TRANSFORMATION OF ACADEMIC MUSICAL ART IN THE CONTEXT OF VIRTUALIZATION OF THE SOCIO-CULTURAL ENVIRONMEN

Abstract

The article explores the phenomenon of virtual concert activity as a specific form of communicative system within the space of contemporary academic music. The transformation of the traditional "composer – performer – recipient" triad under the influence of digital mediations is analyzed. It is established that the virtualization of academic performance leads to the emergence of new ontological characteristics of the musical work: immersiveness, nonlinearity, and hypermediality. The study defines the genesis and typology of the virtual concert, distinguishing between the concepts of live streaming, recording, VR-performance, and video-performance. The impact of VR/AR technologies on the performing school and the receptive strategies of the modern listener is investigated. Key formats of virtual events (streamings, VR-performances, metaverse concerts) and their influence on the social interaction of the audience are identified.The aim of the article is to identify and theoretically substantiate the specifics of virtual concert activity as a cuttingedge communicative model in academic musical art, as well as to analyze its transformational impact on the performing canon and the recipient's experience in the context of digital mediations. The tasks involve analyzing the transformation of concert practice in the digital environment, determining the specifics of interaction between the performer and the audience, and revealing the cultural and theoretical foundations of the virtual concert’s uniqueness.The scientific novelty lies in expanding the understanding of the structure of musical communication through the conceptualization of the "digital environment of the musical event," where the role of the listener is transformed from a passive consumer into an active participant (participant) in the creative process.The research methodology is based on the integrated use of systemic-structural and comparative approaches, which allow for the study of the transformation of musical art as a holistic system; phenomenological and semiotic methods for interpreting new meanings of virtual performance; as well as the application of methods of analysis and synthesis, comparative-historical, media analysis, and genre-stylistic analysis to identify the specifics of academic music’s existence in digital reality.