Abstract
В изучении национального стиля большое значение имеет культурологический аспект. Привычные приметы национального стиля - цитаты фольклора, использование ладогармонических особенностей традиционной музыки и инструментария - далеко не ограничивают спектр параметров, определяющих национальную идентичность того или иного сочинения. Алгоритм апробирован в оценке национальной стилистики симфонического кюя «Дайрабай» Е. Рахмадиева и Концерта для скрипки с оркестром «Helios» С. Байтерекова. Национальный аспект сочинения может определяться многообразными инвариантами одной или нескольких культур, которые всегда взаимодействуют с инвариантами общей (универсальной) композиторской традиции The cultural aspect is of great importance in the study of the national style. The usual signs of the national style - quotes from folklore, the use of harmonic features of traditional music and instrumentation - do not limit the range of parameters that determine the national identity of a given composition. In defining the cultural determinants of the national style, it is proposed to rely on the reintegrated approach of I. Zemtsovsky, taking into account the category of ethnohearing, the ontological concept of “forms of order” by G. Orlov, and the concept of two compositions (traditional and European-oriented) by V. Yunusova. In the analysis of the national aspect, it is necessary to take into account not onlythe semiotic pair “Ours - Other’s” but also the possible gradations of relations between its elements, transmitted by the “inside-outside” dyad. Through the analysis according to the criterion “belonging / not belonging to culture” (“inside / outside”), an algorithm is put forward for determining the culturally specific parameters of the composition in the works of national composers. The algorithm has been tested in assessing the national stylistics of the works previously analyzed by Kazakhstani researchers: the symphonic kui “Dairabai” by Ye. Rakhmadiev and the Helios Concerto for violin and orchestra by S. Baiterekov. The national aspect of a composition can be defined by various invariants of one or several national cultures, which constantly interact with the invariants of the general (universal) composer tradition