuznetsova's dissertations “Theoretical Problems of Soviet Music Criticism at the Present Stage” (L., 1984); E. Skuratova "Forming the readiness of students of the conservatory for musical propaganda activities" (Minsk, 1990); See also N. Vakurova's article "The Formation of Soviet Music Criticism". de all "production", creativity and performance - and "mass culture", etc.

In accordance with the culturological approach, musical criticism can be interpreted as a kind of prism through which the problems of modern culture are highlighted, and at the same time, feedback can be used, considering criticism as an independent evolving phenomenon - in parallel with modern culture and under the influence of its general processes.

At the same time, the time slice itself, which is limited to about the last decade, makes the formulation of this problem even more relevant, precisely because of it, as B. Asafiev said, “inevitable, attracting and alluring vitality” 10. The relevance of the problem is also confirmed by the arguments that serve as antitheses to the above factors that hinder the development of scientific thought about musical criticism. As noted, there are three of them: the adequacy of a critical statement (not only in the evaluation of a work of art or performance, but in the very presentation, the form of the statement, corresponding to the modern level of perception and social demands, the requirements of a new quality); the timeless value of musical journalism as a document of the era; the free functioning of musical criticism (with its contextual nature) as a mechanism for managing and influencing modern culture.

Methodological foundations of the study

Studies of music criticism were carried out in a variety of scientific areas: sociology, history of criticism, methodology, communication problems. The focus of this study was

10 This statement by B. Asafiev is quoted from the article “The Tasks and Methods of Modern Music Criticism”, which we have already cited, which was also published in the collection “Criticism and Musicology”. - Issue. 3. -L .: Music, 1987.-S. 229. to bring together a single methodological space from heterogeneous and multidirectional theoretical principles, to reveal the patterns of development of this phenomenon in the conditions of modern times.

Research methods

To consider the complex of problems of musical criticism and in accordance with its multidimensional nature, the dissertation uses a number of scientific methods that are adequate to the object and subject of research. In order to establish the genesis of scientific knowledge about musical criticism, the method of historical and source analysis is used. The development of a provision on the functioning of musical criticism within the sociocultural system required the implementation of a method for studying various kinds of phenomena based on similarities and differences. The communicative system is an ascent from the abstract to the concrete. The method of modeling the future results of the development of musical criticism in the conditions of the periphery is also used.

The overall picture, which the author intends to recreate in the aspects that interest him, should serve not just as a background, but as a systemic mechanism in which music criticism is involved. Schematically, the course of reasoning can be represented by a visual representation of the various levels of influence of musical criticism on the general system of culture, which, "embracing" the subject, are located "around" it according to the degree of increase in the strength of their action and gradual complication, as well as according to the principle of summing up previous facts and conclusions. (Naturally, in the course of work, this multilayered circle of reasoning is supplemented, concretized and complicated).

V - communicative

IV - psychological

I- axiological

II - heuristic

III - compensatory

The first (I - axiological) level involves consideration of the phenomenon of musical criticism in a consistent movement from adequate perception to the external output of its influence - a) as an implementation of the dialectic of objective and subjective, and b) as a critical assessment. That is, from the sublevel, which acts as a stimulus for the operation of the entire system, at the same time giving "permission" to enter it and simultaneously absorbing the consideration of the problem of "critic as a listener" - to the level itself: in this movement the conditionality of the second to the first is clearly indicated, which, in our opinion, sets the tone for logical constructions and justifies the choice of the sequence of analysis. Therefore, it seems natural to move to the second (and further - to subsequent) levels, shifting the conversation from the problem of artistic evaluation to identifying the criteria for innovation in art, which are used by today's criticism (II - heuristic level).

