URBAN INTENTIONS IN THE EUROPEAN MUSICAL CONTINUUM OF THE XXTH CENTURY AS A WAY OF MIRRORING THE PROCESS OF EVOLVING FORMS OF THE COLLECTIVE COMMUNE

Abstract

The article examines the process of integration of urban intentions into the field of art as an echo of the radical evolution of forms of collective communication. The maturation and establishment of urban tendencies in the art of the early twentieth century took place against the background of global socio-political cataclysms, revolutionary discoveries in science and technology, the active invasion of human consciousness by a vast array of new information,and thus a radical rethinking of the entire human worldview. This is a period of social upheavals and cataclysms, when in Europe, in parallel with the horrors of the First World War, there are processes of emergence of totalitarian ideologies, which will eventually lead to the formation of dictatorial regimes. The success of scientific and technological progress is associated with the process of urbanization, which is gaining great momentum in the early twentieth century. With the advent of large industrial cities, the issue of the influence of the City phenomenon on human consciousness becomes especially relevant, both in philosophical and aesthetic concepts and in the field of social urbanism, a science that emerges in parallel with the heyday of industrial cities in Europe and America. With the advent of industrial megacities, a completely independent vector of urban life emerges mass culture, a phenomenon of the urbanized world, the influence of which on the spiritual consciousness of the twentieth century becomes indisputable. For the first time the phonics of an industrial city with endless noise of cars in the middle of noisy streets, cool sounds of working mechanisms and factory conveyors, the eccentricity of sports and circus attractions and raging sensual expression of jazz appears as a separate sound universe, which directly affects and the whole system of musical expression.