Postmo­dern Techniques in Popular Music of the Early 21st Century

The article is devoted to the issue of functioning of postmodern techniques in mo­dern pop music. The authors analyze the most striking of them on the basis of some selected songs. This paper is relevant due to the lack of detailed research on the issue of postmodernism in mo­dern popular music despite the fact that, in the mo­dern paradigm of humanitarian knowledge, postmodernism as a cultural phenomenon is becoming a promising scientific direction. Scientific novelty of the article is determined by the fact that it begins the process of systemic understanding and analysis of the situation on the music stage. By the example of modern pop music, the authors show that, despite the crisis of culture caused by the advent of the postmodern era, any transitional state is an impetus for searching and finding new aesthetics. The article summarizes theoretical aspects of postmodern discourse concerning those techniques that fall into the field of view of researchers (intertext, meta-field, simulacrum, deconstruction, S-code, etc.). Based on the opinion of famous scientists, the authors introduce the conceptual apparatus necessary for the subsequent analysis of the topic. The article presents and analyzes some of the most characte­ristic techniques of postmodern stylistics in the music of popular Western and Russian performers (Alice Merton, “Baha Men”, “Maroon 5”, F. Kirkorov, A. Vorobyov, L. Imangulova, and T. Shamanina). There are noted some cases of intertextual refe­rences and peculiarities of their work in newly created songs, as well as such techniques as mash-up, remake, etc. Therefore, this paper, to some extent, fills the gap in the study of the issue of postmodern in modern popular music.

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