Musician Style: Dialectic and Polylectic of Performing Creativity
Musician Style: Dialectic and Polylectic of Performing Creativity

Summary/Abstract: The purpose of the article is to understand the perfection of the professional and creative aspirations of the performing musician in the performing arts. The methodology of the study is based on the psychophysiological approach as the topic determines the search for a tandem of intellectual and technological actions of the performing musician and the possibilities of volumetric, objectively emotional, psycho-physiological interpretational thinking. The methodological core of the study was an integrated system approach defined by the multi-level nature of such areas of scientific understanding of creative aspects as performance, ethics, aesthetics, psychology, philosophy. The scientific novelty consists in the review of the interpretative thinking of the performing musician in the dialectical awareness of specificity, which has a direction from the general – to the individual and the individual – to the holistic approach. Conclusions. The search for performance expressions means is linked to the intellectual and sensual potential and professional experience of the performer. The performing technology of the stylistic independence of an interpretative search of the performing musician is directed to the details of perception, sensation, understanding, formation and transformation inherent only in this particular individual and is the basis of the concept of an individual style. To some extent, the performing style of a particular performing musician can be considered an integral part of the historical process of style formation as an artistic phenomenon characteristic of a certain nation and era. Knowing the existence of a common style of the epoch and the stylistic qualities of individuals, who by their achievements formed these styles, we define the following: the performing style as an objective phenomenon is a form (the formation of the concept itself in certain time periods) and as a subjective phenomenon – content (creator-performer). This determines the prospect of their consideration from the point of view of music-performing practice and its content-stylistic features.

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