Комунікативні функції художнього спілкування в музичному мистецтві

Abstract

У статті досліджено еволюцію комунікативних функцій музичного мистецтва. Розглянуто різноманіття комунікативних зв’язків і тлумачень музичного тексту, реалізації мистецьких інтерпретацій його змісту в процесі виконання та сприйняття музичного твору з боку реципієнта. Охарактеризовано мистецьку комунікацію як одну з найважливіших сторін системи музичної діяльності, в якій творчість, виконавство і сприйняття служать основними комунікативними блоками музичної культури.

В статье исследовано эволюция коммуникативных функций музыкального искусства. Рассмотрено многообразие коммуникативных связей и толкований музыкального текста, реализации художественных интерпретаций его содержания в процессе восприятия музыкального произведения реципиентом. Охарактеризовано художественную коммуникацию как одну из важнейших сторон системы музыкальной деятельности, в которой творчество, исполнительство и восприятие служат основными коммуникативными блоками музыкальной культуры.

Interest in the problem of communication is determined by the feature of modern information and multicultural space. Art as an artistic model of social space performs a multi-valued communicative function, as a way of aesthetic, valuable interaction of man with himself, with society, with the whole world. Therefore, it is not surprise that the problems of communication are highlighted in its various contexts, including a wide range of cultural and artistic disciplines. The aim of the research 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 scientific novelty of the research is determined by the fact that artistic communication is regarded as one of the most important aspects of the system of musical activity, in which creativity, performance and perception acts as the main communicative blocks of musical culture. One of the main channels for the progressive development of music is the communication system within the very musical creativity. It contributes to transferring the accumulated experience of creating, fixing and performing music, traditions of perception, as well as its research and evaluation. The whole system of teaching, creating, executing, fixing and disseminating musical art in society, and maintaining its traditions is important here. Information technologies that have brought about significant changes in the socio-cultural order of the world contribute to the erosion of the boundaries of cultures and historical epochs, the emergence of new virtual spaces that often replace people’s real life. In this context, music becomes a form that compensates for the lack of comfort of spiritual life in a real society. Therefore, one of the most popular for modern society is the “compensatory” function of music, which involves the existence of a special musical reality, which allows you to replace the real reality with virtual life, thereby integrating organically into a person in the context of computer technology. The beginning of the third millennium marked the emergence of various modifications of communicative functions, the variety of communicative connections and interpretations of the musical (artistic) text, which realize the infinity of the interpretations of its content in the process of perceiving the musical (artistic) work. In the pursuit of self-identification, a person refers to contemporary musical art, which exists in the form of a set of different kinds of texts (scores, tracks, clips, etc.). The process of modern consumption of music is driven by the individual selection and combination of different texts, in which there is no clear boundary between the “high” and “low” art, which was inherent in the previous artistic periods. Participants of communication (performers, audience of the work) are differentiated according to a number of indicators: level of development, age and gender characteristics, musical tastes, choice of communication channels, etc. 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 main functional blocks in the system 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, 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 creation, 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 a complete communicative act is realized – not only auditory, but also visual, and also 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.