Communication in the music: the interaction between the author’s text and interpretation in the Baroque clavier music

The purpose of the article is to show the features of the formation of a musical notation as information transmission media from the composer to the performer in a historical context. A special is given to the time when the functions of the authors and the interpreters of their music have been divided. The article outlines some reference points in today’s permanently changing informational field. The methodology of the research consists of the use of observation, induction, generalization, modeling. This approach allows one to formulate certain rules of interpretation of the musical text which can serve as a guide for both scholars and performing musicians. The scientific novelty of this study is in the formulation of certain factors affecting the conventions within various historical types of music notation, and in the consideration of certain rules of the decoding (i.e., interpretation) of such notational conventions. Conclusions. The work with musical text requires a musicologist and/or a performing musician to have profound knowledge of the historical context in which the music has been created, the performing traditions and conventions of the appropriate period, as well as the scholarly sources, e.g., the written treatises and methodological writings by composers. This information creates an important communicative field, in which the interpreter of a musical text can find or create the best options from the point of view of artistic persuasiveness and stylistic compliance.