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INTEGRATION OF TRADITIONS IN CROSSOVER MUSIC AS A WAY TO BRIDGE THE INTERGENERATIONAL GAP
Corresponding Author(s) : Natalya Evgenyevna Shafazhinskaya
Humanities & Social Sciences Reviews,
Vol. 7 No. 6 (2019): November
Abstract
Purpose of the study: The purpose of the article is to study the crossover style as a result of one of the increasingly growing world tendencies to mix the characteristics of different types of arts and blur the boundaries between them, to dialogization and integration of traditions through inter-ethnic exchange, combination of different in time phenomena in the process of globalization of culture and activation of intercultural communication. The novelty of this phenomenon and lack of knowledge about it determine the relevance of the study.
Methodology: The methodological basis of the study consists of sociological and cultural studies devoted to the phenomena of academic and pop art, its specificity and its role in the modern socio-cultural situation. The study relies on scientific provisions related to the phenomena of "classical crossover" and "mass culture". The main methods were sociological observation, survey and analysis of documents.
Main Findings: Due to the high educational and developmental potential of crossover compositions, as well as the aesthetic appeal of this music for young people, it is advisable to use the material of these compositions in the process of vocational training of vocalists, teachers, musicians, social and cultural specialists. Against the background of the problem of familiarizing the new generation with the world music classics, an appeal to the crossover style repertoire seems promising. Working with singers, many modern teacher-vocalists adhere to the principle of "non-separation" of their vocal styles and prefer universal techniques that are effective for training all performers in rapidly changing socio-economic requirements.
Applications of this study: This study may be useful in the organization and implementation of educational and cultural, as well as leisure and entertainment programs (radio and television), the development and adjustment of state policy in the field of social life and culture, programs aimed at socialization of youth, the development of tolerance and the solution of social problems related to the spiritual values of generations.
Novelty/Originality of this study: The originality of the study consists in the fact that it proves the conclusion that crossover introduces young people classics, minimizing the intergenerational value gap. Intercultural communication is expressed in the dialogue of classics and modernity as the spiritual values of different generations, the convergence of which leads to the solution of social problems of modern society.
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- Adorno, T. V. (1999). Izbrannoe: sotsiologiya muzyki [Selected works: The sociology of music]. Moscow, St. Petersburg: Universitetskaya kniga.
- Antipova, Yu. V. (2017). Stil fyuzhn: k voprosu o razlichnykh formakh dialoga v otechestvennoi massovoi muzyke [The fusion style: comments on the issue of various forms of dialogue in Russian mass music]. Istoricheskie, filosofskie, politicheskie i yuridicheskie nauki, kulturologiya i iskusstvovedenie. Voprosy teorii i praktiki, 4(78), 24–27.
- Bayakhunova, L. B. (2012). Klassicheskii krossover v kulturnom prostranstve Rossii [Classical crossover in the cultural space of Russia]. Kultura v sovremennom mire, 3, 1-26.
- Garofallo, R. (1993). Black popular music: the crossover debate. In Rock and popular music: Politics, policies and institutions. Routledge, pp. 229–232.
- Kostina, A. V. (2006). Massovaya kultura kak fenomen postindustrialnogo obshchestva [Mass culture as a phenomenon of postindustrial society]. Moscow: Kom-Kniga.
- Kuznetsova, E. P. (2017). Metodologicheskie razlichiya trebovanii k podgotovke akademicheskikh i estradnykh vokalistov [Methodological differences in requirements for preparing academic and popular music vocalists]. Istoricheskie, filosofskie, politicheskie nauki, kulturologiya i iskusstvovedenie. Voprosy teorii i praktiki, 9(83), 118–121.
- Muratov, M. M. (2005). Estrada kak fenomen massovoi kultury: avtoref. diss. ... kand. film. nauk [Popular singing as a phenomenon of mass culture: author's abstract of a PhD thesis in film studies]. Kazan.
