О СПЕЦИФИКЕ ФИКСАЦИИ НЕЗРЯЧИМИ СТУДЕНТАМИ УЧЕБНОГО МАТЕРИАЛА ПО МУЗЫКАЛЬНО-ТЕОРЕТИЧЕСКИМ ДИСЦИПЛИНАМ

Even in the midst of their dubious claim that “philosophers did not go to the opera very often,” Slavoj Žižek and Mladen Dolar cannot escape acknowledging the combination of “the splendor of court spectacles, the pomp of national myths, and the sentimental melodramas” that have traditionally driven opera in its social contexts (1).1 Discussions of the Restoration dramatic stage follow the same tripartite preoccupations—they also typically focus on the return of theater to London after the Interregnum, the appearance of women on stage in drama, and the increasing importance of music to theater life before the full arrival of opera seria in the eighteenth century with Georg Friedrich Handel’s appearance in London. However, the specifically interactive relationship between English nationalism, literature, theater, and music is often overlooked. In particular, the role of musical form in these displays of nationalism, especially in conjunction with patriotic libretti, is largely ignored, despite its ability to bridge the divisions between each disciplinary field. Textual studies of libretti rapidly recognize the pro-Imperial feeling that followed the restoration of the monarchy with Charles II in 1660, the Exclusion Crisis’s attempts to prevent the Catholic James II from ascending to the throne in 1685, and the Glorious Revolution of 1688 when James (the last Catholic monarch of England) was displaced by the Hanoverian Protestant William III and Mary II (formalized in 1689). This is readily seen in the histories of John Dryden, Nahum Tate, John Crowne, and many others. Moreover, anti-Papist sentiments frequently appear in an only vaguely coded form as resistance to tensions based on the French and Italian influences via Catholicism on James II and Charles II.

This article presents the problem of the relationship between two landmark subsystems in the conceptual space of the musical composition text: notation and author’s instructions, comments of various types and functions. The author contrasts the text formal division (it is used in performing and pedagogical practice, non-binding “notes” and instructions by the composer of minor importance) and views of musicians who see in the traditional dichotomy “musical text – comments on it” a theoretical problem. The differences in approaches to it are analyzed in the works by S. E. Feinberg, E. Ya. Liberman; it is proposed to consider the position of the author of the article, treating the first of these subsystems as a base, the second as a superstructure in a united conceptual space of a musical text. The author develops the theme and carries out historical-style excursions and reveals the evolution of the composer’s comments in the music in 17th – early 20th centuries due to aesthetic, artistic, technological and other factors. In the historical-style sections of the article, the author relies on the concept by S. S. Skrebkov, that is in the book “The Artistic Principles of Musical Styles”. In particular, the author uses the principle of centralizing unity postulated by the scientist as a methodological guide, and interpreted broadly in the article as a general dialectical principle of musical logic. This allows to differ stylistically and at the same time to study dialectically the practice of composer commentary in musical works of the Baroque, classical and romantic eras. The main conclusion of the article is the reference to the need for performers and teachers to deepen into essential, substantial relations in a united conceptual space of a musical text of two main plans: notated, reflecting introverted, immanently musical meaning, and composer comments, where denotation is carried out, symbolization of the deep structures of music.

Research Article| December 04 2018 “Total Trash”: Analysis and Post Punk Music Theo Cateforis Theo Cateforis Syracuse University; e-mail: tpcatefo@syr.edu Search for other works by this author on: This Site PubMed Google Scholar Journal of Popular Music Studies (2018) 30 (4): 95–112. https://doi.org/10.1525/jpms.2018.300406 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Theo Cateforis; “Total Trash”: Analysis and Post Punk Music. Journal of Popular Music Studies 4 December 2018; 30 (4): 95–112. doi: https://doi.org/10.1525/jpms.2018.300406 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search Analysis and rock music: are they incompatible? Is popular music criticism’s analytic methodology ill-equipped for its own purposes? In the above passage, Paul Clarke complains that modes of inquiry developed for the analysis of western art music, focusing upon the text and the musical ‘score,’ are inappropriate for the analysis of rock music. He believes rock analysts wrongly attempt to fit the music within a narrow, established template. A more profitable approach, he suggests, would evaluate the music “not on any one aural strand - lyrical, musical or vocal - but on the complex of created relationships between sounds as they act on us through time.” Clarke’s analysis would represent a composite set of interests. His insights would emerge from his own interpretive experience as well as from a technical understanding of the music. His observations would be less confined by preexisting prescriptive or circumscribed guidelines. Instead, Clarke suggests that... You do not currently have access to this content.

