FORMATION OF THE MODERN MUSICAL ELITE AS A LANDMARK OF PROFESSIONAL ACADEMIC MUSIC EDUCATION

Abstract

The article offers an analysis of the modern musical elite characteristics in the context of determining the guidelines for the professional academic music education. This stratum is positioned as a group of leaders capable of transformational activities dictated by crisis processes in the European music of the written tradition. This stratum is positioned as a group of leaders capable of transformational activities, dictated by the crisis processes in the European music of the written tradition. The problem of developing a new educational paradigm of the elite forming as a community ready to respond to modern challenges and transform musical culture is actualized. Emphasis is placed on the obsolescence of the traditional approach to the identification of the elite of academic music, based on the opposition of the «chosen» and «mass» groups. The peculiarities of the elite are related to the socio-cultural context, which is characterized by chaotic intonation diversity (Yu. Chekan), which gives rise to pluralism of musical elites. It is noted that the coexistence of a large number of equal subcultures eliminates the opus-centric concept of musical elite identification. Therefore, the definition of its identifiers should be based on the properties of academic musical practice. The qualitative characteristics of the modern musical elite, related to leadership in professional activities, intellectual activity, the aspect of musical interests are outlined. It is noted that professional competence is determined by the amount of accumulation of musical and cultural capital (P. Bourdieu) as a set of incorporating (knowledge, skills and experience), objectified (material objects) and institutionalized resources (academic recognition of the individual as a carrier of incorporated resources). Given the key role of intelligence in change processes, critical thinking is emphasized as a characteristic of the elite. The ability to think critically is understood as a prerequisite for the adaptation of academic music to modern conditions. The parameter of cultural omnivorism is positioned as the third dimension of identification of the modern musical elite, which indicates the ability to equally perceive and analyze all musical practices.