DELAYED STYLE IN MUSIC : PROSPECTIVE DISADVANTAGES

Abstract

This article addresses the problem of musical styles that may be perceived as outdated in relation to more innovative
modes of musical creation. Its actuality is accused by such modern art realities as interaction of styles by different origin,
including of their emergence time: wishful musicologists’ reflection on this phenomena, by great importance of past art
tradition in the contemporary world. Accordingly, the main goal of this study is revealing fundamentals of their vitality and
influence toward recent and further styles. Through the application comparative and dialectical methods, the reconstruction of
historical context, and the analysis of representative musical texts, the study elucidates the reasons for the frequent coexistence
of newer styles with those regarded as less actual. The research demonstrates the relativity of prevailing notions of progressiveness in musical thinking. Accordingly, the term «delayed style» is proposed to denote a style inherited from a
previous epoch that nevertheless retains its artistic relevance and influence.
The advantages of the delayed style are examined, including the refinement and perfection of traditional styles and techniques, the disclosure of their latent and non-obvious artistic potential, and the possibility of anticipating innovations of future styles within the framework of the delayed style itself. Analytical and comparative case studies draw on works by C. Saint-Saëns, J. Sibelius, V. Barvinsky, J. Haydn, and R. Strauss. The conclusions identify two principal types of innovation in art: the paradigmal changing of artistic thinking and innovation operating within an established paradigm. Among the perspectives for further research, the article proposes an examination of historical periods characterised by the most intensive coexistence of stylistically diverse forms originating from different epochs; an investigation of the factors that determined the prolonged historical trajectory of the Romantic style in music, extending up to the emergence of neo-Romanticism; and scholarly inquiry into socialist realism as a specific manifestation of the delayed style.