A communicative strategy as an important issue in interpretology
The aim. The paper is meant to study the experience in actualizing the notion of communicative strategy which explains the essence of communicative transformations in musical art of the contemporary times. Research methodology. The notion of communicative strategy is used in such areas as general and cognitive linguistics (T.A. van Dijk, O. Issers, N. Maksimova, A. Maslova, D. Pavlov), translation theory (T. Volkova), sociology (A. Bieloshapkin, S. Datsiuk), philosophy (T. Baigina), and pedagogy (Ye. Omelchenko). The author uses the methods of humanitaristics and interpretology (M. Najdorf, L. Berezovchuk, V.Moskalenko, A. Amrakhova, L. Shapovalova). Results. A composition as a semantic space of meanings and senses presumes their decoding when being perceived or comprehended. However, any composition also represents a communicative space, and it becomes a communication space as such. The concept of communicative strategy explains how correlate communication and interpretation. The interpretologic approach is focused on a personality – a subject of music – Man playing music. The variety of his modes is gathered into the system: Man intoning – Man contonating – Man articulating – Man interpreting. This cognitive model is supported by examples in the creative work of V. Silvestrov, Sh. Palestin, A. Gugel. By means of certain communication mechanisms, homo interpretatus is able to change the field of sense which appears in the “text-composition” system. It is an urgent matter to choose a communicative strategy which, in the enlarged sense, means a way of communicating a sense, a mandatory choice of a communication vector (in the “composer-interpreter-listener” system). In the strict sense, comprehension of this category presumes specifying of its content which is meaningful in relation to the Other (a composer, performer, listener). This position forms a value system in such communicative forms as a composition, performance, perception, and interpretation. The research results demonstrate a unity (universalism) of sense-forming mechanisms in the context of different strategies. The author’s definitions are offered in the paper. The composer’s strategy is an interpretation on the level of the idea that a text is being addressed (to other subjects of communication, to the Other as to a subject of communication). The performer’s strategy (interpretation of the Other’s idea as a subject of addressing of the sense) is a type of communicative strategies directed at organising an acoustic (sound) form of a musical composition, modal by its nature. A performance process has such variable components as tempo-rhythm, articulation and dynamic scales, agogics, and sometimes a texture of presentation. The author defined several performer’s strategies, namely “guarding”, actualizing; modelling (in interactive events), audio-visualizing; contonative. The listener’s strategy is an interpretation of a sounding performer’s text as a sense-bearing and modifying communicative space. Finally, the hermeneutic strategy involves an interpretation of a communicative act (J. Habermas) as a correlation of the speech and non-speech contexts. Thus, communicative strategies are various ways of existence of the interpretive thinking of homo interpretatus meant to create a communication space (out of a text, inside the text) which results in a new space of sense. Novelty. The notion of communicative strategy is a basic concept and cognitive mechanism in the interpretative theory of musical communication. Its semantic extent unites subjects of relations and their value orientations into a whole system. Home interpretatus is not just a subject of performance activity, but also a landmark reflection of a man of culture in contemporary times and, accordingly, a mode of its cognition. Practical significance. The practical aspect of the research involves defining of the methodological mechanisms which enable studying of various processes in the contemporary times art