Musical Communication Research Articles

Contemporary Summer Village Assemblies in Central Serbia and (Generational) Performative Practices of Older and Newer Rural Vocal Layers

For the present day middle-aged and older village singers in the Šumadija region in central Serbia rural singing festivals are quite popular events: these are occasions for local communities to share their enthusiasm and to communicate through songs, sharing the elements of tradition they all consider theirs, inventing new lyrics to well-known traditional melodies (’standards’), socializing, and confirming their friendships based on pure satisfaction in common singing. On such occasions there appears an opposition in relation to Serbian old and new traditional vocal rural layers (see more for ex. Petrović and Jovanović, 2003, Golemović, 2016). Namely, for village middle-aged and older singers, the main common means of expression are recent or newer rural singing with structural elements closer to the European ones. Old-time rural singing, with its second chords in two-part texture, non-tempered scales, more hermetic in character, shows differences between regional local traditions, and hence has not been regarded as a common way of musical communication for village singers. On the other hand, younger neotraditional singers, in professional or amateur ensembles mostly from towns and mostly conducted by ethnomusicologists, have been devotees of old-time singing as a strong endemic musical device, rich in musical, ethical, and expressive sense. At the festivals they sing such songs to awaken and demonstrate their value in the settings where they are already lost from living practice. This paper is based on the principles of applied ethnomusicology, on long-term fieldwork and on scholarly researches in Šumadija, as well as on personal performing and teaching experiences.

Ukrainian folk instrumental ensemble music-making in the historical process

Statement of the problem. The ensemble is a type of collective musicmaking that dates back to ancient times and is an integral factor in the spiritual life of any nation. For Ukrainian culture, the traditions of the folk-instrumental ensemble have always been important, because they were associated with labor and ceremonial-ritual functions in society, people’s daily life, and secular forms of musical art. The article singles out significant elements of the process of academicization and chamberization of accordion ensembles in order to determine the characteristic features of Ukrainian folk-instrumental professionalism in ensemble music-making. In this context, the phenomenon of creative activity of “triple musicians” is highlighted, as a significant type of Ukrainian ensembleinstrumental performance. Special attention is paid to the crystallization of ensemble functions, and to the definition of the characteristic features of the Ukrainian harmonica and bayan culture. The bayan began to be introduced into European chamber-ensemble instrumental music only in the last decades of the 20th century; hence, the phenomenon of academization and chamberization of bayan ensembles is understudied, which determines the relevance of the research topic, prompting to make sense of their place in the general historical and stylistic process of ensemble music-making. The purpose of the article is to determine the characteristic features of Ukrainian folk-instrumental professionalism in the field of ensemble musicmaking, in order to popularize this type of performance in the Ukrainian national tradition. Recent research and publications. Relevant to the topic of the article is Yu. Loshkov’s work “Harmonica in Ukraine”, where “the specifics of harmonica performance in various spheres of domestic musical culture of the second half of the 19th and early 20th centuries” are determined (Loshkov, 2014: 238), and Igor and Liudmila Sniedkov’s article devoted to the Kharkiv bayan school (Sniedkov & Sniedkova, 2021), which contains information about the features of ensembles with the participation of the bayan. In M. Pliushchenko’s dissertation (2021) on timbretextural specificity of bayan and accordion transcriptions by Kharkiv composers of the late 20th – early 21st century, the parameters of Ukrainian instrumental and folklore professionalism are singled out. The scientific novelty of the presented study lies in emphasizing the role of folk-instrumental ensemble music-making in the historical-stylistic process and its peculiarities in Ukraine. Research results. The evolution of harmonica-bayan ensembles took place at first outside the traditions of classical chamber ensembles. The genesis of harmonica-bayan ensembles is closely related to the folk-instrumental tradition. In the aspect of the further movement of accordion ensembles towards academicization, as historically the first, such genetic and stylistic folklore features should be defined: the professionalism of instrumental ensembles since ancient times, which contributed to the further improvement of organological qualities and the development of ensemble playing; tendency towards individualization / differentiation of performers’ personalities (ensemble voices, in particular, in “triple musicians”); improvisational presentation of themes and theatricalization of musical communication. Conclusion. Collective musical performance has its roots in the ancient instrumental folk tradition. In the historical-stylistic process, genetically the first forms of collective music-making related closely to folklore instrumentalism were developed. With the obvious difference between folklore and academic types of music-making, there are also linked, tangential functions and properties of instruments. In the second half of the 20th century the bayan quickly assumed the position of both solo and ensemble status due to academicization and subsequent chamberization. These processes were related not only to folk instruments (bayan, domra, balalaika, bandura, whose classification as “folk” today does not correspond to the essence of their socio-cultural existence), but also to historically established accomplices of chamber-ensemble genres – violins, pianos, brass, percussions. And therefore, each new generation of musicians-performers on folk instruments has a need to research the mentioned tradition with the aim of further implementation of individual instrumental-folkloric segments into modern author’s compositions.

