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Диссертация / Dissertation САНКТ-ПЕТЕРБУРГСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ На правах рукописи Ткачук Дарья Владимировна ФАКТОРЫ ФОРМИРОВАНИЯ И ФУНКЦИОНИРОВАНИЯ МУЗЫКАЛЬНО-ХУДОЖЕСТВЕННЫХ ВКУСОВ СОВРЕМЕННОЙ РОССИЙСКОЙ МОЛОДЕЖИ Научная специальность 22.00.06 – Социология культуры Диссертация на соискание ученой степени кандидата социологических наук Научный руководитель: доктор философских наук, профессор В.В. Козловский Санкт-Петербург – 2020 2 ОГЛАВЛЕНИЕ ВВЕДЕНИЕ ........................................................................................................................... 3 ГЛАВА 1. КОНЦЕПТУАЛЬНЫЕ ОСНОВАНИЯ ИССЛЕДОВАНИЯ МУЗЫКАЛЬНО-ХУДОЖЕСТВЕННЫХ ВКУСОВ И МУЗЫКАЛЬНОЙ КУЛЬТУРЫ МОЛОДЕЖИ .............................................................................................. 16 1.1 Музыка как объект социогуманитарного знания ....................................................... 16 1.2 Вкус как универсальная категория и социологическое обоснование вкуса ............ 27 1.3 Социологическое изучение молодежи ......................................................................... 40 ГЛАВА 2. КУЛЬТУРНЫЕ ИНДУСТРИИ И ПРОИЗВОДСТВО МУЗЫКАЛЬНЫХ СМЫСЛОВ ......................................................................................................................... 47 2.1 Художественно-музыкальное производство как вид культурной индустрии ......... 47 2.2 Многообразие культурных форм производства и трансляции в музыкальной индустрии. Типы слушателей ............................................................................................. 56 2.3 Манифестация музыкально-художественных вкусов: музыкальные жанры и субкультуры 66 ГЛАВА 3. ВОСПРОИЗВОДСТВО И ФУНКЦИОНИРОВАНИЕ МУЗЫКАЛЬНО- ХУДОЖЕСТВЕННЫХ ВКУСОВ СОВРЕМЕННОЙ РОССИЙСКОЙ МОЛОДЕЖИ ................................................................................................................................................ 82 3.1 Структура и функции музыкально-художественных вкусов российской молодежи82 3.2 Музыкальные предпочтения и антипатии современной российской молодежи. Принципы формирования музыкально-художественных вкусов ................................... 91 3.3 Музыкально-художественная идентификация ........................................................... 98 ЗАКЛЮЧЕНИЕ ................................................................................................................ 114 СПИСОК ЛИТЕРАТУРЫ .............................................................................................. 120 СПИСОК ИЛЛЮСТРАТИВНОГО МАТЕРИАЛА .................................................. 134 СПИСОК ТАБЛИЦ ............................................................................................................ 134 СПИСОК РИСУНКОВ ...................................................................................................... 134 ПРИЛОЖЕНИЕ 1 ............................................................................................................ 135 ПРИЛОЖЕНИЕ 2 ............................................................................................................ 136 ПРИЛОЖЕНИЕ 3 ............................................................................................................ 139 ПРИЛОЖЕНИЕ 4 ............................................................................................................ 150 ПРИЛОЖЕНИЕ 5 ............................................................................................................ 158 3 ВВЕДЕНИЕ Актуальность темы. Изучение механизмов формирования и функционирования культурных вкусов является актуальным глобальным направлением социологических, культурологических и психологических исследований. Предлагаемое в научной литературе социологическое объяснение вкуса, подчеркивают О. Лизардо и С. Скилс, сосредоточено на выявлении роли и влияния социально-экономического статуса, образования, гендера потребителей музыки на «модулирование паттернов культурного выбора, что в целом приводит к упущению роли возраста и поколенческой динамики как структурирующего фактора»1. Вместе с тем музыкально-художественный вкус занимает в музыке особое место, поскольку она сама по себе функционирует как «форма развлечения и эстетического удовлетворения, сфера общения и символического представления, а также средство проверки социальных институтов и ритуальных практик и вызов для них»2. Музыкально-художественный вкус понимается нами как механизм, отвечающий за селективность в отношении потребляемой музыки и трансляции социогрупповой и культурной идентичности. Его формирование представляет многокомпонентный и длительный процесс, поскольку он сам, являясь динамической структурой, претерпевает значительные изменения на протяжении жизни человека. Формирование функции и наполнение вкусов, их трансляция во внешнюю среду реализуются под воздействием множества факторов, таких как: технологическое развитие и культурная динамика развития общества, политические и социальные трансформации. Речь идет не только о том, музыку каких жанров или исполнителей принято слушать в определенной социокультурной группе. Не менее важно, какие практики слушания и какая 1Lizardo O., Skiles S. Musical Taste and Patterns of Symbolic Exclusion in the United States 1993 - 2012: Generational Dynamics of Differentiation and Continuity. C3. [Электронный ресурс]: https://www.sociologicalscience.com/download/vol-3/february/SocSci_v3_85to108.pdf (дата обращения 11.07.2018). 