Social and cultural space as a factor of the musical culture's formation

Lapina Yuliya Sergeevna Senior Lecturer, Department of Academic Choir, Federal State Budgetary Educational Institution of Higher Education "Altai State Institute of Culture" 655065, Russia, Altai Krai, Barnaul, Yurina str., 277 dirizher.yulya.92@mail.ru

The relevance of this study is dictated by the fact that the problems of preserving and developing national culture in the modern world are gaining increasing importance and attention in the mass environment. Currently, such a phenomenon as the socio-cultural space is also in the focus of scientific research. The latter is quite ambiguous in its definition, difficult to differentiate in its essence, but at the same time very popular within the framework of socio-humanitarian studies. It can be classified as categories that are poorly amenable to unambiguous and stable interpretation (such as culture, text, etc.). Its high popularity probably lies in the fact that the socio-cultural space can be considered as an environment of coexistence and a kind of "receptacle" for many other phenomena of various order, content and purpose, which includes most of the human environment. In this context, the emergence of research interest in the consideration of socio-cultural space as a factor in the formation of cultural layers and forms is natural.

First of all, it is fair to note that this term is often used and mentioned in various works that do not focus on its semantic content ^[12]. Thus, E. V. Orlova points out that "in philosophical, cultural, and sociological studies, both fundamental and applied, the term "socio-cultural space" is used as an initial category that does not require additional theoretical argumentation, as a collective image that accommodates all the diversity of existing reality" ^{[11, p. 149]}. The theoretical justification of the key term in a given context seems to be really important, since the very essence of this work requires the most complete understanding of it.

Meanwhile, the complexity of the term "socio-cultural space" is based not only on the unification of social and cultural within its framework, but also on the deeper philosophical problems of space as such, especially if we take into account that the socio-cultural space is not reduced to physical existence, but is built more on ideas and meanings. Nevertheless, philosophical ideas about space are largely conditioned by natural science knowledge, including the ideas of the multidimensionality of space, which are able to more accurately express the features of the ontology of social, cultural and sociocultural spaces ^[20]. The latter, it is important to note, embodies a spatial approach to culture and society in their unity.

The consideration of cultural and social phenomena in their community seems quite natural, since the definition of culture mainly through society is traditional for socio-humanitarian thought ^[3]. In addition, the active use of the term "socio-cultural space" itself is explained in principle by "the fact that it is impossible to study social reality in isolation from cultural reality and vice versa" ^{[11, p. 149]}. Based on the above, it can be stated that the term in question is intended to reflect the unity of social and cultural, but in reality it is perhaps even deeper.

E. Y. Shakirova notes that "the socio–cultural space is a space of meaning constructed by many generations of people, which reflects the cultural specifics of the social organization of the studied society" ^{[20, p. 16]}. This approach allows us to understand culture as a kind of superstructure over society, forming the uniqueness of the latter and creating some boundaries with other societies that have different cultural configurations. The definition, consonant with the above, but with a different emphasis, is called by E. N. Nenakhova, who characterizes "the socio-cultural space as a process and result of the deployment of culture in time and space and in relation to social parameters" ^{[8, p. 174]}. In this case, rather, certain aspects of the social configuration of society are a superstructure over culture.

In this context, it will be useful to turn to P. Sorokin's thoughts on the structure of socio-cultural interaction, which can be represented as a triangle, the vertices of which are personality (the subject of interaction), society (a set of such subjects) and culture (a set of meanings, values and norms assimilated and implemented by their bearers) ^{[17, p. 53]}.

N. S. Zimina points out that the socio-cultural space is a form of structured existence, "which is anthropological in its content, since it is a way of human existence in culture and society" ^{[5, p. 18]}. An individual living in a socio-cultural space receives values, norms, traditions, etc. from it, and subsequently uses them in everyday practice.

However, it is also important to remember that "the peculiarity of socio-cultural spaces is their temporal coordinate. Just like physical spaces, sociocultural spaces are formed gradually and exist over time," and, accordingly, "any socio-cultural environment... It is not a monolithic phenomenon in terms of space and time" ^{[1, p. 57]}. The socio-cultural space is thus modified according to its own dynamics. Its scale, structure and boundaries are changing ^{[16, p. 44]}. The socio-cultural space is naturally represented as a dynamically developing space of interpenetration of cultural and social phenomena in the community. It is not limited to physical space, although it is definitely connected with it.

Within the framework of this work, it seems advisable to identify the relationship between the socio-cultural space and the cultural need that acts as a factor in its formation. The content of the socio-cultural space and the pace of its formation are clearly dependent on what guidelines prevail in society and what needs create the corresponding requests. In our opinion, at the root of the actualization of a particular cultural form is the public demand for its implementation.

M. S. Kagan's interpretation presents the cultural form as "a way of unity of synchrony and diachrony, ensuring the undying life of culture in endless historical time and its realization in a person located at any point of this time" ^{[18, p. 393]}. In turn, A. Ya. Flier pointed out that "the generation of a new cultural form, as a rule, is functionally related either to the need to adapt any natural historical circumstances of the existence of a community ... or to the logic of the development of certain technologies in specialized areas of life" ^{[19, pp. 46-47]}. The cultural form is isomorphic to culture as a whole, and the division of culture into separate components down to atomically small ones, in our opinion, reflects a high degree of inconsistency in the history of human society.