- Pivnitskaya, O. V. (2014). Osobennosti intonirovaniya v sovremennom estradnom vokale: istoricheskii i pedagogicheskii aspekty [Special features of intonation in modern popular singing: the historical and pedagogical aspects]. Muzykalnoe iskusstvo i obrazovanie, 3, 127–133.
- Butsko, A. (2014). Pochemu pop ne yavlyaetsya muzykoi [Why pop music is not music].
- Polyakova, O. I., & Klipp, O. Ya. (2002). Istoriya stanovleniya vokalnykh stilei estradnogo zhanra [The history of development of vocal music styles in popular music]. In Modernizatsiya professionalnoi podgotovki pedagoga-muzykanta: sbornik nauchnykh trudov (Issue 1). Moscow: MPGU, pp. 135–138.
- Semenchenko, E. V. (2016). Klassicheskii krossover kak ob''ekt massovoi kultury [Classical crossover as an object of mass culture]. Istoricheskie, filosofskie, politicheskie i yuridicheskie nauki, kulturologiya i iskusstvovedenie. Voprosy teorii i praktiki, 1(63), 165–167.
- Shak, F. M. (2013a). Akademicheskoe ispolnitelstvo i shou-biznes na puti k vzaimnoi integratsii [Academic artistic performance and show business on the way to mutual integration]. Kulturnaya zhizn Yuga Rossii, 4(51), 23–26.
- Shak, F. M. (2013b). Adaptatsiya zapadnykh gumanitarnykh kontseptsii k otechestvennoi massovoi muzyke [Adaptation of the Western humanitarian concepts to Russian mass music]. Kulturnaya zhizn Yuga Rossii, 1(48), 17–19.
- Sviridov, P. V. (2004). Formirovanie navykov estradnogo vokala (na materiale raboty s molodezhyu v kulturno-dosugovykh uchrezhdeniyakh): diss. ... kand. ped. nauk [Development of popular singing skills (based on the material of work with young people in cultural and recreational institutions: a PhD thesis in pedagogical studies]. Moscow, 2004.
- Tayushev, S. S. (2011). Zhanr crossover kak yavlenie populyarnoi kultury [The crossover genre as a phenomenon of popular culture]. Znanie. Ponimanie. Umenie, 1, 231–237.
- Toynbee, J. (2003). Making Popular Music: Musicians, Creativity and Institutions. Oxford: Arnold Wade.
- Tsuker, A. M. (2012). Otechestvennaya massovaya muzyka 1960–1990 [Russian mass music from 1960 to 1990]. Rostov-on-Don: Izdatelstvo RGK im. S. V. Rakhmaninova.
- Wall, T. (2003). Studying popular music culture. Oxford: Arnold Wade.
- Zharkov, A. D. (2003). Sotsialno-kulturnye osnovy estradnogo iskusstva: istoriya, teoriya, tekhnologiya [Social and cultural bases of variety art: history, theory, technology]. Moscow: MGUKI.
- Zhurkova, D. A. (2012). Klassicheskaya muzyka v sovremennoi massovoi kulture Rossii: avtoref. diss. ... k. filos. nauk [Classical music in modern mass culture of Russia: author's abstract of a PhD thesis in philosophy]. Moscow.
References
Adorno, T. V. (1999). Izbrannoe: sotsiologiya muzyki [Selected works: The sociology of music]. Moscow, St. Petersburg: Universitetskaya kniga.
Antipova, Yu. V. (2017). Stil fyuzhn: k voprosu o razlichnykh formakh dialoga v otechestvennoi massovoi muzyke [The fusion style: comments on the issue of various forms of dialogue in Russian mass music]. Istoricheskie, filosofskie, politicheskie i yuridicheskie nauki, kulturologiya i iskusstvovedenie. Voprosy teorii i praktiki, 4(78), 24–27.
Bayakhunova, L. B. (2012). Klassicheskii krossover v kulturnom prostranstve Rossii [Classical crossover in the cultural space of Russia]. Kultura v sovremennom mire, 3, 1-26.
Garofallo, R. (1993). Black popular music: the crossover debate. In Rock and popular music: Politics, policies and institutions. Routledge, pp. 229–232.