However, the very acceptance and understanding of the “new” seems to us more broadly - as the search for this quality in creativity, in the social phenomena of musical life, in the ability to perceive and describe it in journalism - with the help of a new sign expression of all the qualities of the “new”, the key is chosen”, “ switching” or “recoding” of already known, existing sign forms. Moreover, the "new" - as part of a changing cultural model - is an indispensable attribute of the "modern". The processes of renewal, today in many respects they are the same - the processes of destructuring, clearly identified in the post-Soviet period, clearly reveal a “significant hunger”, when, according to M. Knyazeva, “culture begins to look for a new language for describing the world”, as well as new channels for learning the language of modern culture (TV, radio, cinema). This remark is all the more interesting because the researcher in connection with it expresses an idea that leads us to yet another conclusion. It lies in the fact that "cultural knowledge and higher knowledge always exist as a secret teaching." “Culture,” the researcher emphasizes, “is developing in closed areas. But when the crisis begins, then there is a kind of binary and ternary encoding. Knowledge goes into a hidden environment and there is a gap between the high knowledge of the initiates and the everyday consciousness of the masses. And, consequently, the availability of the “new” is directly dependent on the ways of switching the components of musical culture to a new listening, reading audience. And this, in turn, comes from those linguistic forms of "translation" that are used today. The problem of innovation for modern criticism, therefore, turns out to be not only a problem of identifying and, of course, evaluating the new in art: it includes the “new language” of journalism, and the new emphasis on issues, and, more broadly, its new relevance in the direction of overcoming the distance that arises between "the high knowledge of the initiates and the everyday consciousness of the masses." Here, the idea of ​​restoring the connection between the two emerging types of awareness and perception actually goes to the next level of analysis, where music criticism is seen as a factor that reconciles the various poles of modern culture. This level (we called it III - compensatory) comments on a new situational factor, which G. Eisler said in the best possible way: “Serious music while eating and reading newspapers completely changes its own practical purpose: it becomes light music.”

The democratization of once socially specialized forms of musical art that arises in such a situation is obvious. However, it is combined with destructive moments that require modern musical culture to use special protective measures that lead to a balance of imbalance of values ​​- they are also called upon to develop musical criticism (along with performing musicians and art distributors, mediators between art itself and the public). Moreover, musical journalism also carries out its compensatory action in many other areas that characterize the imbalance of conditional images around which a stable cultural model is built: the predominance of the consumption of works of art over creativity; transmission, interception of communication between the artist and the public and their transfer from creative to commercial structures; the dominance of differentiating tendencies in musical life, their multiplicity, the constant mobility of the situation in contemporary art; transformation of the main cultural coordinates: expansion of space - and acceleration of processes, reduction of time for reflection; ethnic decline, national mentality art under the influence of the standards of "mass art" and the influx of Americanization, as a continuation of this series and at the same time its result - the psycho-emotional reduction of art (IV - psychological level), a failure that spreads its destructive effect on the very cult of spirituality that underlies any culture.

According to the information theory of emotion, “artistic need should decrease with a decrease in emotionality and an increase in awareness”11. And this observation, which in the original context referred to "age characteristics", finds today its confirmation in the situation of contemporary art, when the information field turns out to be practically limitless, equally open to any psychological influences. In this process, the main performer, on which this or that filling of the emotional environment depends, is the mass media, and musical journalism - as a sphere also belonging to them - in this case takes on the role of an energy regulator (psychological level). Destruction or consolidation of natural emotional ties, informational provocation, programming of states of catharsis - or negative, negative experiences, indifference or (when the line in perception is erased and "serious ceases to be serious") - its action can be strong and influential and actualization of its positive- directional pressure today is obvious. According to the general belief of scientists, culture always relies on a system of positive values. And in the psychological impact of the mechanisms that contribute to their declaration, there are also prerequisites for the consolidation and humanization of culture.

Finally, the next (V - communicative) level contains the possibility of considering the problem in the aspect of the change in communications, which is observed in the modern state of art. In the new system of communicative relations between the artist and the public, their mediator (more precisely, one of the mediators) - music criticism - expresses itself in such forms as regulating the socio-psychological compatibility of the artist and the recipient, explaining, commenting on the growing "uncertainty" of works of art etc. The main provisions of this theory are considered by V. Semenov in the work "Art as interpersonal communication" (St. Petersburg, 1995).

12 In particular, DLikhachev and A. Solzhenitsyn write about this.

In this aspect, one can also consider the phenomenon of changing status, prestige, which characterizes the type of appropriation of art objects, the very belonging of the individual to his academic sphere and the selection of value criteria through authorities among professionals, as well as the preferences given by readers to certain critics.

