Phenomenon of theatricality in the musical culture of Romanticism: the aspect of concordia discors

Abstract

The undoubted relevance of the problem is due to the significance of the phenomenon of theatricality in the history of musical culture, as well as the essential need of modern art history in further theoretical development of the categorical apparatus of musical science, in a systemic interdisciplinary study of the leading aesthetic-cultural categories that include theatricality and specificity of its artistic realization in musical art. The scientific novelty of the thesis under review is determined primarily by the concept of theatricality proposed in the paper as a musical universal and as a phenomenon of musical culture; it is the introduction of a broad humanitarian and cultural approach to the declared category as one of the content dominants. The concept of concordia discors as the basis of multi-level synthesis in the musical culture of Romanticism is proposed. The author's notion of theatricality phenomenon in the aspect of concordia discors is derived.