Kostina, A. V. (2006). Massovaya kultura kak fenomen postindustrialnogo obshchestva [Mass culture as a phenomenon of postindustrial society]. Moscow: Kom-Kniga.
Kuznetsova, E. P. (2017). Metodologicheskie razlichiya trebovanii k podgotovke akademicheskikh i estradnykh vokalistov [Methodological differences in requirements for preparing academic and popular music vocalists]. Istoricheskie, filosofskie, politicheskie nauki, kulturologiya i iskusstvovedenie. Voprosy teorii i praktiki, 9(83), 118–121.
Muratov, M. M. (2005). Estrada kak fenomen massovoi kultury: avtoref. diss. ... kand. film. nauk [Popular singing as a phenomenon of mass culture: author's abstract of a PhD thesis in film studies]. Kazan.
Pivnitskaya, O. V. (2014). Osobennosti intonirovaniya v sovremennom estradnom vokale: istoricheskii i pedagogicheskii aspekty [Special features of intonation in modern popular singing: the historical and pedagogical aspects]. Muzykalnoe iskusstvo i obrazovanie, 3, 127–133.
Butsko, A. (2014). Pochemu pop ne yavlyaetsya muzykoi [Why pop music is not music].
Polyakova, O. I., & Klipp, O. Ya. (2002). Istoriya stanovleniya vokalnykh stilei estradnogo zhanra [The history of development of vocal music styles in popular music]. In Modernizatsiya professionalnoi podgotovki pedagoga-muzykanta: sbornik nauchnykh trudov (Issue 1). Moscow: MPGU, pp. 135–138.
Semenchenko, E. V. (2016). Klassicheskii krossover kak ob''ekt massovoi kultury [Classical crossover as an object of mass culture]. Istoricheskie, filosofskie, politicheskie i yuridicheskie nauki, kulturologiya i iskusstvovedenie. Voprosy teorii i praktiki, 1(63), 165–167.
Shak, F. M. (2013a). Akademicheskoe ispolnitelstvo i shou-biznes na puti k vzaimnoi integratsii [Academic artistic performance and show business on the way to mutual integration]. Kulturnaya zhizn Yuga Rossii, 4(51), 23–26.
Shak, F. M. (2013b). Adaptatsiya zapadnykh gumanitarnykh kontseptsii k otechestvennoi massovoi muzyke [Adaptation of the Western humanitarian concepts to Russian mass music]. Kulturnaya zhizn Yuga Rossii, 1(48), 17–19.
Sviridov, P. V. (2004). Formirovanie navykov estradnogo vokala (na materiale raboty s molodezhyu v kulturno-dosugovykh uchrezhdeniyakh): diss. ... kand. ped. nauk [Development of popular singing skills (based on the material of work with young people in cultural and recreational institutions: a PhD thesis in pedagogical studies]. Moscow, 2004.
Tayushev, S. S. (2011). Zhanr crossover kak yavlenie populyarnoi kultury [The crossover genre as a phenomenon of popular culture]. Znanie. Ponimanie. Umenie, 1, 231–237.
Toynbee, J. (2003). Making Popular Music: Musicians, Creativity and Institutions. Oxford: Arnold Wade.
Tsuker, A. M. (2012). Otechestvennaya massovaya muzyka 1960–1990 [Russian mass music from 1960 to 1990]. Rostov-on-Don: Izdatelstvo RGK im. S. V. Rakhmaninova.
Wall, T. (2003). Studying popular music culture. Oxford: Arnold Wade.
Zharkov, A. D. (2003). Sotsialno-kulturnye osnovy estradnogo iskusstva: istoriya, teoriya, tekhnologiya [Social and cultural bases of variety art: history, theory, technology]. Moscow: MGUKI.
Zhurkova, D. A. (2012). Klassicheskaya muzyka v sovremennoi massovoi kulture Rossii: avtoref. diss. ... k. filos. nauk [Classical music in modern mass culture of Russia: author's abstract of a PhD thesis in philosophy]. Moscow.