Thus, the circle of reasoning closes: from the evaluation of musical art by criticism - to the external social and social evaluation of critical activity itself.

The structure of the work is focused on a general concept that involves consideration of musical criticism in an upward movement from the abstract to the concrete, from general theoretical problems to the consideration of the processes taking place in the modern information society, including within a single region. The dissertation includes the main text (Introduction, two main chapters and Conclusion), Bibliography and two appendices, the first of which contains examples of computer pages reflecting the content of a number of art magazines, and the second contains fragments of a discussion that took place in the Voronezh press in 2004 year, about the role of the Union of Composers and other creative associations in modern Russian culture

Conclusion

The range of questions proposed for consideration in this work was focused on the analysis of the phenomenon of musical criticism in the conditions of modern culture. The starting point for identifying the main properties of the analyzed phenomenon was the realization of a new informational quality, which Russian society in recent decades. Information processes were considered as the most important factor of social development, as a specific reflection of the consistent transformation of human perception, transmission and distribution methods, storage of various types of information, including information about music. At the same time, the aspect of information content made it possible to bring a unified position under the consideration of the phenomena of musical culture and journalism, thanks to which musical criticism appeared both as a reflection of the general, universal property of culture and as a reflection of a specific property of journalistic processes (in particular, musical criticism was considered in the regional aspect) .

The paper outlined the specifics of the genesis of music criticism as a historically established socio-cultural form and subject of scientific knowledge, traced the path of the sociological method of its study, and also identified factors that hinder scientific interest in the phenomenon under consideration.

Trying to substantiate the relevance of today's study of music criticism, we have chosen the most, in our opinion, generalizing and synthesizing - culturological method. Thanks to the versatility this method, as well as its variability in terms of posing and considering problems, it became possible to highlight music criticism as an independent evolving phenomenon that has an impact on the entire musical culture as a whole.

The processes of change observed in the state of modern music criticism appeared as a reflection of the transformation of its functions. Thus, the work traces the role of musical criticism in the implementation of information-communicative and value-regulatory processes, and also emphasizes the increased ethical significance of musical criticism, designed to carry out special protective measures that lead to a balance of imbalance of values.

The problematic perspective taken in the system of a holistic cultural model made it possible, in turn, to establish the fact of the actualization of the axiological aspect of musical criticism. It is precisely the adequate definition of the value of this or that musical phenomenon by critics that serves as the basis for the system of relationships between modern musical criticism and culture as a whole: through the value attitude of criticism towards culture, various forms of existence and functioning of culture are involved in this system (such as mass and academic culture, trends in the commercialization of art and creativity, public opinion and qualified assessment).

So, in the course of the work, cultural and ideological results were revealed that characterize the state of modern music criticism:

Expanding the range of its functions and strengthening the ethical significance of the phenomenon of music criticism;

The change in the artistic quality of musical criticism as a reflection of the strengthening of the creative principle in it;

Changing the ratio of musical criticism and censorship, propaganda in the process of transformation of artistic judgment;

The growing role of musical criticism in the formation and regulation of the evaluation of the phenomena of artistic life;

Centrifugal tendencies reflecting the projection of cultural phenomena, including musical criticism, from the radius of capital cities to the radius of the province.

The desire for a panoramic systemic vision of the problems associated with the state of modern music criticism is combined in this work with a specific analysis of the state of modern journalism and the press. This approach is due to the ability to immerse the outlined issues not only in a scientific, but also in a practical semantic context - and thereby give the work a certain practical value, which, in our opinion, may consist in the possible use of the main provisions and conclusions of the dissertation by music critics, publicists, as well as journalists working in the departments of culture and art of non-specialized publications to understand the need to merge music criticism with modern media, as well as to build their activities in the direction of integrating musicological (scientific and journalistic) and its journalistic forms. Awareness of the urgency of such a merger can only be based on the realization of the creative potential of the music critic (journalist) himself, and this new self-awareness should open up positive trends in the development of modern music criticism.

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