Римейк чи варіації? До проблеми розвитку сучасної музичної культури
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Modern philosophers Timotheus Vermeulen and Robin van den Akker note that the present socio-cultural pattern can be described as based on the ideas of metamodernism. Metamodernism is the dominant principle in the cultural consciousness of the past decade and manifests itself as the elite art direction, which creates its own world based on the latest developments in computer technology. However, many researchers still continue to move within the postmodern paradigm, noting the large number of features of the latter, which is full of modern social and cultural practices. This primarily concerns the problem of remakes, the number of which increases with the continued growth of media space. Remake in any artistic field is associated with repetition — of the plot, certain topics, and methods. In general, it is quite difficult to find examples of highly innovative pieces in the history of art, which were not invented some time ago by the «renaissance». It is written in the «Innovation and repetition» by Umberto Eco. However, the problem of music collision, repetition and innovation in music is particularly relevant wherever there is such a thing as a musicological «variation», «variability» and «variance». U. Eko is referred to in order to shape a variation that embodies the idea of «mass production». He points out that each repetition is actually a variation and a carrier of the creative imagination of the artist and the result of his ability to work with a specific material. If we analyze the today’s music culture, it becomes clear that the scope of classical music is innovative and it tries as much as possible to get rid of even the smallest «hints» to a remake, but there is an incredible amount of remakes created within pop music. But even here it is rather about a quote or more performing version. Various quotations and borrowings in this music can be interpreted as follows: 1) as a theme for variations, 2) materials for development (scratching, cutting), 3) an attempt of adaptation of the «classics» to the tastes of the general public. Their appearance here is as legitimate as that of paraphrases and transcriptions that were strongly represented in the musical culture of romanticism, particularly in the works of the famous Hungarian composer Franz Liszt. The composition «Somebody That I Used to Know» by Gotye and Kimbra can serve as an example of the emergence of an incredible number of remakes. The key and the ambiguity of this piece is the presence of a large number of renditions of the song, as there are lots of its various performances. We can conclude that the phenomenon of remakes, in other words repetition, citation, variance and variability characterize music as an art form. Multivariance of any work is its essential feature inherent in the very process of performing the work, which embraces the author’s remarks, dynamics and points; every time there is a different quality (either accelerating pace, variable implementation of dynamic tags features of sound etc.), which creates another emotions. This is as we call it «interpretation». Thus, the mere presence of remakes was known much earlier than the very beginning of the postmodernism era, but their apparent redundancy in the present emergency is caused by the development of information technology, the proliferation of new super-fast internet and interactivity that accompanies artistic phenomenon. Different interpretations and paraphrases existed since the beginning of the birth of music as such, but it is nowadays with the emergence of the ability to record and document versions performed made this phenomenon even more widespread.В статье исследуется проблема инноваций и повторений в сфере музыкальной культуры, которая анализируется на примере явления римейка. Вариантность рассматривается как основа музыкального искусства.
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