Abstract:

The article explores the features of transmystical communication in the polyphonic-semantic  complexity of music and choreography through the understanding of groove as an intersystem code of the interaction of rhythm and movement. The methodological basis of the article is created by a systematic consideration of music and choreography as autonomous, but interconnected rhythmictemporal artistic systems. The interdisciplinary approach combines musicological, choreographic, and communicative concepts aimed at creating conditions for ensuring the polyphonic and semantic integrity of transartistic communication.

The study used methods of theoretical analysis and generalization of scientific approaches to the problem of the interaction of music and choreography in order to form the concept of the communicative mechanism of their interaction. The communicative approach is necessary for interpreting the functions of the groove as a communicative code, a mediator between equal forms of trans-artistic communication in dialogic, contrapuntal and polyphonic relationships of a common semantic field; an intermedial approach (interaction of the arts) in considering issues related to the phenomenology of the body (corporeality); pedagogical and practice-oriented approach – to understand the feeling of groove through the prism of performance experience and choreographic practice, in the process of synchronization of movement and sound, to analyze the possibilities of applying the theory of interartistic communication in choreographic education.

Keywords: transartistic communication, groove, polyphonic-semantic integrity, choreography, music.

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