The modern measurement of Tchaikovsky (definition experience of the "modernity" concept on example of the "Children's album" by P.I. Tchaikovsky)

The definition of the term "modernity" is an important part of the functioning of contemporary art. According to the definitions of J.-F. Lyotard and T. de Duve, modernity and post-modernity are two states dependent on each other, it allows us to outline the way of changes in the struggle of "modernity" for survival and prestige. We can made several comparisons to try answer to question of what postmodern trends are already outlined in the period of Tchaikovsky's writing "Children's Album". Firstly, it arises an authentic space for solving certain language tasks of this music cycle. It concerns the participation of Tchaikovsky (as well as many of his contemporaries, the "Mighty Handful" composers in particular) in becoming of so-called "the linguistic turn" (in 1920s), and allows us to draw a parallel with ideas of Ludwig Wittgenstein. Recognition of the main junctions between the works of Tchaikovsky and Wittgenstein seems to be important, these include not just their mutual desire for the utmost precision of language, but also the clarity of their emotional expression, and the role of emotional certainty in teaching children both music and language. Secondly, the emergence of "modernity" reveals the role of tradition, which is not discarded as useless, but is the ground for struggle between the "old" and the "new". An unusual example of this is still the questions posed by M. Mesropova and A. Kandinsky-Rybnikov in the article "On unpublished first edition of the 'Children's Album' by P.I. Tchaikovsky". The assumption that they made is indicating the composer's desire to substantially simplify the musical material, in order to spare the child's vulnerable soul, but that is clearly not enough for scientific reasoning. The idea that inconsistencies in alternation of numbers of the "Autograph" (original) and "Publications" (subsequent editions) of this music cycle were caused only by the publishers error, is generally absurd. It would be more correct to follow the setting of Ludwig Wittgenstein ("nothing is hidden"), seeing in this gesture of the composer a natural desire to overcome the temporary barrier and directly appeal to future generations of musicians. Later, something similar will be done by Marcel Duchamp in the fine arts. At the exhibition of the American Society of Independent Artists in April 1917 he not only exhibits one of his ready-made object (so-called "Fountain"), but afterward creates many replicas or copies of this non-handmading object. The goal of both provocations is not only creation of an artwork as a thing, but rather demonstration of an art-idea, fixing of which is carried out through introduction of an ambiguous situation inevitably entailed to a conflict of interpretations.

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