INTERDISCIPLINARY ASPECTS OF STUDYING CHAMBER ART IN THE CONTEXT OF THE CULTUROLOGICAL DOCTRINE OF CONTEMPORARY MUSICOLOGY

Abstract

The purpose. The article is devoted to the theoretical crystallization of methodology and the discovery of the semiological significance of culturological art criticism in the complex study of the chamber art of Ukraine. Methodology. Methods of historiographic, chronological analysis and interdisciplinary approach have been applied. Scientific novelty consists in the categorical crystallization of the methodological foundations of culturological art criticism and the definition of perspective tasks of understanding the chamber art of Ukraine in the discourse of the semiotic paradigm of culture of late 20th and early 21st centuries. Conclusions. The analysis of the special literature reveals the importance of comprehension the chamber art in an integrated way based on the strategy of culturological art criticism, which includes the integration of historical-style musicological analysis and systemic-semiotic, hermeneutic methodological approaches of a wide range, namely, the application of research instruments of the philosophy of music, musical textology, semiotics, aesthetics, intermedial theory and cultural hermeneutics. Taken together, this lays the foundation for a new cultural doctrine of contemporary musicology that leads to a comprehension of the historical, cultural, semiotic and intermedial problems of chamber art in the context of the universalistic aspects of postmodern culture. From this perspective, the need for aesthetic, philosophical and cultural studies of the chamber art of Ukraine in terms of solving the following urgent problems: the definition of the characteristics of the sign-intonation traditions of the chamber ensemble and the disclosure of their semiotic significance in the development of the musical culture of Ukraine in the postmodern era; the study of the intertextual and intermedial aspects of logic and the semiology of the creative process; the formation of the aesthetic-hermeneutic concept of modern chamber performance in the semiotic context of a new system of artistic communication based on interactivity and intermediality.