Problematic field, objectives and methodology of the study. The “star” figure of A. Zholdak, one of the most shocking directors intriguing with his unpredictability, cannot be overlooked in the sky of modern theatrical art. True, not of national art, but Western European or Russian – the stage productions of the avant-garde director resonate with the priority world trends in theatrical culture. This also applies to musical performances, where the staging process in last time has been carried out under the sign of the “Regio-Theater”, under the director’s concept, which is often radical and revisionist in relation to the author’s source and the interpretive experience of critics and the public. This is evidenced by the A. Zholdak’s “operatic opuses”, namely, “Eugene Onegin” (St. Petersburg, Mikhailovsky’s Theater, 2012–2013 season), “Love drink” (Poznan, Teatr Wielki named after Stanislav Moniuszko, 2018–2019 season), The “Enchantress” (Lyon, Opera National de Lyon, 2018–2019 season). “Opera opuses” by A. Zholdak, being in the “European trend”, remain unknown in Ukraine, not mastered by domestic scientists and, in general, are ignored by the theatrical community. This also applies to the production of Р. Tchaikovsky’s opera “Iolanta” in the 2018–2019 season at the Mikhailovsky Theater in St. Petersburg, one of the last, carried out by the director. Like any other “director’s” production, A. Zholdak’s performance touches upon problem areas of the modern musical and drama theater. The first of them is the definition of a system of principles that are guided by contemporary directors, embodying their “radical” concepts on stage. The second is related to the choice of interpretive methodology that is commonly used in the process of radical stage expression’s interpretation. The present study, using the parameters of culturological and theatrical critic analysis, aims to determine the conceptual ideological attitudes, aesthetic paradigms, features of the organization of the narrative in the aforementioned production by A. Zholdak. The results of the study. The first of above-mentioned problem is solved through the understanding of the fact that the libretto and the musical text, i.e. the source material, remain indestructible for any modern opera director. On its basis, a director (co-authored with a playwright and an artist) creates a new narrative with the help of own stage means: set design, costumes, light equipment, video etc. As a result, a “radical reading” effect provokes a conflict of interpretations. The second problem, owning or mastering interpretative mechanisms, is related to the processes of sensing text in the receiving area. It refers to the level of development of skills of “unlocking” the text, skillful possessing (often not possessing) the “keys”, which are appropriate for using in work with a text of modern musical theater.These very problems are actualized by P. Tchaikovsky’s opera “Iolanta” embodiment, performed by A. Zholdak on the stage of the Mikhailovsky’s Theater. As the staging practice of the last decade shows, it is the composer’s work that is undergoing a radical conceptual rethinking. The plot of “Iolanta”, its system of characters and basic metaphors, are completely meeting with the aesthetic principles of symbolism. This explains A. Zholdak’s transfer of opera’s action to the end of XIX and early XX centuries, that is, into the period of establishing symbolism as a worldview and artistic dominant of the era. Aesthetically, the visual decision of the performance of the Mikhailovsky’s Theater (artistic directors – Andriy Zholdak and Daniel Zholdak, director of multimedia and author of light design – Gleb Filshtinsky) meets the criteria of postmodernism. At the same time, the stage story is a parallel unfolding of two autonomous stories: blindness, love and insight of Iolanta and the story of the eponymous P. Tchaikovsky’s opera’s creation. For staging the stories, A. Zholdak chooses the principles of the novel genre with its story linearity, psychological reasoning, obligatory causation. At the same time, the director, not refusing basic (symbolist) expressive means, adds to the novel narrative the “visible symbols” of holiness of the main character Iolanta (the nimbus, the interior of the Orthodox church with its exaggerated Byzantine richness and luxury), which are in fact a purely external expression of this internal idea, which is very difficult for scenic implementation. As a consequence, there is a complication of the characters’ system, the restructuring of the primordial playwriting and re-montage of the opera score. The scale of the stage narrative does not fit into the author’s timing of a one-act opera, and therefore P. Tchaikovsky’s musical material is “added to the load” with the fragments borrowed from other works of the composer (for example, from “Nutcracker’). All this leads to a violation of the unbreakable ethical law of the “Regio-Theater” − the inviolability of the author’s (verbal and musical) text. The story of P. Tchaikovsky’s creation of his last opera opus is not convincingly staged. Considering the nature of the theater and its expressive capabilities, it is impossible to reveal on the stage the visual equivalent of the creative process and the artist who is in it. Therefore, in A. Zholdak’s play, the actor depicting the composer in the process of working on “Iolanta” performs the row of consistent physical actions, which only demonstrates his professional movement skills, imitating the convulsive-ecstatic tension of the creator. Conclusions. Thus, A. Zholdak attempts “to open” P. Tchaikovsky’s latest opera score by “the key of symbolism” by working with universal ideas and refining hidden meanings. The hints at this grandiose design are the postponement of the opera action in appropriate “epoch” − the end of XIX to the beginning of XX centuries, in the era of active functioning of symbolism in artistic culture, and the emergence of the “Alter Iolanta” as a new character. But the ideas of symbolism do not have their proper implementation. A. Zholdak tries to presents two stories at the same time (blindness, love and insight of Iolanta and the story of P. Tchaikovsky’s creation of the eponymous opera) based on the principles of the novel genre, which leads to the substitution of “the ideas’ history” on “the human stories”. The result is an artistically contradictory stage build up, which provokes conflict interpretative relationships both by the audience and by the professional criticism.

