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JOURNAL OF INTERDISCIPLINARY RESEARCH

THE PECULIARITIES OF THE FORMATION OF THE MUSICAL-PERFORMING EXPERIENCE
OF THE FUTURE TEACHER OF THE MUSICAL ART IN THE EDUCATIONAL INSTITUTIONS OF
UKRAINE

MARYNA BILETSKA,

TATIANA PIDVARKO,

JAROSLAVA SOPINA,

LINA KOTOVA

Bogdan Khmelnitsky Melitopol State Pedagogical University, 20
Hetmanska Str, Melitopol, Zaporizhzhia region, Ukraine 72312
email:

violinchik@ukr.net,

rifusya_@ukr.net,

sopina_jaroslava

@ukr.net,

kotova.lina70@ukr.net

Abstract: The main conditions, the forms and the means of the formation of the
musical-performing experience of the future teacher of the musical art are analyzed
and highlighted in the article; the psychological factors from which depend the
effectiveness of the formation of the musical-performing experience of the students,
the possibility to influence and to control their own emotional sphere, the self-
regulation of the stage condition during the performance, the providing of the
implementation of the musical work at a high artistic and the technical level are
determined and are analyzed.

Keywords: teacher of musical art, creative independence, concert-performing practice,
concert performance, musical conversation, interpretation of the musical work.

1 Introduction

The peculiarities of the musical-performing activity of the
teacher of the musical art consist in its pedagogical orientation,
which foreseen the orientation on the children's audiences, the
desire to capture children with the music on the base of their
own making music, the involvement of the pupils to the common
in the performing activity, the awakening their creativity, the
imagination, the associative thinking, etc (Abdullin, 2004).
Therefore, the important component of the educational-
professional program of the preparation for the students with a
Bachelor's degree and the educational-scientific program with a
Master's degree in the institutions of the higher education in the
specialty of “Musical art” is the practical performing preparation
of the students.

During all period of the study, the students acquire the special
and the general-aesthetic knowledge, while they form the
professional abilities and the skills, the creative methodical
thinking is developed, the artistic and the musical-performing
experience are acquired. One of the main conditions of the
increase of the quality of the preparation of the future
professionals is the purposeful formation of the musical-
performing experience of the students in the educational process.
That is why the problem of the musical-performing preparation
and the acquirement of the musical-performing experience of the
students in the institutions of the higher education is still actual.
Also, the musical-performing experience has the great meaning
in the professional preparation of the students also because it is a
necessary factor of the becoming of the personality of the future
teacher of the musical art. Thus, the formation of the musical-
performing experience evidences about the readiness of the
specialist to the musical-pedagogical work and it reflects the
process of the psychological readiness of the student to the
performing activities, own performing interpretation, the
analytical activities, the cognition of the content of the musical
work (Labintseva, 2016).

2 Literature Review

The musical performing activity is presented in the scientific
literature in the context of the problems of the interpretation of
the musical works and the methodical providing of this process
(Barenboim, 1969; Medushevskiy, 1976; Oleksuk, 2009); in the
different aspects of the improving of the performing level of the
future teacher of the musical art (Zgurs’ka, 2001; Krytskyi,
2009; Shcholokova, 1996); the question of the formation of the
experience are considered in the psychological-pedagogical
works (Gabai, 1995; Graf, I. Iliasova & Liaudis, 1981; Talyzina
& Gabai 1977; El’konin 2001). The psychological peculiarities
of the musical-performing activity are considered by
L. Bochkaryov (2008), E. Yorkina (1996), L. Kotova (2016),

Y. Tsagarelli (2008); the problems of the musical-performing
experience are presented in the works of L. Ginzburg (1998), J. .
Milshteyn (1983), O. Khlebnikova (2001) and others.

3 Results and Discussion

Determining the main conditions, the forms and the means of the
formation of the musical-performing experience of the students,
the essence of the concepts "experience", the "performing
experience", the "musical-performing experience" should be
considered. The systematization and the analysis of the scientific
literature give the opportunity to note that the category of the
"experience" plays the important role at the present stage of the
development of the musical-pedagogical education. The
retrospective approaches show that the category of the
"experience" has changed depending on the becoming and the
achievements of the philosophical thought. In the ancient
Greece, the "experience" has associated with the intellect
(Aristotle, Plato, etc.), the ancient Roman thinkers - with the
cognition (Lucretius, Seneca), the ancient Chinese philosophers
have believed that the experience is the meaning of the human
existence and has an axiological basis (Lao Tzu, Han Fei, Yang
Zhu and others). The philosophical views of the Middle Ages are
characterized with the recognition of the leading role of the
experience in the cognition, and also the consideration of the
active activity of the human as the basis of the formation of the
experience (Augustine, F. Aquinas, etc.). The scientific
inventions of the Western European thinkers of the New Age
have made the interpretation of the experience as the mental, the
logical phenomenon (Shevchenko, 2019).

The "Performing experience" is a totality of the knowledge and
the skills what directly affect the productivity of the process of
the professional activity. The knowledge is a special form of the
spiritual mastering of the results of the cognition of the process
of the reflection of the reality of the performer, by means of the
deep awareness of the author's concept, and the skills are the
actions which components in the process of the formation of the
performing interpretation become the automatic on the base of
the application of the knowledge about the appropriate way of
the actions due to the purposeful exercises (Bilous, 2005).

According to M. Anisimov, the "musical-performing
experience" is a totality of the performing abilities, the skills and
the techniques received in the process of the playing practice, it
is a form of the cognitive, the practical, the spiritual-sensual and
the emotional activity of the musician-performer "(Anisimov,
2014). Thus, the formation of the personal experience is
connected with the development of his individual qualities, the
acquisition of the knowledge and the improvement of the
abilities and the skills which can be acquired by a person only in
the process of the activity and the mastering of him the social
experience.

The essence of the musical-performing activity of the students is
to creatively "read" the musical work, to reveal in his
performance the emotional-semantic content, which was has laid
in it by the author. The nature of the music, its emotional content
must be reproduced as accurately and convincingly as possible,
it is necessary to create the emotionally vivid musical image
which will be remembered by the listener. At the same time, the
performance becomes creative only if it brings its own, little, but
the individual, the "self-found" experience of the understanding
and the experiencing of the music, which gives the interpretation
the special uniqueness and the persuasiveness (Nadyrova, 2014).
Thus, the process of the formation of the performing experience
cannot be divided from the formation and the development of the
complex of the professional-personal qualities which underlie
the stage behavior.

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