Is the collective listener a passive recipient or a creator of ideas? (about the intentional dimension of music performance

Relevance of the study. The proposed research is determined by the realities of the musical society, they are characterized by the active inclusion of collective listening acceptance in the creation of modern musical projects. The lack of a musicological base determined the strategy of understanding the process of communication in music in the perspective of the achievements in the current communication theory. The ideas of the theory of communication developed by American and Canadian scientists Marshall McLuhan, Harold Innis, and John Durham Peters became the theoretical support of the presented considerations. Communicative strategies of the Socratic-dialogic and evangelical-dispersive type receive scientific approval in the research in the musical and communicative sphere.
 Main objective of the study is to substantiate of the hypothesis about the nature of musical communication as an act of collective (composer, performer, listener) sound-intonation intentionality, where the creativity or passivity of the reaction of the collective listener directly depends on the performance creativity.
 The discursive understanding of the role of the collective listener in music is carried out using the complex methodology of scientific knowledge, which combines the methods of theoretical generalization, discourse analysis, comparative studies and empirical observations.
 Results. For the first time, the definition of musical communication is formulated as a process that unites its participants with the desire (conscious or not) of spiritual development by immersion in acts of musical and intonation creation. Emphasis is placed on the function of individual intentionality of the musical and performing component in communicative processes. The author's definition of an individual musical and performance style as a system of expressive means corresponding to the specificity of the performer's musical worldview has been spread. This system, while maintaining its integrity, functions as a supporting factor for the re-intonation of various compositional styles and a guarantor of auditory co-intonation in musical communication processes. Empirical testing of the theoretical generalizations presented in the proposed research is based on the personal professional experience of the author.

개정 2015 중학교 음악과 공통교육과정과 기본교육과정 및 음악 교과서 생활화 영역 비교⋅분석

Objectives In this study, we compared and analyzed the educational content of the common curriculum, the basic curriculum applied to students with difficulty in applying the common curriculum, and the educational content of the music textbook accordingly, and the revised 2022 middle school music basic curriculum and music textbook should move forward. It aims to discuss the direction to be taken. Methods Revision 2015 Comparison and analysis of the curriculum competencies, goals, content system, achievement standards, and music textbooks of the characteristics of the middle school common curriculum and the basic curriculum, which are special education curriculums, and the music textbooks according to them, centered on common themes in the area of daily life, and revised 2022 middle school This is a literature analysis that presents implications for the direction that music textbooks and basic curriculum of music should go. Results Musical sensibility, creative convergence, and musical communication competency were presented as the curriculum competencies of the nature of the curriculum, but the cultural community competency and self- management competency presented in the common curriculum were excluded from the basic curriculum. In terms of goals, it was found that there was no significant difference in the direction pursued by the two curricula. Although there are differences in the way content systems are expressed, there is no significant difference in terms of core concepts, generalized knowledge, and functions. However, in terms of learning elements, music and industry in the common curriculum and Korean traditional music elements in the world were excluded from the basic curriculum. Looking at the achievement standards and explanations of the common curriculum and the basic curriculum, the two learning elements of the basic curriculum can be interpreted as being included in the category of music and events, which are learning elements of the common curriculum. In other words, the basic curriculum did not fully reflect the educational contents of the common curriculum. Conclusions Revision 2022 Middle school special education music department curriculum and textbooks should be revised based on educational contents that all students can learn equally. In addition, it is necessary to reflect the degree of disability and the characteristics that reflect the characteristics of students with disabilities so that they can live an independent and happy life by raising the quality of life by making music a part of life after graduation.