The present study departs from the debates caused by the idea of performers’ faithfulness to composers’ intentions in the context of Western-European type academic music. In the musicological research of the past three decades there appeared significant changes in approaching the relationship between performers and musical texts, which I set out to comment from a performer’s perspective. I wish to outline a few answers to questions posed by the desideratum of faithful interpretation in the performing act of composers’ intentions: ▪ are musical texts faithful mirrors of the works conceived by composers? To what extent can performers know composers’ intentions from reading musical texts? ▪ what is the degree of freedom that performers can assume in interpreting musical texts noted by composers? To what extent are the two requirements of the performing act – respecting composers’ intentions and being creative – compatible? ▪ what does performers’ creativity consist of and how is it manifested? Departing from the premise that the analysis of the relation between composition and research in performing a musical work can supply us with some answers to these questions, I set out to prove that: ▪ performers can be creative without encroaching on composers’ copyright; ▪ the analysis of musical texts opens a wide field for performers, in which their creativity can be manifested by knowing and observing the laws governing the makeup of the performed work.

The article is devoted to the consideration of a polyphonic choral composition as a polycode text, in which literary and musical texts as paralinguistic means contain heterogeneous information and add additional shades to the content of the score, i.e., the musical text as a whole. The novelty of the study lies in the fact that for the first time, synthesizing scientific achievements of linguistics and musicology, the polyphonic forms of a cappella choral works are analyzed as polycode texts. Due to the specifics of the choral art form as a musical and performing art, the nature of the perception of a musical text is multimodal. For performers who ‘decipher’ and ‘voice’ a musical notation, a musical text has one visual mode. For listeners, multimodality characterizes the practice of communication in terms of auditory, linguistic, spatial and visual resources, for example, the auditory mode when listening to a work without a visual range, or a polymodus complex when listening with a visual range. This refers to listening to music while simultaneously viewing the musical text of a work, observing the process of public performance, which in modern practice is often accompanied by a specially selected video sequence. The leading paradigm is the synergy of literary and textual sources and polyphonic form in works for a cappella choir by contemporary Russian composers. Based on the differentiation of the structure of a literary and textual source, the attribution of polyphonic forms of motet, madrigal, fugue and fugato is the subject of the work, while the goal is to form a research picture based on a close ‘polyphonic’ connection between word and music. In polyphonic analysis, it is important to determine the content of choral compositions and the composer’s method of dealing with the structure of a text source. A whole poem can be taken as the basis of a musical work (an example is the text-musical forms of motets and madrigals), one strophe, one line, one word (the analysis of fugato and fugue becomes the evidence base). An interesting case is the use as a text base of a polyphonic composition of individual syllables and phonemes (preludes and fugue-vocalizes) and a ‘silent’ performance - with a closed mouth. Thus, it is proved that the musical text is a complex multimodal complex in which the main information is conveyed by semiotically heterogeneous components. It is concluded that, on the one hand, a literary text influences the choice of a polyphonic form, on the other hand, it is often a static text that does not have an external plot development in the context of polyphonic dramaturgy and form and acquires internal dynamics of development to expand its semantic field.

