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    17Experience of comprehension of musical style dates back several centuries, however, the scope and content of this concept, functions, denoted phenomena remain poorly understood, and therefore — discussion. The paradox was­can state that there are a lot of publications, with those or other positions examines this phenomenon, and only a few works devoted to the actual theoretical and practical­ical aspects of its study [5; 13—16; 18; 19; 21].

    The notion of musical style allows many interpret the data a transponder­Tatsiy. In its definition, difficulties may arise due to a number of reasons. One of them — terminological confusion, since any manifestation of style may be interpreted in different ways. The contradictory judgments, ambiguity of terms and synonymist symbols are a hindrance to precise definitions, and indicate uncertainty or lack of clarity of the concept . Another reason lies in the disagreements concerning the periodization of musical-historical process and classification of artistic phenomena.

    In the history of science there are similar cases in the framework of the same theory coexist different, but legitimate, from her point of view, approval. This proves the shortcomings of this theory, it is not surprising that the discovery of paradoxes stimulates scientific activity and leads to transformation. These are, for example, the paradoxes of systemic signs — failures related to the explanation of the proportion of the whole and its parts in biology that contribute to re-orienting the search for new approaches in the context of universal evolutionism.

    Development of knowledge about the musical style takes place in the framework of the generally accepted paradigm, and, as seen, the difficulties in its definition of the phenomenon lie in using traditional approaches. So, as the leading advocates of formal or descriptive-evaluative approach used in most of the literature concerns the above­to foster the multiplicity of statements on issues of style. Is also used a phenomenological approach to the study of essential manifestations of musical style, but does not claim to explain the laws to which they reports­are. Along with them, a wide spread of cultural-historical and historical and stylistic approaches[5; 13; 19; 21], based on the principle of historicism and allows to consider the phenomenon of identity in the context of culture and the arts. Known, also, attempts to use the system [15; 22] and semiotic approaches [14].

    However, despite the extensive historiography, interest in the phenomenon of musical style continues unabated. At the end of XX-beginning of XXI centuries continue to receive all new publications — studies, training manuals and syllabuses testifying progress research thoughts[4; 5; 9; 11; 13; 16—18; 21; 22; 25]. It is not surprising, since research strategies need to be adjusted — this is evidenced by the very process of promoting research thoughts, constantly accelerating rate [ 4].

    The modern stage of development of science relies on the synthesis of knowledge — a new system of scientific ideals and norms that reveal different facets of cognitive reality and alter perceptions of the world and man. Evolutionary-synergetic approach is surprisingly effective in the study of the systems of the most various origin, having similar processes of self-organization. Using the synergy model identifies the characteristics of their dynamics (non-linearity, instability, multiplicity of ways of development), due to both external and internal factors. This approach allows for other angles to look at well-known phenomena and processes of culture and the arts [1—3; 6—8; 10; 12; 20; 23; 24]. It will be very fruitful in the study of musical style.

    Perhaps the pursuit of science will lead to the emergence of a style concept, synthesizing various, even opposing, points of view in the context of the modern scientific paradigm. Its theoretical and methodological base could be the experience of synergetic research in various fields of scientific knowledge (synergy and a new world-view, self-organization in nature and society, synergistic historicism, social self-organization, socio-cultural dynamics, self-organization and information, universal evolutionism), which is very timely.

    In the context of the modern scientific paradigm of the musical style you can imagine with new positions and new perspectives, which will require:

    1.To consider the musical style as a complex system, including a holistic set of hierarchically interacting styles.

    2.To identify its interaction with the higher level system such as the system of art and culture, and characterized­to risovati as open non-equilibrium nonlinear system possessing emergent properties.

    3.To determine the peculiarities of functioning of this system in the context of culture and the arts.

    4.Applying the concepts of order and chaos to the system of musical style, striving for self-preservation and adapt to fir­setup portion of the environment.

    5.To assess the opportunities of dynamic hierarchy — especially her interactions hierarchical levels, as a result which is born a new style system.

    6.To study the stylistic dynamics (recurrence, irreversibility, nonlinearity, alternatives, a certain direction, "acceleration") and compare with the basic principles of synergetics and generic algorithms of self-organizing systems.

    7.To build evolutionary models: the Tree of musical style, the System of musical style, the Evolution of musical style, Musical style as a self-organizing integrity; Musical-style system.

    8.Based on the obtained data to present musical style is self-organizing system that strives for maximum information and its historical development — a synergistic process.

    9.To make provision about the musical style as a self-organizing totality.

    Thanks to evolutionary-synergetic approach will be able to adequately assess the value of each musical style, whether it is dominant or secondary style, in accordance with a particular stylistic methods that are characteristic of the creative personality, and more — a school of art, direction and musical-stylistic era. The results will be the theoretical and methodological guidelines for future developments­development of the concept of musical style consistent with modern amenities in every guestroom­governmental scientific understanding.