Abstract
The article analyzes the performative actualisation of a musical work, understood as a complex communicative act based on the dialectical interaction between the composer (author) and the performer (interpreter). The central mediator in this system is the artistic text, usually represented by the musical text (score). The author emphasizes the dual function of the score: on the one hand, it serves as a channel for transmitting the author's intention — a set of conceptual, structural and sonorous aspects of the artistic and figurative idea, encoded by means of the semiotic system of musical notation (fixing pitch, rhythm, tempo, dynamics, etc.). On the other hand, due to the inevitable semiotic limitation and internal incompleteness of notation, which is unable to record all the nuances (agogics, dynamics, timbre, microdynamics, touché) with absolute precision, the musical text (score) becomes a dialogue space. This incompleteness necessitates the active interpretative activity of the performer, who is not a passive relay, but an active subject who decodes, hermeneutically comprehends, and sonically recreates (actualizes) the author's intention. Thus, the musical text sets the normative framework but requires creative replenishment. The relevance of the study of this communicative system is justified by its fundamental significance for understanding the ontological status of music, the mechanisms of listener perception, the dialectics of the correlation between the author's intention and performer's freedom, as well as rethinking the role of the performer as a subject of interpretation, conducting a dialogue with the text and the author.