Under analysis is the issue of notation functioning as a sign system in the process of fixing a musical work, which is relevant in modern musicology. Scientific publications outline various aspects of musical semiotics, but do not highlight the relationship between the specifics of compositional techniques and ways of its rendering. Graphic signs are studied in the proposed article from the standpoint of this relationship which determines the scientific novelty of the results. The purpose of the research is to reveal the ways of graphic representation of the composer’s technique in the musical text on the example of J. Brahms’ Piano Quintet in F minor Op. 34 using semiotic and structural-functional methods of analysis. Results of research. In order to conduct this research, analysis of graphical representation of compositional devices in J. Brahms’ musical text has been done. His characteristic traits of writing include highly developed motivic technique. The composer finds new variants of musical units without changes of their rhythmical parameters or inner interval relations. In works by J. Brahms, variation presupposes such operations on motives, in which the composer changes either their articulation or temporal parameters as a result of shifting musical units in regard to the metric “grid” of the bar. Hence, there have been revealed new functions of the musical notation which becomes an important tool to fix and stabilize the musical work. Conclusions. As the composer fixes his musical intentions, formation of individual graphic sign system occurs; it is based on traditional notation but is marked by different functional and logical connections according to author’s intentions. As a result of this, various slurs, accents, “hairpins”, dynamic marks and their succession become one of the ways, in which composer’s thought acquires graphic representation. The specifics of graphic signs functioning in J. Brahms’ music requires their analysis as semiotic objects and understanding of the rules by which they can be deciphered. These rules cause relations between sign-bearers and their interpretants. Slur with its primal meaning of legato, placed in a new context, becomes a marker of motivic structure. Further joining of the slur with the “hairpin” allows indicating the principal tone, “emphasis” in a motive which influences its articulation. Thus, a circle of interpretants occurring in certain contexts expands.

The relevance of the chosen problem is determined by the lack in the scientific sources of any approach to graphic signs as a system of units of musical text, which reflects its content, and wider – serves as indicator of the individual style properties of the author of the musical work. The purpose of the article is to reveal with specific reference of certain conditions in which the communication of the composer and the performer is carried out by means of understanding the functional and semantic content of graphic signs. The choice of research methods are determined by the existing approaches to reading of the graphic signs and their role in the interpretation process. In this regard we involve the materials of the works of D. Blagoy, A. Sokol, S. Feinberg, M. Venable. Analytical observations concerning disclosure of the functional and semantic meaning of the studied phenomena became the results of the research. The conclusions propose classification of graphic signs in accordance with the purpose of their use by composer. Two groups of graphic signs are identified: slurs and dynamic signs («<» and «>»), which contain information about the structural and procedural principles of the musical text organization. The interaction of graphic signs with pitch and rhythmic ones has been discovered. In the contextual field of J. Brahms’ piano pieces, graphic signs are intended to warn interpreters against approach to the musical text from the point of view of the usual representations, limited to such considerations as the natural attraction to the reference tones or a strong proportion of tact. The logic of the musical process within a single theme or a phrase may be subject to other laws in Brahms’ musical texts, which are conditioned by the movement of the interior meaning. Thanks to graphic signs, the rhythmic structure of the theme reveals certain measure of freedom due to alternating strong and weak beats, and in the texture – certain temporary independence of voices in relation to each other. Thus, graphic signs in J. Brahms’ piano pieces are not additional, but decisive factors in many ways for understanding of the composer’s thought, which allows us to see in them some special form of manifestation of the author’s stylistic properties.

