Комунікативна функція музики як засіб художнього спілкування
Communicative Function of Music as a Means of Artistic Communication

Summary/Abstract: Purpose of the article is to carry out a theoretical analysis of the evolution of communicative functions of musical art, to explore the variety of communicative links and interpretations of a musical text, the realization of artistic interpretations of its content in the process of perception of a musical work by a recipient. The methodology of the research is based on interdisciplinary integration of the methods of modern philosophy, cultural studies and art history. The scientific novelty of the study is determined by the fact that artistic communication is regarded as one of the most critical aspects of the system of musical activity, in which creativity, performance and perception act as the main communicative blocks of musical culture. Conclusions. Musical art embodies almost all types of communicative interaction: personal, interpersonal, group and internally group, mass communication. The implementation of artistic communication as a form of communication is a significant aspect of the system of musical activity, in which creativity, performance and perception act as its principal functional blocks in the order of musical culture. The main participants of the musical communication process: addressee or communicator - the sender of the message (author, interpreters, executors), and the recipient or recipient (percipient) - the recipient of the message (listeners, viewers), on the perception and evaluation of which the artistic work is calculated. Subjects of musical dialogue can be named: composer, performer, a listener (recipient), teacher, student, researcher, etc. One of the main channels ensuring the progressive development of music is the communication system within the artistic creation itself, which facilitates the transfer of the accumulated experience of production, fixation, the performance of music, the traditions of perception, research and evaluation of musical art. Despite the rapid development of information and communication technologies, only the first, the "living" form of familiarizing the recipient with musical art, gives the fullest, holistic perception of a musical work. Music is born only in the creative act of direct execution. It is here that complete communicative action is realized - not only auditory, but also visual, and even energy. The remaining forms reduce the former to varying degrees, deepening or changing certain facets and sides of the influence of this act, but not in a position to completely replace it.

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