Третата вълна и популярната музика (четири когнитивни модела за развитието на музикалната култура)
The Third Wave and the Popular Music (four models observed in the musical culture development)

Summary/Abstract: Popular music emerged still at the down of the civilizations and I relate to the term in its broadest sense. As a subject of specialized scholar research it has been introduced only after the mid-20th century. Drawing on the complementary categories of the popular and the elite, I am trying to describe, explain, and prognosticate the changes in the musical development from the perspectives of different, competitive cognitive models. A starting point here is the A. Toftler’s metaphor of the three civilization waves - a model I have related to in my research work over the last three decades. I interpret this model in its liberal and optimistic aspect, preferred by its author himself. In addition, I introduce four cognitive models: three of them relate to the development (DI, GIE SDS I) and one - to the cultural functionality (TIEM). I interpret them as complimentary in the whole field of contemporary musical culture. Here these models are discussed briefly and in the context of the status and the developments of popular music at the border between 20th and 2lst centuries. The extrapolation of all these models leads to a common conclusion’ which I conceptualize in the hypothesis according to which we are contemporarie of unseen in the last five centuries fundamental transition in the musical and cultural development. The history, knows only two other shifts of similar significance: the emergence and the spreading in Europe of the Christian civilization and the emergence of the industrial (civic) society. From this point of view today we can distinguish at least two types of co-existing popular musics: the one of the nationally or regionally oriented industrial society and the one of the global information society. The first type is popular among audiences having attitudes to local, national, ethnic, and religious genre values, established under the power of the tradition and the market. Usually it belongs to the affirmative cultural practices and the establishment in the industrial society. The second type is popular among the “population” of the Global village and is understandable only in the context of the attitudes to the globalization.

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