The purpose of the research is to reveal the issues that highlight the status of the quotation in the musical text, as well as the problems of identification, recognition and readability of quotations of different types; to investigate the perception of the quoted material as another, alien in the flow of the author’s speech, which is the essence of the quotation. Identification of a quotation, problems of its readability and recognizability, the semantics contained in the quotation, including in the text the meanings of “others”, and “other texts” and building an intertextual strategy in the process of perceiving the text with the implementation of fragments of other texts have not been sufficiently and incompletely studied, and the results of these studies have not been properly systematized. The research methodology. Some methods are involved for the optimal solution of the tasks, among which the main ones are the source, systematic, comparative and terminological. The scientific novelty of the research. For the first time in Ukrainian musicology, the text-creating potential of quotations in a musical work is characterized, their status is determined, and the main types of quotations in music are described. Conclusions. The quotation in music is an effective means of diversifying the text of the work, enriching the meanings used, and adjusting the meanings formed. Taking into account the provisions of modern receptive poetics, we state that the quotation should be considered the textual material that is perceived by the listener as different from the main material of speech, alien in style, type of transmitted meanings or semantics, as a carrier of a different functional and stylistic code. The issues of readability of the quotation and its identification are important. Therefore, the appropriate and accurately readable form of quotation is put forward to the forefront in the perception of musical works with quotations.

A Bus Crew Scheduling Problem with Eligibility Constraints and Time Limitations

Complex structures of the virtual in the formation of an associative-figurative plan of a musical work

Introduction. The article highlights the need to transform the traditional educational model of training future music teachers in higher educational institutions, which, based mainly on receptive-reproductive approaches, does not provide sufficient opportunities for students to develop the ability to interpret the metaphorical meanings of musical texts; the need to integrate modern studies of music pedagogy, musicology, music studies, musical hermeneutics, semiotics and semasiology is emphasized. Purpose. Research of the ability of future teachers of musical art to recognize the semantic typology of musical signs, to determine the hidden possibilities of textual analysis as intoned meaning and its role in the process of improving professional training. Methods. A series of analytical tasks, which involved listening to fragments of musical works in order to recognize iconic signs, index signs and symbolic signs according to the types of musical intonations; conversation, observation. Results. The average indicator of the ability of future music teachers to recognize the semantic typology of musical signs is insufficient (38.4 %), in particular: recognition of index signs is 42.8 %, icon signs – 41.9 %, symbol signs – 30.4 %. Originality. The proposition is justified that the ability of future music teachers to determine the semantic logic of intoned movement in a musical text, the level of their mastery of the rules of musical speech, knowledge of musical syntax (awareness of the location of a musical sign in a phrase, the meaning of this phrase in the theme) illustrates the understanding of the relationship in the text of a musical work of musical signs, the dominance of a certain sign from the point of view of the nature of filling with semantic meaning; understanding of modification, transformation of a musical sign according to the context. Conclusion. The creative interaction of the future music teacher with the musical text, as opposed to the reproductive reproduction, has advantages and proves the focus on the meaningful interpretation of the musical work and the setting for a dialogical “conversation” with the text. The results of the empirical study prove the need to rethink approaches to interpretation and understanding of the essential meaning of signs in a musical text in the process of professional training.

The variants of translations of the poetic lyrics of Richard Strauss’s song Zueignung, Op. 10 No. 1 (to Hermann von Glim’s poem, 1885) into Lithuanian, done in the Soviet era and kept in the archives of the Lithuanian Radio and Television (LRT), testify to the negative influence of the translation process on the interrelationship between the poetic and musical texts in respect of the original piece. The methodology of comparing the original and translated lyrics used in the research revealed considerable interlinguistic and intralinguistic differences emerging after the lyrics had been translated into Lithuanian. In the analysis of translations of the texts of Strauss’s song Zueignung, Op. 10 No. 1, the authors relied on the model of translation criticism by Christiane Nord (1991, 2005). Based on it, several translation tactics applied intuitively by the Lithuanian translators in the process of the translation of the lyrics were observed. We refer to Vinay and Darbelnet’s indirect translation method (1958), Recker’s all kinds of translation transformation (1950), and Nord’s three-phase model (1991). It was impossible to identify the specific methods that the translators used in the translation of the verbal texts as the competence of a researcher into translation studies is required in order to establish such facts. The analysis of the translation variants of the poetic lyrics of Strauss’s song Zueignung led to the conclusion that in the translation process, the translators frequently changed the verbal syntax of the Lied, which contradicted the situations of rhetorisation of the musical syntax and the musical text. The results of the research prove that, from the point of view of the coexistence of the verbal and the musical texts, in quite a few cases automatic adaptation of the translated text to a stable musical text leads to the situation when musical works of the Lied genre can no longer function adequately. The reason for this is the discrepancy between verbal and musical syntaxes and their semantic meanings, which contradicts the idea of a meaningful interaction between the composer’s two texts. After translating a verbal text into another language, a Lied-type composition can convey the composer’s idea only in the presence of a harmonious structural and meaningful interaction between the two texts.

