The thesis examines artistic and communicative principles of creative and practical activity of a composer-producer as a subject of modern market foundations of the musical existence. Its specificity is created in compensatory combination of vocal and melodious music of actual national sounding with a range of engaged and entertaining action. Existing experience of musical competitions, festivals and cultural-mass events, including the participation of the author of this work, comes out as an approbation of the indicated approach.
The study substantiates that artistic and communicative parameters of organizational, economically-reasonable activity of a musician-professional are targeted in popular and mass music culture on ideal simply-figurative incentives of a wide range of various actions-events. It shows the signs that provide the existence of the latter ones and define the creativity of a composer-professional in them. It is of particular importance to note that an orientation towards the organizational initiative plays a big role as a key role in cultural-mass performance of the event, up to the formation of artistic individuality which is in the centre of the esthetic entire performance-show.
In the scope of features-functions of a musician-organizer (or co-organizer), the professional-organizational skills-knowledge are allocated to create productive and effective communication of the specialists, as well as its ability to search for and find financial support. In the generally accepted concept of organizational readiness it forms the decisive quality of the professional fittedness of the musician making up a group for the performance of the event. The emphasis is placed on the musical component of the whole action, which encompasses both the promotion of a prospective novice artist, as well as the choice of the stars of the mass industry, destined and able to embody the corresponding idea of the performance.
The work particularly highlights the representation of a complicated structure in the cultural-mass show industry, in which a musician-organizer, a composer-promoter is able to give out the formative ideas, occupies an independent place of the coordinator of the artistic contribution and technical components of the whole. The reliance on the concept of copyright in the mass-cultural sphere on the educational status of participants is quite essential, although it is carried out, both for musicians, in other criteria than it is represented in academic forms and genres of creative activity.
The driving moment of the organizational and communicative activity of a musician-professional is the support in the musical design of the show spectacle-performance on the nationally verified stereotypes of artistic communications, which for Ukraine are inseparably linked with the forms of the canticle and the ballads-thought, with the religious liturgical practice of revealing national self-consciousness. As a generalization, the singing-tonal activity of artistic expression is singled out in mass cultural events, which gives the musical identity of the whole, behind which there is an elite culture of high pathos, denying the everyday “reduction” of sounding of dynamically-noisy “prose”.
The thesis suggests the activation of cultural developments in the field of art history in the direction of scientific and theoretical service of organizational and conceptual acquisitions of popular and mass culture, for which the artistic and musical component is essential, ensuring the success of appropriate social communications.
Key words: artistic communication, compositional creativity, organizational and structuring activity of a composer in the mass-cultural actions, artistic and communicative parameters of the composer’s creativity, music culture, national type of thinking, vocalism.
