Musical culture is understood by us as a vital and spiritual environment, within which only music itself can meaningfully exist. such an environment is necessary, in which there are symphony orchestras and concert halls for professional music education.
A certain life experience of performers and listeners is needed, without which it is not easy to feel the tragic imagery of his music, and a certain artistic experience is needed, within which, for example, the rigid timbre of a snare drum and a high flute is unequivocal act as symbols of inhumanity, while the monologue of bassoon or violin evokes the idea of the mental world of a thinking and suffering person.
The vital and spiritual environment, which we call a musical culture, and to which, in one way or another, most people are involved, is far from homogeneous. In some cases, the boundaries of music and cultural areas are very rigidly defined and difficult to penetrate (in youth rock culture we clearly observe the properties that prevent it from becoming all-aged). In other cases, these boundaries may not be so noticeable at first sight, but they do exist. In different texts, we meet attempts to separate various musical spheres within the musical culture: serious music and entertainment ("light"), folk and professional music, oral tradition music and written, mass and elite music, primary genre music, which is directly included in the flow life, and music of secondary genres, existing in special non-domestic forms.
Each of these and other similar distinctions are based on different criteria, dictated by the need for research or publicist task. At the same time, music is most often viewed in its sociological projection, i.e. either from the point of view of those social tasks for which it adjoins, (organization of recreation, the performance of ceremonies, etc.), or from the point of view of the interests of those social groups within which it is predominantly distributed (rural or urban population and youth). But when the goal is to understand the nature of musical culture as a spiritual interaction of people about music , regardless of their professional, social, age or any other sociological definition, it is necessary to select the criteria essential for the actual process of the musical process of royalty free beats.
There are at least two criteria that characterize the quality of the internal organization of the music and cultural environment. One of them is the status of a musical work accepted in it. It can be different: from the idea of a musical work as a complete creation of individual compositional creativity completed in its boundaries and thought out in all its details, to the notion of music as a non-independent component of an integral ritual action, the question of whose authorship is not put at all. It is clear that these two polar approaches to each other within each culture to the degree of authenticity and stability of the musical text reflect the entire dissimilarity of the corresponding music and cultural systems in general.