2 Connell J., Gibson Ch. Soundtracks: popular music, identity and place. London: Routledge, 2003. С. 43. 4 околомузыкальная деятельность осуществляются слушателем, что исключается из его потребления и негативно маркируется, какое место занимают музыкальные вкусы в системе приоритетов в межличностной коммуникации. Природа современного музыкального производства и восприятия музыкальных произведений имеет противоречивый характер вследствие столкновения рутинного, ситуативного и сакрального3. Индустриализация креативного производства, постепенное стирание границ между массовым, традиционным и академическим музыкальным дискурсом, изменчивость самих практик слушания и общая «музыкальность» окружающего звукового пространства – эти тенденции постепенно изменяют ландшафт музыкального пространства и его роль в обществе. Городской житель XXI в. в течение дня воспринимает огромное количество музыкального контента, далеко не всегда осознанно подходя к вопросам слушания и анализа услышанного. С одной стороны, музыка способствует созданию индивидуализированного пространства, что используется, к примеру, в ходе практик эмоциональной саморегуляции или обособления от более шумного и хаотичного окружающего пространства. С другой стороны, музыка и музыкальные практики создают групповое пространство: определенные музыкальные произведения и жанры воспроизводят чувство общности, принадлежности к определенной группе, субкультуре или культуре. Следует отметить, что всепроникающая повсеместность музыки, постоянное присутствие ее в качестве одного из элементов публичных и индивидуализированных пространств соотносится, прежде всего, со свойственной ей способностью структурировать время с помощью ритма, темпа и повторений. Данная упорядоченность ограничивается самим моментом слушания, постфактум 3 Подразумевается сакрализация профанного, в том числе и продуктов популярной культуры (популярной музыки). См., например, Михельсон О. К. Сакрализация популярного. Методологические подходы к исследованию religion-like phenomena в современном религиоведении // Вестник СПбГУ. Философия и конфликтология . 2018. №1. [Электронный ресурс] https://cyberleninka.ru/article/n/sakralizatsiya-populyarnogo-metodologicheskie-podhody-k- issledovaniyu-religion-like-phenomena-v- sovremennom-religiovedenii (дата обращения: 02.03.2019). 5 оставаясь исключительно в памяти человека4. Музыка также способна на значительное изменение эмоциональных состояний5, которое наблюдается даже при фоновом ее восприятии, что, в свою очередь, не способствует широкому распространению практик вдумчивого и лимитированного потребления музыкальных продуктов. Вместе с тем повсеместно наблюдается сакрализация музыки и ритуализации музыкальных практик. Многие слушатели воспринимают репрезентацию собственных музыкальных вкусов как акт раскрытия интимных, глубоко личных переживаний. Практика сокрытия «девиантных» относительно текущей группы музыкально-художественных вкусов встречается, к примеру, в профессиональной среде. Это отчасти можно связать с тем, что транслируемые музыкальные предпочтения и музыкально-ориентированные коммуникативные практики используются для создания символических разграничений между «своими» и «не нравящимися категориями людей»6. Эти различения имеют значения как в контексте социальной, так и в контексте культурной стратификации, а также отчасти затрагивают групповые и индивидуальные аксиологические ориентиры. Актуальность настоящего исследования заключается в научной и практической востребованности верификации ряда положений теории вкусов, в частности, о социальном и культурном различении (дистинкции), осуществляемом посредством сформировавшихся и репрезентируемых музыкально-художественных предпочтений (симпатий и антипатий). В рамках текущего исследования мы сосредоточимся, главным образом, на прояснении условий и факторов производства, формирования и трансляции музыкально- художественных вкусов в молодежной среде. 4 Diemert B. Time and Timelessness: Contexts for Popular Music/Resounding Pasts: Essays in Literature, Popular Music and Cultural Memory (ed. Momcilovic D.). Cambridge Scholars Publishing, 2011, С. 13. 5 См. например Сакс О. Музыкофилия.
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