TRADITION AND INNOVATION AS A FORM OF HISTORICAL SELF-AWARENESS IN CONTEMPORARY MUSICAL CULTURE

Abstract

The aim of this research is to identify the patterns of interaction between the traditional and the innovative in the musical art of the 20th–21st centuries, with a particular emphasis on understanding the genetic and typological mechanisms that ensure the continuity of artistic thinking. The work seeks to clarify the role of tradition as a dynamic category capable not only of preserving but also of renewing cultural meaning, as well as to determine the specificity of interpretative and synthetic styles as new forms of musical historicism. Scientific Novelty. The novelty of the study lies in the comprehensive consideration of tradition not as a static cultural phenomenon but as an active structural principle of musical creativity that determines the internal logic of the interaction between the past and the present. The paper substantiates the concept of the *interpretative style* as one of the leading forms of artistic synthesis of the 20th century and clarifies its significance in the context of historical and aesthetic tendencies and the philosophy of musical historicism. Methodology. The methodological basis of the research consists of the principles of systemic, historical-typological, and hermeneutic analysis, which make it possible to regard a musical work as a text embedded in the broad context of cultural memory. Conclusions. The problem of the relationship between tradition and innovation is one of the fundamental categories of 20th–21st-century musical art, determining its artistic and philosophical orientation. The evolution of compositional thinking over the past century demonstrates not so much a rupture with the past as its profound reinterpretation and transformation within the framework of a new cultural reality. Tradition ceases to be perceived as a dogmatic canon that limits the artist’s freedom and begins to function as a living mechanism of historical memory, one that not only preserves continuity but also ensures the possibility of renewal. In this sense, innovation appears not as a negation of tradition but as its continuation in another context – a form of inner dialogue between epochs.