Communicative Musicality, Learning and Energy: A Holographic Analysis of Sound Online and in the Classroom

The sonic environment of learning presents an opportunity to study the space of social relations as energetic dynamics. Like all communication, sound requires energy both to create and to process. In recent years, the field of ‘communicative musicality’ — an interdisciplinary field connecting ethology, sociology, and psychology — examines social relations in their sonic context. Analysing the sonic environment has become more important (and more feasible) with increasing activities online during the pandemic. We present a comparative analysis of the sonic environment considering the sonic differences between face-to-face encounters, Zoom lectures, and online gaming. Our analysis measures the Shannon entropy of Fourier transforms of the sound spectrum to produce fractal representations of sonic episodes from contrasting educational situations. We consider how these fractals connect the physics of the environment with physiology of individuals observing and acting with each other in techno-educational contexts. As an index of the ‘between-ness’ of observing systems, our analysis points to a correlation between the coherence of patterning in sound and learning experiences. With its focus on social relations and technology’s environmental effects, this analysis well-suits postdigital concerns for the contingencies and uncertainties surrounding socio-technical systems in education.

MUSIC AND TRANS CULTURALISM: ANALYZING THE ROLE OF COKE STUDIO MUSIC IN PAKISTAN

This research study assesses the significance of music as a cultural component of society. Coke Studio in Pakistan is producing and releases music that has traditional and modern appeals for people of all ages. The study implies the theory of cultivation and musical communication as a conceptual framework to analyze the role of Coke Studio Music in trans-culturalism. The methodology of research is based on data collection through a cross-sectional survey employing a structured questionnaire. Data from the university students was collected through random sampling technique. The results show that Coke Studio is introducing genres with ancient roots. It is presenting classical and historic traditions through a transfusion of modern elements which is appealing to youth. Respondents are said to believe that Coke Studio is producing new sounds and enriching Pakistani traditional music by merging it with modern music, including eastern classical, Folk, Qawwalii, Bhangra, Sufi, contemporary Hip Pop, Rock and Pop music. Keywords: Music, Cultural Component, Trans Culturalism, Transfusion, Coke Studio

Babysong revisited: communication with babies through song

AbstractThe Babysong Project arose out of the Baby Room Project and its aims included supporting baby room practitioners to develop ‘communicative musicality’ (Malloch & Trevarthen 2009), extending research knowledge about baby room practices and helping practitioners to explore opportunities to question and adapt their own ways of working with babies in their care. Six years on, we reflect on the project and consider the significance and sustainability of what might have been achieved. We also probe whether there are further areas for development. We conclude that while there were many positive outcomes, we recognise the challenges of sustaining and nurturing the confidence of practitioners and the desirability of addressing the organisational aspects of the initiative to promote the embedding of practice. There is a real necessity for such projects, often involving radical challenges to previously held attitudes and practices, to be funded over longer periods of time. We also acknowledge the rich, untapped potential of using song to connect with families and carers.

