Concerning the problem of comparative art criticism methodology in the context of musicology in a multicultural world

Abstract

The modern cultural and historical context has given rise to comparative studies. First of all, these are trends in cultural policy directed against the unification (globalization) of artistic phenomena. And if the subject of comparative literary criticism is interliterary dialogues, then in the same way the subject of comparative musicology should be intercultural dialogues. The main goal in a large-scale perspective is to discover those typological lines of similarity and difference between cultural phenomena that seem to transcend the boundaries of geographical distances. In this article, the objective basis for the comparability of different cultural phenomena is supposed to be sought not in texts, but in the cognitive foundations of different cultures. For example, if we focus on flute art, then we can talk about identifying not only the style and genre models that Chinese authors focus on when mastering the tools of Western European art of playing the flute.

Keywords

comparative studies, comparative literary criticism, comparative art criticism, comparative methodology in musicology, modern Chinese music for flute