Muzikos erozijos pėdsakais

LTReikšminiai žodžiai: Akademinė muzika; Erozija; Klausytojas; Lietuvių muzika; Muzika; Muzika ir visuomenė; Muzikinis gyvenimas; Populiarioji kultūra; Art music; Erosion; Listener; Lithuanian music; Music; Music and society; Musical life; Popular culture.

ENAlienation of a potentially broad audience of music listeners results from the expansion of modem show commercial culture, the continually augmenting music works collections and immanent contemporary academic music pieces features. This run of actions may be named an errosion process of academic up-to-date music. This effect is not evident in the realms of classical music of the past. The latter continues to keep in with the audience due to its conventional music language structure, harmony of its elements, their established hierarchy and relative stability. The principles of “classical” music modes and tonality, the major-minor harmonical functional system formed and developed during the recent five centuries were based on natural postulates resounding to physics, acoustics, mathematics laws, and herewith they suit the physical and psychological disposition of a music listener who also comes from Mother Nature. After all, quintaccord c-e-g formed on the basis of an overtone sequence of the natural scale, is accepted by any music lover as a fundamental natural harmonic construction while the tonic primacy corresponds to the centralized hierarchies of society and nature. Dodecaphonic constructivism which induced the fundamental changes at the beginning of the 20th century had initiated the atonality expansion. Modem music works rejecting imitation and multiplication of the past principles, having transferred the music impact to listener’s on the sources and methods of extracting the sound, implementing the nominal principles of “perfect sound construction” have strongly impaired the communication aspects.Talented composers come into the contact with music listeners through the new impact of the channels of sound. Nevertheless, many music works appear resembling the game with a sound kaleidoscope, where the author strives only to spread most originally the sounds and the structures. Such work may become “a thing in itself’ and it loses the interaction opportunities with a listener. The errosion process of modem music culture is accelerated by growing accelerando of styles and composition technique vicissitude, i.e. in the past the resources of one style came to their end during some centuries, nowadays the alteration is measured by decades, and even by each new opus, which brings a new style, a new technique. A potential music listener cannot “shell” the essence of novelty and is unmoved by that music. Recently, the progressive composers do not demonstrate an unheard arrangement of sounds. They bridge the communication with the audience, emphasize the notional level of the work. Various retro-styles, syncretic art works, neo-, poly- styles combining new expressions with tonal work organization hierarchy arc oriented toward that tendency. In this way modern music can erupt from the social vacuum, avoid cmel exploitation of composer’s creative energy, when his work is being performed only once. In fact, modem music will be able to memorialize itself, if it enriches mankind with the art like Gregorian chant, or “Das wohltemperierte Klavier” by J. S. Bach, or classicistical symphonism. [From the publication]