The relevance and scientific novelty consist in considering a new concept of derivation in the context of musicological researches. They concern the issues of the procedural formation of the composition of a musical work, as well as the comparison of M. Aranovsky's term with the idea of “metamorphosis”. It is this notion that has become widespread in the composing practice of the 20th–21st centuries.Research methods: systemic — consideration of general positions in works of musicologists about the problem of procedural formation of the composition, their classification, which allows to determine the basic mechanisms how to form the musical text, and gives the opportunity to determine the place of “derivation” in this area. Functional — analytical study of the revelation of this principle with the help of deterministic means of expression on the example of “symphonic metamorphosis” by T. Conroy. Comparative — a comparison of the compositional entire of the original play by K. M. Weber and the orchestral suite of the American composer, it permits to identify the characteristics of the principle of derivation, for its further correlation with the concept of metamorphosis presented in the title of the work.Conclusions of the study demonstrate that the essence of the derivation principle best reflects the mobile nature of the deployment of musical text. It is natural that this term is in line with the procedural concepts of theoretical musical research, which are focused on the study of the fundamental principles of the formation of the composition of a musical work. According to the content of M. Aranovsky's term, we consider this phenomenon from the standpoint of the universal category of change, proposed by N. Goryukhina. In the presented context, this concept can be correlated, as a kind of generalizing principle, with a number of terms for the development of musical material, in particular the composer's concept of “metamorphosis”, since in this phenomenon the principle of derivation, in our opinion, gets the clearest expression. This is evidenced by the results of a holistic analysis of “Symphonic Metamorphoses on the Theme of K. M. Weber” (2006) by the American composer T. Conroy. The musical text of the orchestral work embodies its main idea — the idea of change, through thematic and structural changes that lead to the transformation of the borrowed piano duet, as the initial seed, into a symphonic suite consisting of six parts (change of genre, structure of composition), modification of its original sounds (thematic, modal changes). This expresses, on the one hand, the idea of the composer, indicated in the title of the work — “Metamorphoses”, and on the other hand, the fundamental principle of M. Aranovsky's derivation is manifested. The universal nature of its functioning makes it possible to use this concept to designate multilevel changes of the borrowed original source of K. M. Weber in the musical text of T. Conroy's symphonic suite, which reveals the fundamental meaning of this term when considering the phenomenon of “metamorphosis” as the embodiment of the idea of modification corresponding to the variable, the procedural nature of the musical art. This indicates the prospect of further research.The scientific novelty of the article lies in the consideration of new, actual phenomena of musical art (metamorphosis, derivation), comparison of the characteristic features of their functioning in the composition of a musical work

The article analyzes the phenomenon of somatic intelligence as a central mediator between the musical text and the emotional experience embodied in performance. It addresses the corporeal nature of musical thinking, emphasizing that the interpretation of a musical work is not merely an analytical act but a deeply embodied and emotionally charged process. Using an interdisciplinary approach, the study integrates methods of performance analysis, phenomenology, emotional intelligence theory, and contemporary frameworks of embodied music cognition. Special attention is given to articulation as an external manifestation of the performer’s emotional intention. The purpose of this article is to outline the concept of somatic intelligence as a key link between the musical text and the expressive-emotional dimension of performance. Somatic intelligence is examined in relation to the musician’s emotional and cognitive intelligences, forming a triad of interrelated components of interpretative activity that directly influence the articulation of sound.This threefold perspective allows for a description of the body, affect, and consciousness as integrated, interdependent domains that shape the nature of musical gesture. Scientific novelty.For the first time in Ukrainian musicological discourse, the study offers a systematic interpretation of the musician’s somatic intelligence as a distinct entity situated between emotional and cognitive intelligences, which directly shape interpretative strategy. The article proposes a model of body– text interaction as a productive framework for analyzing the performance process, wherein the musician’s body functions not as a passive tool of technique, but as an active transmitter of meaning and emotional states. As a result, the study reveals mechanisms through which the musical text is transformed into emotionally colored sound via bodily articulation (breathing, gestures, muscle coordination) as key tools of interpretation. It is demonstrated that the concept of somatic intelligence allows for a new understanding of performance, integrating bodily sensitivity, emotional experience, and interpretative thought into a unified artistic system.