Європейська музична соціологія першої половини ХХ століття: основні підходи та напрями розвитку
The European musical sociology of the first half of the twentieth century: approaches and directions of development

Summary/Abstract: The article considers the problem of research of the basic approaches and directions of the European sociology of music in the first half of the twentieth century. Based on analysis of Western European and Soviet traditions attempt to identify the general trends of the development of music sociology and outline conditions of its formation as a direction, describe its philosophical basis as the European tradition. Music is a form of self-assertion of individuality, which accompanies the changes in society. Music can be considered as a kind of "book of life" for all mankind and means of communication between the generations. Sociology of art was a scientific theory based on a synthesis of disciplines such as aesthetics, musicology, pedagogy, psychology. New approaches in the study of art began from O. Baumgarten and E. Kant. The real development of the sociology of art was in the XIX century under the influence of the philosophy of positivism, the founder of which was O. Kont. Due to the philosophy of Kont, social issues in art and man as a social problem became extremely relevant. In the end of XIX – beginning of XX century on the basis of positivism naturalism occurs as artistic direction. Naturalism as a literary tradition laid the foundations for the development of the sociology of art in artistic projections and strengthened attention to scientific problems that investigated these projections. A significant contribution to the development of the sociology of art was made by the representatives of the Italian verism. It was a realistic direction in Italian literature, music and fine art of the late XIX century. A typical reflection of veryzm in music were operas by P. Maskanyi, J. Puccini and R. Leoncavallo. So, the social problems in the art activates interest to the theory of art, to its theoretical problems. Music sociology understood within the history and theory of music, but its subject – not only the process of creating a piece of music, but also the future life of music in society, how it spreads and perceived. That is, the sociology of music has been the fate of a piece of music mostly after its completion, when it begins to function in society. In the early twentieth century European musical culture attained a high level of development. It was connected with the rapid processes of democratization and wide spread of art. At this time there is aggravation of social struggle, resulting in a crisis developing the relationship between art and the public. Music as an indispensable factor in social life attracted the attention of scientists. It contributed to the formation of a new conceptual apparatus and the formation of the main problems of sociology of music. During this period created works by C. Bellah, H. Kretzschmar, P. Becker. Twentieth years of the twentieth century – the period of accumulation of theoretical experience of research on the social functions of musical art, the specific circumstances of its life in society as in Western European and Soviet art sociology. Create works of K. Blesynher, M. Weber, articles by R. Rollan, G. Moser and Zh. Kombarye, A. Zilberman and others. From the twenties of the twentieth century, prominent Soviet musicologists, such as: A. Lunacharsky, B. Asafiev, B. Jaworski – also studied the basic problem of musical sociology. Soviet sociology of music composed as a separate branch that has formed different views on musical creativity based on musical theory. Its meaning is interpreted as a direct dependence of the changes taking place in society. In the 30-50s in the Soviet Union sociology of music was declared bourgeois science. It was under the ideological ban, but its interest in the problems do not disappear, but moved to the practical sphere of pedagogy. The situation changed only in the sixties of the twentieth century, when there were new conditions of social and cultural life associated with changes in policy, scientific and technological revolution, the growing influence of the media. This has led to a revival of the musical sociology. So, in the European sociology of the first half of the twentieth century, there are different approaches to the definition of a subject of musical sociology. Search and experiments European sociology of music art formed a sufficiently complex field of studies. Thus, we can identify the general trends of the development of European sociology of music: a study of the specifics of interdependence with other sciences, social function of music, structure of musical culture (public, economic and socio-psychological state of the composer and performers), the structure and behavior of the public of a musical life of different social groups, the relationship between music and media. So, social problems, which got more and more importance in the musical art and reflected in musical works, contributed to drawing attention of scientists at it as a theoretical problem.

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