Classical Crossover and Its Russian and Ukrainian Interpretations
Iryna Shylnikova
iryna.shylnikova@unisalento.itUniversity of Salento (Italy)
https://orcid.org/0000-0003-4134-0469
Abstract
This article aims to explore the phenomenon of “classical crossover,” a contemporary music trend that blends “high” and “low” elements. In addition to analyzing the genre’s main features and cultural preconditions for its emergence, the article will examine its historical origins and development. The second part of the article focuses on examples of classical crossover in Russian and Ukrainian music, with an analysis of several artists who have ventured into this new type of production, including the Terem Quartet, Anna Netrebko, Olga Chubareva, and Arina Domski. By applying historical and cultural methodology, the article suggests that classical crossover has a broad audience in Russia and Ukraine, allowing musicians to introduce elite classical music to the masses. Although some may view the genre as a dilution of classical music’s distinctive qualities in order to cater to popular tastes, it also provides musicians with the opportunity to create original pieces that merge tradition with innovation. Considering all of the above, the author of this article aims to explore the cultural significance and impact of classical crossover in the music industry.
Keywords:
classical crossover, music studies, music genres, mass cultureReferences
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Authors
Iryna Shylnikovairyna.shylnikova@unisalento.it
University of Salento Italy
https://orcid.org/0000-0003-4134-0469
Iryna Shylnikova - PhD student at the University of Salento (Italy). From 2017 to 2019 she participated as a researcher in PRIN project “(De)construction of Myth in Contemporary Women’s Literature in Russia and Poland.” Currently, continues her research in the field of women’s contemporary Russian and Ukrainian literature. Her articles have been published in academic journals on teaching of Russian as a foreign language, on Russian and Ukrainian culture and literature.
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