Graduate studies in acoustics at Northwestern University

Northwestern University has a vibrant and interdisciplinary community of acousticians. Of the 13 ASA technical areas, 3 have strong representation at Northwestern: Speech Communication, Psychological and Physiological Acoustics, and Musical Acoustics. Sound-related work is conducted across a wide range of departments including Linguistics (in the Weinberg College of Arts and Sciences), Communication Sciences & Disorders, and Radio/Television/Film (both in the School of Communication), Electrical Engineering & Computer Science (in the McCormick School of Engineering), Music Theory & Cognition (in the Bienen School of Music), and Otolaryngology (in the Feinberg School of Medicine). In addition, The Knowles Hearing Center involves researchers and labs across the university dedicated to the prevention, diagnosis and treatment of hearing disorders. Acoustics research topics across the university include speech perception and production across the lifespan and across languages, dialects and socio-indexical properties of speech; sound art and design; social and cultural history of the sonic world; machine processing of music; musical communication; auditory perceptual learning; auditory aspects of conditions such as concussion, HIV, and autism; neurophysiology of hearing; and the cellular, molecular, and genetic bases of hearing function. We invite you to visit our poster to learn more about the “sonic boom” at Northwestern University!

Magnetoencephalography Hyperscanning Evidence of Differing Cognitive Strategies Due to Social Role During Auditory Communication.

Auditory communication is an essential form of human social interaction. However, the intra-brain cortical-oscillatory drivers of auditory communication exchange remain relatively unexplored. We used improvisational music performance to simulate and capture the creativity and turn-taking dynamics of natural auditory communication. Using magnetoencephalography (MEG) hyperscanning in musicians, we targeted brain activity during periods of music communication imagery, and separately analyzed theta (5–7 Hz), alpha (8–13 Hz), and beta (15–29 Hz) source-level activity using a within-subjects, two-factor approach which considered the assigned social role of the subject (leader or follower) and whether communication responses were improvisational (yes or no). Theta activity related to improvisational communication and social role significantly interacted in the left isthmus cingulate cortex. Social role was furthermore differentiated by pronounced occipital alpha and beta amplitude increases suggestive of working memory retention engagement in Followers but not Leaders. The results offer compelling evidence for both musical and social neuroscience that the cognitive strategies, and correspondingly the memory and attention-associated oscillatory brain activities of interlocutors during communication differs according to their social role/hierarchy, thereby indicating that social role/hierarchy needs to be controlled for in social neuroscience research.

Musical Affordances and the Transformation Into Structure: How Gadamer can Complement Enactivist Perspectives on Music

AbstractThis paper investigates the phenomenological status of musical affordances through a Gadamerian focus on human communication. With an extra emphasis on Reybrouck’s much-cited affordance-driven theory, I locate fundamental premises in the affordance concept. By initiating a dialogue with Gadamer’s perspective, I suggest a slight yet important shift of perspective that allows us to see an autonomous, transformative, and intrinsically active ‘ideality’ potentially emerging in music. In the final section, I try to demonstrate how Gadamer’s perspective is supported by recent empirical studies on communicative musicality and child development, and allows us to see how protoversions of the transformative ‘ideality’ are already present at the beginning of human life.

Copyright protection of original online music products based on applied statistical mathematics – take music trade network as an example

Abstract With globalization and the rapid evolution of internet, the channels of music communication have become diversified. The communication speed of online music has become faster, and the music-related information is enriched on the internet. However, these positive effects on music communication also increase the complexity of music copyright issues. In face of the great challenges on music copyright issues, this paper takes the online original music works trading platform, namely music trading network as the research object, and uses some mathematical methods, such as statistical theory, power function law and long tail theory, to discuss the copyright protection of the music trading network. Our motivation is to find a way to protect the copyright of original music product so as to stimulate the enthusiasm of musicians, as well as to help find a way to create a healthy original music ecosystem.

Voice Anomaly Detection and Music Website Teaching Design for 5G Internet of Things

Information technology has brought tremendous changes to many industries. 5G and Internet of Things technology have also driven the development of the music industry. Network communication has replaced the traditional method and has become a brand-new method of music communication. An online music instructional teaching website based on Internet of Things is designed, the basic functions of the website are introduced, and a voice anomaly detection system was designed from the landing test, search function test, song display, administrator maintenance, and management of songs. The basic functions of the website were tested in four aspects. According to the needs of music websites, a voice anomaly detection system is designed. The system includes two aspects, namely, an abnormal sound classification system and a microphone array abnormal sound detection system; two music rhythm algorithms are proposed, based on international music detection. The music data of the wrong retrieval platform was tested on two different music algorithms, and it was found that the two different detection methods have different results for different types of music, and the Bossa-Brazil music type has the highest error rate. In order to detect the accuracy of the detection of the abnormal voice system, a comparison experiment of three different voice detection systems was set up under the condition of no noise and noise, to test their experimental accuracy. The music teaching system designed in this paper has the highest accuracy, which can meet most of the requirements and improve the efficiency of music detection. In the design of music teaching, because the music website has rich functions and various products, it improves the effect of online teaching and the efficiency of teaching design. Instructional design is applied to online learning to improve the dissemination of music and art, and high-quality pronunciation is also one of the important contents.

