PERFORMATIVE-IMPROVISATIONAL THINKING IN THE FOCUS OF SCIENTIFIC DISCOURSE

Abstract

The article explores the phenomenon of performative-improvisational thinking as one of the central categories of contemporary musicology. Its relevance is determined by the growing interest in the internal mechanisms of performing activity, which shape interpretive, communicative, and creative aspects of musical art. The study emphasizes that performing thinking is a complex form of artistic cognition integrating analytical, emotional, and imaginative components into a unified creative process. Purpose of the study. The purpose of the article is to generalize scientific approaches to understanding performing thinking and to identify the specific features of performative-improvisational thinking as a distinct manifestation of musical consciousness. The research aims to establish semantic intersections between different theoretical frameworks and to outline the specificity of this phenomenon in the context of modern performance. Research methodology. The research methodology combines analytical, comparative, and system-integrative methods, allowing for the synthesis of various theoretical models – integrative, structural-analytical, interpretological, communicative, intonational, and pedagogical. Each approach reveals a particular facet of the performer’s cognitive and creative activity, from logical analysis and interpretation to imaginative association and pedagogical development. Scientific novelty. The scientific novelty lies in the systematic integration of diverse research perspectives, forming a meta-level understanding of performing thinking as a holistic and flexible phenomenon. The study conceptualizes performative-improvisational thinking as a dynamic and multidimensional process situated at the intersection of performing and compositional activity. It highlights improvisation as a field where intuitive creation and rational organization merge into a single act of musical invention, modeling the performer’s creativity “here and now.” Conclusions. Performing thinking demonstrates a multilayered nature that unites cognitive, emotional, intonational, communicative, and creative-actional components. Its study reflects the shift of modern musicology from the technical aspects of performance toward viewing the performer as a co-creator of musical meaning. Performative-improvisational thinking represents a dynamic mechanism of artistic reflection that embodies spontaneity and structure, freedom and logic, and serves as a model of real-time creative consciousness.