Аннотация
“Interpretation” in musical performance is one of the most frequently used concepts and has a fairly wide context of application. This article examines the communicative, structural-semantic, and stylistic factors related to the polysemy of the analyzed concept.The methodology is determined by the peculiarities of studying the structure of performance interpretation. The theoretical basis was the works of both domestic and foreign musicologists, focusing on the methods of musical performing arts and, in particular, violin performance, as well as historical and music theory works. Methods of comparative historical, typological, holistic, stylistic and performance analysis were used.Three main factors contribute to the polysemy of interpretation in performing musical art: communicative, structural-semantic and stylistic. The specificity of the communicative factor is manifested in the subjective orientation of performing activity towards the objectivity of the composer’s intent, influencing the choice of expressive tools and conceptual content. The structure of interpretation is presented as the organization of a complex of expressive performance tools at three main levels: phonic, syntactic and compositional (Nazaykinskiy). In parallel with this organization of musical language and speech tools, a content level appears, at three successive stages of which the development of artistic images forms the plot, and its final development leads to the expression of the author’s concept. All expressive performance tools and content components involved in creating a performance interpretation possess qualities of style specificity that manifest at various levels of style.Various combinations and interactions of expressive tools within the noted factors of interpretation ambiguity – communicative, structural-semantic, and stylistic – provide artistic features and the degree of individuality of the performance interpretation.