Rhythmic Relating: Bidirectional Support for Social Timing in Autism Therapies.

We propose Rhythmic Relating for autism: a system of supports for friends, therapists, parents, and educators; a system which aims to augment bidirectional communication and complement existing therapeutic approaches. We begin by summarizing the developmental significance of social timing and the social-motor-synchrony challenges observed in early autism. Meta-analyses conclude the early primacy of such challenges, yet cite the lack of focused therapies. We identify core relational parameters in support of social-motor-synchrony and systematize these using the communicative musicality constructs: pulse; quality; and narrative. Rhythmic Relating aims to augment the clarity, contiguity, and pulse-beat of spontaneous behavior by recruiting rhythmic supports (cues, accents, turbulence) and relatable vitality; facilitating the predictive flow and just-ahead-in-time planning needed for good-enough social timing. From here, we describe possibilities for playful therapeutic interaction, small-step co-regulation, and layered sensorimotor integration. Lastly, we include several clinical case examples demonstrating the use of Rhythmic Relating within four different therapeutic approaches (Dance Movement Therapy, Improvisational Music Therapy, Play Therapy, and Musical Interaction Therapy). These clinical case examples are introduced here and several more are included in the Supplementary Material (Examples of Rhythmic Relating in Practice). A suite of pilot intervention studies is proposed to assess the efficacy of combining Rhythmic Relating with different therapeutic approaches in playful work with individuals with autism. Further experimental hypotheses are outlined, designed to clarify the significance of certain key features of the Rhythmic Relating approach.

Improved Feature Pyramid Convolutional Neural Network for Effective Recognition of Music Scores

Music written by composers and performed by multidimensional instruments is an art form that reflects real-life emotions. Historically, people disseminated music primarily through sheet music recording and oral transmission. Among them, recording music in sheet music form was a great musical invention. It became the carrier of music communication and inheritance, as well as a record of humanity's magnificent music culture. The advent of digital technology solves the problem of difficult musical score storage and distribution. However, there are many drawbacks to using data in image format, and extracting music score information in editable form from image data is currently a challenge. An improved convolutional neural network for musical score recognition is proposed in this paper. Because the traditional convolutional neural network SEGNET misclassifies some pixels, this paper employs the feature pyramid structure. Use additional branch paths to fuse shallow image details, shallow texture features that are beneficial to small objects, and high-level features of global information, enrich the multi-scale semantic information of the model, and alleviate the problem of the lack of multiscale semantic information in the model. Poor recognition performance is caused by semantic information. By comparing the recognition effects of other models, the experimental results show that the proposed musical score recognition model has a higher recognition accuracy and a stronger generalization performance. The improved generalization performance allows the musical score recognition method to be applied to more types of musical score recognition scenarios, and such a recognition model has more practical value.

Swinging the Score? Swing Phrasing Cannot Be Communicated via Explicit Notation Instructions Alone

Jazz musicians usually learn to play with “swing” phrasing by playing by ear. Classical musicians—who play more from musical scores than by ear—are reported to struggle with producing swing. We explored whether classical musicians play with more swing when performing from more detailed swing notation. Thereby we investigated whether a culturally specific improvisational social procedure can be scripted in detailed music notation for musicians from a different performance background. Twenty classical musicians sight-read jazz tunes from three styles of notation, each with a different level of notational complexity. Experienced jazz listeners evaluated the performances. Results showed that more score-independent classical musicians with strong aural abilities played with equally strong swing regardless of notation; more score-dependent musicians swung most with the medium-complexity classical notation. The data suggest that some higher-level swing features, such as appropriate articulation, event durations, and deviations from a beat sequence can be communicated to a limited extent using written instructions. However, their successful implementation in performance depends on matching instructional complexity to a musician’s skill at decoding and interpreting unfamiliar information. This link between decoding skills and cross-cultural performance makes our findings relevant to ethnological and musicological studies of musical communication processes and perception-action coupling.

