MUSICAL ARTIST'S TALENT STRUCTURE: IMMANENT MUSICAL AND PROFESSIONAL AND ORGANIZATIONAL MODUSES

Abstract

INTRODUCTION According to the intonational concept of B. V. Asafiev, musician's sensory experience is an auditory experience: "... the source, the culture of musical hearing, composing and performing – everything is created and directed as communication of sound and pronunciation of music as sense". That is why, for the analysis of the talent structure of the singer and performer, whose main artistic language is musical and intonational expression, we define musical talent as the semantic basis of the creative process. D. K. Kirnarska in her work "Psychology of Special Abilities. Musical Abilities" offers a phylogenetic model of musical talent that has several levels, hierarchically, from the bottom up, reflecting the path of music and musical talent development throughout human history. These include the following: 1. Intonational hearing is the most ancient layer of musical ability, reflecting a person's inclination for musicality, "the foundation of the ability to decipher the meaning of a musical message and to refer to it". 2. A sense of rhythm is an awareness of the reflexivity of a musical movement that shapes musical time, its emphasis and structure. 3. Analytical hearing – an awareness of the exact sound level in music – is the operating center of musical talent responsible for mastering musical language. 4. Architectural hearing – a sense of the musical text harmony, its proportionality and aesthetic integrity. 5. Musical and productive capacity is the supplier of ready-made "building blocks" for a given activity, the ability to use musical talent for the birth of an artistic product in a certain type of creative activity.