Musical-performing Activity Trough Prism of Categorical Definition of Functional Thinking, Speech and Intonational Means of Expression Systems

The development of the world musical culture is impossible to imagine without the evolutionary processes in the musical performance. The profound understanding ofmusical performance is directly related to the study of the development of musical and performing culture in terms of the content-semantic context in performing practice. This context has been traced since the birth of musical performances from the perspective of syncretic craftsmanship and the further branch of composer practice and the allocation of an independent branch in practical and theoretical knowledge. To date, the study of musical and performing culture, in comparison with theoretical and cultural studies of composer and folk art, is still not enough developed branch. The last decade is characterized by the development of new methods for analyzing artistic text from the point of view of mentality, world views not only of the author but also of the recipient. Such a research position is close to the study of musical-performing activity, the essence of which, from the historical period of the occurrence in the recording of protomusical and musical notes, becomes understandable and sound updating of musical texts, that is, the creation of executive versions of musical texts that preserve the genius of musical works and promote development for society musical culture. The purpose of this scientific research is to develop the principles of theoretical study of the mechanism of the transfer of the musical sign system into the intonation sound through the prism of the system subordination of functional systems in musical text, musical-performing thinking and speech. The methodology of the article focuses on the process of performing musical works in the context of the level relation between the sign system of musical text and the system-functional processes of performing thinking and speech, which are actualized in various elements of the subsystems and levels of the musical-performing functional system of intonation means of expression. The development of the theoretical study principles of musical-performing activity requires its own (musical-performing) categorical-conceptual apparatus to implement a systematic approach in studying the functional systems of this activity, which we distinguish the systems of thinking, speech and intonation means of expression. It is also necessary to clarify the musical-performing thesaurus, which should comprehensively cover the concepts and timelines not o