Paradoxes and enigmas of metamodern
Modern musical cultural discourse is characterized by diversity and a rapid change in style priorities. One of the phenomena that are being actively discussed by the musicological community is metamodernism. The article aims to outline the main issues that determine the content of the professional discourse on metamodernism. Based on the characteristics of the key concepts that have already been established in the art history studies, the author raises the question: to what extent is metamodernism able to claim the status of a new cultural paradigm? The analysis of such a complex phenomenon within the framework of the article, for obvious reasons, is limited to the main phenomena that structure the cultural paradigm, which are quite clearly manifested. First of all, this is a characteristic of a community (the millennial generation), united by a common socio-cultural situation and conducting its cultural and creative activity in the conditions of total digitalization and global instability. The result is a new hierarchy of values and the presence of a common socio-cultural emotion, formed in opposition to external destructiveness. The fragility of the world is contrasted with clearly structured emotions that are positive, whole and simple. Through them, a palette of meanings of socio-cultural life is realized and reflected in art, including music. The author discusses such issues as the individuality of a direct sincere emotion, transformed in an uncomplicated artistic form, a new understanding of an art of a composer in the era of total digitalization, and interest in performative practices. Finally, the question is raised about the new stylistic features of the metamodern music, coming to the conclusion about the need for a comprehensive study of the phenomenon.
metamodernism, postmodernism, cultural paradigm, contemporary musical art, social performance practices, millennial generation.
Krylova A. Paradoxes and enigmas of metamodern // South-Russian Musical Anthology. 2022. No. 2. Pp. 56-62.