CONCEPTUAL ASPECT OF STYLE PHENOMENON OF “NEW SIMPLICITY”

Abstract

The purpose of the article is to identify the systemic stylistic levels of the “new simplicity” as a phenomenon of contemporary musical art in the context of the meaningful sense of its conceptual analogue. The research methodology is based on the complex use of systemic and structural-functional methods, comparative studies, musical-historical approach, as well as the musicological method of genre-style analysis. The scientific novelty of the research is due to the theoretical development of genre-style standards of “new simplicity” in the aspect of their systemic interaction and individual-style manifestations. Conclusions. The main factor of novelty in the stylistic concept of “new simplicity” is the composer’s attitude to return the lost meanings and possibilities of the musical language by changing the intellectual and structural principle of musical composition to emotional, which reflects the idea of rehabilitation of the lyric and confessional discourse of composer creativity as relevant for musical art at the turn of the 20th-21 centuries. The emergence of this aspiration is quite natural in the general context of the development of the European musical art of the last century, which underwent a radical break with traditions not only of the artistic and aesthetic order, but also of the philosophical and worldview, which gave rise to the need for emotional experience of music and the semantic definition of its intonation dictionary. Thus, among the main lost meaning of music is the beauty and clarity of musical expression, which become the main intentions of composer's creativity, representing the stylistic tendency of “new simplicity”, and causing the centralization of consonance in the system of the musical language of a particular composer and the principle of simple texture, providing “transparency” musical meaning through the “openness” of the primary elements of the musical language (melody, rhythm and harmony). Another level of “new” in “new simplicity” is manifested not so much in the musical and technological plane as in the conceptual one – in the composer’s very understanding of novelty as a necessary factor in musical creativity. This understanding lies in the rejection of the author’s “marker” of the musical language, as well as in the principle of manipulating the “vocabulary” of the past eras of European musical art, which a priori generates the intertextual properties of the musical text and its dialogical meaning.