Contemporary Ukrainian Art Under the Pressure of Commercialization (Based on Content Analysis)
Abstract
This article presents a sociological analysis of the processes of commercialization (commodification) of contemporary Ukrainian musical culture in the context of globalization, digitalization, and the challenges of wartime. The theoretical framework of the study is built on a synthesis of critical theory of society: J. Baudrillard's concepts of simulacrum and hyperreality, G. Ritzer's theory of “McDonaldization”, the ideas of the Frankfurt School (T. Adorno, G. Marcuse), and the critique of the society of the spectacle (G. Debord). The authors postulate the presence of a structural dichotomy in the Ukrainian musical field, where one pole ("popular") operates according to the logic of market success, standardization, and adaptation to the algorithms of digital platforms, while the other ("alternative") strives to maintain authenticity and a critical function at the cost of marginality. An empirical test of the hypothesis was conducted using a content analysis of song lyrics by popular (DOROFEEVA, Artem Pivovarov, “Okean Elzy”) and alternative (“Blooms Corda”, “Palindrom”) artists. The results confirmed the dichotomy: the lyrics of commercially successful artists are dominated by simplified emotional themes (love, experiences), trendy social media vocabulary, and minimal use of complex metaphors, indicating a focus on predictability and ease of consumption. Meanwhile, the work of alternative artists is characterized by reflective themes (inner search, social criticism), greater linguistic density, and specific imagery, indicating a priority for authenticity. The study revealed a correlation between high digital success rates and signs of “McDonaldization” of creativity. The conclusions outline the limitations of the study (limited sample, focus primarily on textual content) and prospects for further research: expanding the methodology, studying the influence of streaming platform algorithms and the AI, and analyzing the transformation of musical culture in wartime. This article contributes to our understanding of the specific pressures of commercialization on contemporary Ukrainian art and the mechanisms behind the formation of cultural dichotomies.
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