METAMODERN IN THE ART SPACE PRESENTATION OF A NEW CULTURAL PARADIGM

Abstract

The purpose of the article is to define the worldview features of the Metamodern and the specifics of their manifestations in the artistic space on the examples of contemporary academic music by foreign and domestic composers, as a preview of the «new cultural paradigm».
The research methodology is the objective analytical optics of metamodern culture and its artistic and musical space in accordance with the oscillatory and holonomic tendencies of the «new cultural paradigm». Result: The main characteristics of the Metamodern worldview were determined: oscillation between Modern and Postmodern values; metaphysicality and metahistoricity, onto-holistic syncretism; transcendental-immanent equivocation,
introverted transcendence of the topical dimension of human existence. Characteristic features of Metamodern art are determined: interactivity, performativity, neo-romantic sensuality, striving for meta-meanings, reconstruction of wholeness.
Academic music within the anticipation of a new cultural paradigm acquires the following characteristics: tonal-atonal, rhythmic-ostina, melodic-dodecaphonic oscillations, the inclusion of silence as a component of the musical universe, the atopic nature of the subject of creativity, the formation of an author's style by «appropriating» the musical experience of previous eras.
Novelty: The oscillatory nature of the metamodern worldview contributes to the formation of a fundamentally new worldview position in the form of holonomy. Art is recognized as the dominant modus operandi of metamodern culture, and music, as the highest type of aesthetic abstraction, strives for the formation of a «new spirituality» as meta-meanings of the atopic reconstruction of the essence of human existence.
Practical significance: the material can be used in the formation of professional competences of culturalists, art historians and musicologists in accordance with modern paradigmatic guidelines.