CROSSOVER IN THE DISCOURSE OF MODERN MUSIC CULTUROLOGY

Abstract

The article examines the problem of defining the genre-stylistic features of the crossover and the formation of methodological approaches to its research in the context of the discourse of modern musical cultural studies.
The definition of the concept of «crossover» presented by foreign and domestic musicologists was analyzed and it was found that at the presen stage it remains quite blurred, in most cases meaning the free crossing of genre boundaries, as well as the synthesis of individual styles of popular music. It was found that the concept of crossover is characterized by a symbiotic nature and a free crossing of borders between academic and mass genres.
The peculiarities and innovation of crossover in the context of musical creativity with two or more styles or genres with the aim of their synthesis, erasing dividing lines and creating new music are characterized. It was established that the peculiarities of the development of crossover practice in the musical culture of the ХХІ st century.
Open new dimensions of their theoretical research from the standpoint of musical cultural studies, as a science in which the tendency towards integration and mutual influence of modern methods of cognition has been reflected. The expediency of expanding the methodology and research tools (systematic approach, interdisciplinary approach, complex approach) through the use of technocultural and biographical approaches is substantiated. Prospective directions of crossover research from the standpoint of musical cultural studies are outlined.