The structure of feeling and fourfold object in metamodern music: oscillations of the invisible and inaudible
The article is devoted to the study of concepts of metamodernism in new music, such as oscillation, pendulum essence in the mode of polarities. The metamodernism conceives the world as a mirror, broken into millions of fragments, in connection with which, there is a phenomenon of a permanent state of oscillation between the inner and the outer, between the sensual and the rational. Within the framework of metamodern philosophy, this process is an expression of the longing of modern man for utopia and selfidentity. It manifests itself in new forms of feeling in contemporary art. Involving in the research field, the concept of an object-oriented ontology of the philosopher Graham Harman, the conceptual foundations of the works of Peter Ablinger, Georg Friedrich Haas and Bernhard Lang are analyzed. The following key aspects of the intersection of new music and metamodern philosophy are considered: breaking, associated with the problem of loss of aura and, as a result, this becomes fraught with the dissolution of reality in simulacra of imaginary reality; metaphors of reality that necessitate “thinking” listening, which identifies sensory experience, compares it with other feelings and sensations and, thereby, establishes the necessary connections, reducing relationships to a concept through which it seeks and creates meaning; the concept of the structure of feeling, within which affective states and the transfer of personal experience from the composer to the recipient become musical content, and the structure of feeling turns out to be a form; the world of things, opposed in metamodernism to the world of meaning and oscillation of the invisible and inaudible vs the disintegration of the visible and audible, which, being in competitive relations, create a metamodern world of feeling. Having depicted the formation of a new type of perception based on sensory integration, having carried out the analysis of specific musical examples, the article confirms the fact that oscillation becomes a metaphor for the metamodern era of new music, which is a gradual process of replacing the properties of the previous postmodernism by new receptive strategies. Within the metamodern sensibility, a simultaneous perception of opposites arises, requiring a disjunctive principle that rejects the claim that the same type of experience is common to different receptive categories.
metamodernism in music, object-oriented philosophy, Graham Harman, Peter Ablinger, Georg Friedrich Haas, Bernhard Lang.
Lavrova S. The structure of feeling and fourfold object in metamodern music: oscillations of the invisible and inaudible // South-Russian Musical Anthology. 2022. No. 2. Pp. 69-75.