However, in the context of the above, it is important to understand how the forms of culture relate to its spatial representation. According to A. S. Karmin, cultural forms can be designated as "figures" located on the corresponding three dimensions of culture (knowledge, values and regulations) coordinate axes (cognitive, value and regulatory) ^{[7, p. 131]} (see Fig. 1).

Fig. 1. Spatial representation of culture in three dimensions

Thus, the needs and interests of society lead to the selection and actualization of certain cultural forms, as a result of which the latter find their existence in society and occupy characteristic roles (as a kind of pattern from the past, as an actual regulator of interpersonal relations, as a new phenomenon awaiting public recognition). In our opinion, it is precisely this interpenetration of cultural and social orders that eventually leads to the formation and development of a socio-cultural space. Appealing to the thoughts expressed above about the dynamics and variability of the socio-cultural space, we consider it legitimate to indicate that it itself, within the framework of its evolution, multiplies and deepens the needs of society in the development of new cultural forms or better implementation of existing ones. Thus, the most favorable environment itself acts as a factor in the development of individual elements of culture.

In the framework of this study, we focus on the representation of the relationship between the socio–cultural space and musical culture, a phenomenon that is no less ambiguous and is receiving considerable attention from researchers.

The backbone of musical culture is music as an activity. The high importance of music in the history of the development of civilization is beyond doubt, since "the art of a particular culture may not have ... architecture, painting, but music in it will somehow be present in the form that corresponds to the cultural variant" ^{[15, p. 4]}. Since at the moment the crisis in the social functioning of various cultural forms is only getting worse, the problems of musical culture in its connection with higher-order systems are characterized by a high degree of relevance.

Let us illustrate the above–mentioned mutual influence of the socio-cultural space and one of its subsystems by the example of the musical culture of Barnaul at the end of the XVIII - XIX centuries. During this period, Barnaul was characterized by numerous economic and cultural contacts with the capital St. Petersburg, which serves as the center of European culture in Russia. In turn, in the light of maintaining communication with the capital, Barnaul also plays the role of the cultural center of the district in relation to rural settlements, which is greatly facilitated by the process of active urbanization.

The production complex of the silver smelter becomes the starting point for the design of the urban environment, and the appropriate infrastructure is being formed around it. It is likely that in this case, an important role is given to a social need, moreover, it is sufficiently "mature", well-realized and arousing genuine interest in society. It is precisely such needs that collectively lead to the formation of a city – a cultural center, which has a library, archive, printing house, theater, art gallery, military orchestra, meteorological station, greenhouse, etc., and in 1823 the first museum of local lore in Siberia was opened ^{[4, pp. 100-110]}. The state's policy towards Barnaul contributed to the creation of cultural institutions designed to meet the needs of employees of the mining district, many of whom were graduates of educational institutions in St. Petersburg. A significant stratum of technical intelligentsia seriously contributed to the formation of the elite basis of the general cultural background.

At the same time, the harsh, military methods of leadership of the Kolyvan-Voskresensk mountain District formed the needs for appropriate music and the formation of a characteristic musical and household tradition. Military music played a significant role in the cultural history of Barnaul, which "in Siberia of the period under review was a natural component of the musical life of the local population, and military orchestras were important educational institutions" ^{[6, pp. 27-28]}. Such orchestras (for example, the orchestra of the mountain battalion), however, could also perform at various civil events ^[9]. In the future, secular non-militarized culture also occupies its niche in Siberia, and due to the significant democratization of provincial cultural life, various types of musical performance are developing, covering wider circles of provincial society ^[10].

In the history of musical culture of Barnaul, the opening of the Opera House in 1776 became a landmark, marking the secular nature of the Barnaul theater scene. The provincial theater lacked personnel, and the main cast consisted of mountain officers and their spouses, and representatives of noble ranks were characterized by attending music and dance classes, learning foreign languages, which were, among other things, attributes of belonging to a certain class ^[2].

Choral singing, initially represented only by church singing, also played an important role in the musical heritage of Barnaul. For a long period, it was church music that remained almost the only means of introducing Barnaul residents to vocal and choral culture. In particular, the choirs of Peter and Paul Cathedral, Dmitrievskaya, Znamenskaya and Nagornaya churches achieved a high level of performance, which greatly stimulated the creative growth of choral music making. And in the 1890s, the musical life of Barnaul was replenished with a new form of public performances - spiritual concerts ^[14]. Also in the early 1890s, a small group of music lovers was formed among the local intelligentsia, which officially formalized its existence in 1895 under the name "Barnaul Music Circle". The musicians considered their main task to provide their members with the opportunity to gather for the purpose of performing musical works, as well as contributing to the development of musical talents ^[13].

The above clearly demonstrates the fact that the initial need of society for the organization and conduct of cultural life contributed to the formation of a socio-cultural space in Barnaul, which, in turn, stimulated the population to further improve the quality of cultural life, in which a special role was assigned to music and musical activity, and catalyzed the emergence of new needs and requests. It is legitimate to note that an individual who has assimilated the knowledge, values and norms of the socio-cultural reality surrounding him will strive to implement them in his daily life. And if an interested society promotes such aspirations and encourages them, then cultural life is enriched with new, progressive forms.