Ethnic Piano Rolls in the United States: Between Folk, Foreign and National Music

A small part of piano rolls among the thousands of rolls in the United States were published for local ethnic communities. These piano rolls were never collected and have not been researched either historically or musicologically. Only a few articles in academic journals or chapters in scholarly books on this topic have appeared in the last decade. As such, this opens a new field of research, one still neglected and underappreciated. After some investigation, it is clear that many 'ethnic' piano rolls are unique, not found on other recorded media such as phonograph cylinders or gramophone discs. Here we can find not only music, but an old language used by immigrants too. U.S. 'ethnic' piano rolls expand our knowledge of musical history and technological and sociological developments, revealing intensive musical communication, musical migration, influences, and contaminations between local ethnic societies, countries, and even continents. This article aims to formulate the main concept of 'ethnic' piano rolls, to describe the music encoded on them, and to explore avenues for future research.

A theoretical framework for the use of music therapy in the treatment of selective mutism in young children: Multiple case study research

ABSTRACT Introduction Selective mutism (SM) is an anxiety disorder that affects some children when they begin school. If left untreated the long-term impact can include complex, debilitating mental health conditions. The usual presentation is lack of speech in the education setting, contrasting with confident speech at home. Prevalence is estimated at 0.7% but can be three times higher for children who are immigrant second language learners. There is some evidence to suggest that music therapy is helpful but a deeper understanding is needed. This study aims to develop a new theoretical framework for the use of music therapy for young children with SM. Method The paper reports on multiple case study research of music therapy for six children with SM aged 3–5. Template analysis combining inductive and deductive enquiry is used to revise and develop the framework. Results The six case studies describe contrasting paths into speech. Four key domains – Approach; Therapeutic Process; Interconnected Elements of Music Therapy; Context – were necessary to clinical practice across cases, and are presented in detail in the final theoretical framework. Music therapists bring many useful skills, with musical communication established as an empowering tool for alleviating SM. Discussion The framework provides the theoretical basis for comprehensive guidance for music therapy with young children with SM. An open, flexible, multi-modal approach, integrating teamwork and considering transdisciplinary practice, is indicated. The need for SM training for music therapists and the potential role of music therapy on the care pathway for SM is demonstrated.

Musical Communication in the Aspect of Rhetorical Canon

Within the focus of the authors’ scholarly interest is the rhetorical canon, which was absorbed within the specific features of intercultural interaction of the “transmitter” of the artistic information and its “recipient” carried out within the art of music. Expressing their solidarity with the position according to which the rhetorical art presents a form of human communication, the authors presume that it is particularly the rhetorical canon in the triunity of Ethos, Logos and Pathos shall make it possible to study in all completeness the process of musical communication, stipulating the acquisition of personal meaning by the actors engaging in cooperation with the composer. Since every artistic discourse in reality tends rather to reflect the speech activity of its creator, corresponding to that national picture of the world to which it belongs, rather than to reality, it must be acknowledged: such a text initially presents itself as rhetorically organized. Such an approach turns out to be true in all circumstances, even when the creator expresses doubt concerning what he had thought previously about the rules of the rhetorical art at the moment of creation of his work. Noting the importance, in the conditions of musical communication of the musical text, by means of which the composer’s speech utterance is the transmitter and with which subsequently the participants of the communicative act interact, it becomes important to supplement the triad of “composer – performer – listener” with yet another link – the musical text. This results in the succession of: composer → text1 ↔ performer → text2 ↔ listener → text3. It is emphasized that in the resulting scheme of: text1, text2 and text3 – it remains all the same musical text, which differs from the original, first of all, by the type of speech (in the case of the composer it involves written “speech,” in the case of the performer it is oral, and in the case of the listener it may be perceived also as visual “speech,” acquiring the status of a written utterance and actualized oral or written verbal speech, as well as speech cognized on the level of the plasticity of the human body, etc.); and, second, by tints of meaning, which, being a subjective phenomenon, acquires an intersubjective character during the process of communication.

