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JOURNAL OF INTERDISCIPLINARY RESEARCH
musical work to choose the best and send this record. But this
form (remote) of the musical activity has its positive aspects,
during such attempts of the records the play of the work the
student is repeatedly in the condition of the concert excitement,
which in turn contributes to the formation of the student's stage
endurance.
Considering the "Musical Conversation" as a form of the
musical-performing (educational) activity of the student, we note
that in addition to the oratory, which must be mastered by the
student, he must be able to illustrate his story with the musical
excerpt. Therefore, the individual problem in the preparation of
the student for this form of the activity, the musical illustrations
are staged, their selection and the performance. The following
problems in the performance are especially singled out: the
imprecise interpretation and the memorization of the text; the
departure from the defined or the accepted temp; the vague, the
uninitiated, the fearful performance, which does not coincide
with the verbal-figurative characteristics which is given in the
analysis
of the music. For the bright and the masterful
performance of the excerpts, it is important that the musical
material of the conversation has been carefully selected and
composed, because the keeping of the attention and the interest
of the pupils will promote to the successful invention of the
musical fragments which are the most appropriate for the
emotional and the figurative content to their oral characteristics
(Melnyk, 2009).
One of the criteria of the formed of the musical-performing
experience of the student is the level of the general awareness of
the musical works which have been performed and the history of
their creation, and also the motivation of the choice of the study
and the performance of these works. Therefore, among the main
conditions of the formation of the musical-performing
experience is the education of the positive motivation to the
musical-performing activity. The address to the emotional side
of the musical-performing is a way in the development of the
interest to the musical art, so it is important, we emphasize this,
to expand the sphere of the performing activity of the students at
various measures which are organized and are held in the school
and also outside it. Only due to the motivation, the obstacles of
the performing work during the study of the musical works are
overcome. The steady positive motivation impels the student to
work out the play in certain details of the form, the virtuoso
difficulties and to overcome the mental, the psychological and
the physical exhaustion. The motivation plays the primary role
for the overcoming of the obstacles in the creativity, because
without the appropriate professional techniques and the skills,
the performer cannot embody the particular artistic image at the
appropriate level, to attract the attention, to arouse the interest
and the admiration in the public (Klopynskaya, 2011).
To the main pedagogical conditions of the formation of the
stable positive motivation of the musical-performing, we
include:
the installation on the favorable conditions for the work on
the musical repertoire;
the orientation of the educational process on the concert-
performing activities;
the creation of the individually conditioned means of the
solution of the technical and the creative tasks put in front
of the students;
the installation of the personal contacts of the teacher with
the student, which is based on the modeling of the positive
motivations of the teaching.
It is necessary to take into account the psychological factors of
the formation of the experience of the musical-performing
activity in the process of the performing preparation of the
students, as it will contribute to the improvement of the
pedagogical process, and also the increase of the level of the
performing preparation.
In the process of the rehearsal playing of the musical works, the
day before the performances, it is necessary to prepare for the
long-term impact of the possible stressors and thus to avoid their
negative impact on the success of the interpretation and the
performance of the musical works. The acquisition of the stage
endurance provides the coordination of the reproduction of the
performing activity, even with a long-term negative impact of
the stressors on the process of the stage activity of the
musicians-performers.
The adaptations of the musicians-performers to the conditions of
the stage activity are characterized with the two-vector direction.
The first vector is characterized by the active influence of the
interpreters on the mastering of the external environment and its
modification in accordance with the personal needs, and the
second is characterized with the correction of own social setting
and the stereotypes of the stage behavior. The adaptation is
carried out due to the self-regulation of the psychophysiological
sphere, based on the positive previous performing experience
taking into account the actions of all stressors which are acted as
the obstacles in this situation, and on the emotions which are
created with the conditions of the stage activity and consciously
modeled for the musical art. The scientists L. Kotova, D. Yunyk
emphasize the need of the formation in the instrumentalists
during the rehearsal playing of the musical works the day before
of the performances of such cognitive abilities as:
the support of the required level of the activity of the
performing apparatus, the regardless of the strength and the
duration of the action of the stressors;
the giving of the emotional-figurative content to the
musical idea in the process of the reproducing of the
material;
the strengthening of the dynamism of the transfer of the
information to the listeners by means of the corresponding
the emotionally-expressive reaction of the organism
(Yunyk and Kotova, 2016).
As big the performing experience, as more often the student will
take part in the various competitions, the festivals, the concerts,
as less often he will suffer from the diseases of the asthenic
forms of the stage excitement. But the experience should not be
confused with the habit, because the experience stimulates the
inspiration, and the habit kills it. As wide the life and the
creative outlook of the student, as much professional knowledge
he has, as bright and deep he is able to artistically interpret the
musical art, as it is easy to him to direct his excitement in the
direction of the creative tasks. The successful musical-
performing activity of the future teacher of the musical art is
possible only if the intellectual, the emotional and the motor
aspects of his personality "work" in harmony. Neither sides
should suppress the others.
The confidence that the work has been studied reliably, which is
saved from many negative forms of the concert excitement, but
you need to have considerable experience to learn to quickly and
firmly memorize some musical text. All mental processes are
influenced on the stage state of the student by that occur at the
time of the implementation of the musical work. The most
important are the performing attention, the will, the hearing
representations, the optimal for the creativity level of the
emotional excitation, the flexibility of the psychological
adaptation, the artistic interpretation of the work. Most
psychologists consider the will and the attention as the special
abilities of the personality, which are the necessary condition for
the successful implementation of some activity. As other human
capabilities, the attention and the will is the inclinations from the
birth that can be developed and improved in the process of the
teaching and the education. The performing activity has been
referred to the will acts. The performing will allow the student to
get rid of the impulsivity during the performance, to achieve the
organic unity of the emotionality and the rationality in the
creativity. And the arbitrary attention, which has arisen as the
result of the willpower, and the involuntary attention, which has
formed as the result of the interest, reduces the possibility of the
appearance of the negative forms of the concert-performing
excitement (Balanchyvadze, 1998).
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