IMAGE FUNCTIONS OF REPRESENTATIONS OF TIME AND SPACE IN THE MUSIC-CREATIVE PROCESS

The purpose of the research is to develop the concept of image temporal representation in music as concrete-compositional and conditionally alienated, to reveal the prerequisites for the actualization and symbolic expression of the temporal nature of music, and to define the main figurative connections - temporal vectors of musical time. The methodology of the work is determined by a combination of philosophical-aesthetic and textological musicological approaches, with an emphasis on the typological aspect of semantic characteristics. A certain psychological perspective of musicological concepts that relate to the process of musical influence and perception is revealed. The scientific novelty of this article is due to the discovery of temporal vectors of the musical text in a specific composition and in music as a whole as an intertextual sphere; it is proved that it is expedient to single out three main types of figurative connections (modalities) that objectify musical movement in time or time that becomes artistic in musical movement. The meaning of the sound image or «auditory intent» in music is revealed as a formative factor that has immanent, psychological, and compositional features, that is, from two sides - human and musical. The conclusions reveal that there is something in musical understanding that is equally essential for all times, that is, it is above the historical specifics and belongs to the imaginary autonomous world of music, its own artistic reality, which exists outside the laws of physical time. At the same time, it is the directly performed musical movement in time, the sonorous form of music with its spatial indicators, that objectifies the main time vectors - figurative connections that acquire symbolic positions. The value of semantic representation through verbal evaluation as the final stage of understanding in music consists in a more representative conceptual and logical integration of figurative content, which contributes to the development of language and speech resources of musical communication. It is especially convincingly revealed in the era of romanticism, but it is supported even after it – precisely as a discussion of the content and meaning of the temporal and spatial organization of music in its various dimensions, as an attempt to understand the mission of musical language.

ARTISTIC INTEGRITY OF MUSICAL-PERFORMANCE INTERPRETATION AND SEMANTIC OF PIANO SOUND

The purpose of the research is to reveal the meaning of the phenomenon and the concept of artistic integrity in relation to musical and performance interpretation, in particular in connection with the semantics of piano sound, that is, with the procedural and sound side of piano music. The methodology of the work is determined by the unity of the system analysis and the semantic approach, it involves the deepening of interpretological evaluations and performance-style characteristics. Scientific novelty is determined by the disclosure of the concept of artistic integrity to clarify the actual content of the style-making process and the very phenomenon of style as an expression of the creative intentions of personal consciousness; to clarify the concept of musical semantics as a phenomenon that arises in a complex-dialogical way and exists in its own conceptual-nominative plane; to determine the specificity of musical and performing creativity and the artistic purpose of performing interpretation - in its originality and difference from composer or traditional listening. Conclusions. Involvement of the category of artistic integrity in the study of the process and results of music-performance interpretation allows deepening of theoretical approaches to musical semantics as related to the sound-making tools of musical art, at the same time it contributes to a more consistent and systematically ordered study of performance interpretation itself as aimed at meaningful dialogues of the highest level and capable of to create new cognitive and value contexts by means of musical communication, and on their own sound-organizational, figurative and meaning-making principles. Among the factors for achieving semantic unity of interpretation, which becomes a guarantor of its artistic integrity, comprehensive knowledge of the text of a musical work as a historical artifact (to whatever time it belongs) and compositional structure come to the fore. But no less important is the awareness and involvement in the practical implementation of the stylistic thesaurus of performing creativity, which has its own textual and compositional-artifact indicators, and justifiably claims authorship in the field of sounds and meanings.