AD ALTA
JOURNAL OF INTERDISCIPLINARY RESEARCH
We offer one of the algorithms of the formation of the musical-
performing experience in the students as:
→ the conducting of the necessary psychological
preparation for the public performance aimed at the overcoming
of the pop excitement, the uncertainty
→ the saving of the
sensuality and the freshness of the emotional reaction to the
expressiveness of the "live sounding" before the performance,
specifically turning on the "spiritual and physical condition that
creates the best ground for the artistic inspiration"
(K. Stanislavskyi)
→ the performance of the musical work →
self-appraisal of own public performance from the positon of the
personal ideals, the tasks of the aesthetic education
→ the
detection of the disadvantage of the performance and the
installation of their reason
→ the search of the best ways for the
correction of the revealed disadvantages.
Thus, it can be affirmed that the formation of the musical-
performing experience is one of the main tasks of the
professional preparation of the future teacher of the musical art,
because the active participation of the students in the artistic-
creative activities, the concert public performances play the
special role in the preparation of the future specialist of the art
discipline, which are filled up with the new content of all
performing process.
It is impossible to consider all the peculiarities of the formation
of the musical-performing experience, and also the
psychological aspects within the article, but the illumination of
some aspects will promote the further improvement of the
method of the formation of the musical-performing experience
of the future teacher of the musical art.
4 Conclusions and prospects for further studying
On the base of the above-mentioned material, we can claim that
participation in the music competitions, the festivals, the artistic-
creative projects gives students the opportunity to manifest
themselves and at the same time to stimulates their personal-
professional development. But for the formation of the musical-
performing experience, the participation of the students in such
measures should be systematic, it will give the opportunity to
reduce gradually the unnecessary excitement which occurs
during the performance, the student will be less distracted by the
unnecessary feelings, they will recede into the background. It
will give the opportunity to focus on the implementation of the
artistic-figurative content of the musical works.
We define the musical-performing experience of the future
teacher of the musical art as the totality of the musical-
theoretical knowledge and the performing skills that affect
directly the productivity of the process of the professional
activity; the ability to control the emotions (performing
reliability) in the process of the performing of the work; the
ability to analyze independently, to control and to adjust their
performance.
Also we see the peculiarities of the formation of the musical-
performing experience of the future teacher of the musical art in
the required development of the creative independence of the
students, namely the independent choice by the student of the
optimum way of the reproduction of the performing
interpretation. After all, the becoming of the creative
independence of the students as one of the most important
creative quality of the personality is the significant step towards
the formation of their musical-performing experience.
The required condition is also the formation of the abilities of
the artistic interpretation, because the mastering of the
technology of the performance and the report of the performing
interpretation to the listener is contributed to the accumulation of
the musical-performing experience by the students. It is also
important that the future teacher of the musical art will be sure
and will be convinced and he will know and realize that the
absence of the musical-performing practice, the artistic-
interpretive experience in various types of the musical-
performing activities will negatively affect the levels of the
mastering of the musical-performing competency, which is a key
in the structure of the professional competence of the future
teacher of the musical art.
So, the process of the formation of the musical-performing
experience of the students foresees the use of the appropriate
methods, such as:
the method of the listening to the record of the musical
work that will be performed during the concert
performance which is performed by the outstanding
musicians-performers, the teacher, his own performance.
This method is aimed at the formation in the students the
skills and the abilities of the analysis of the peculiarities of
the creation of the performing interpretation. The
comparative analysis of the record of the performing with
the musical text of the work will allow students to deepen
the study of the peculiarities of the use of the means of the
artistic expression, the technology of the performance of
the work, to identify the degree of the performing
transformations of the copyright notion, which are
performed with the performing manners of the different
musicians-interpreters of the past and the present;
method of the reflection of own performing experience.
This method helps the development of all components of
the performing activity of the future teacher of the musical
art, especially motivational. The reflection of one's own
performing experience, as the part of the professional
reflection of the teacher-musician, allows you to analyze
the specific stage situations which are related to either the
successful moments of the stage performances or the
difficulties which are arisen in the process of the
performance. In such introspection, the student critically
evaluates his own performing actions in comparison with
his own performing experience, and also the art and the
performance thesaurus as for the certain traditions of the
musical-performing interpretations and the concepts which
are the basis of the performing and the pedagogical culture
and the worldview which are acquired in the process of the
music-pedagogical training;
method of self-regulation of the creative pop excitement.
This method is aimed at the development of mainly the
motivational component of the performing activity and it is
in search for the ways of the achievement of the optimal
concert status. It allows to choose from the list of the
techniques that prevent the negative manifestation of the
pop excitement which is most suitable for each student.
The "negative" emotions play even more important role for
the student-performer than the "positive" ones. It is no
coincidence that the mechanism of the "negative" emotions
functions in the child from the first days of the birth, and
the "positive" is much later.
As it is known, there are four types of temperament, which are
most clearly reflected in the form of the reactions and the
behavior of the students in the process of the musical-performing
activity:
The emotional dominances over the rational in sanguine-
performers, they work unevenly such as before the
performance it is much, with enthusiasm, after the
performance it is on the contrary. They adapt well to
unusual conditions of the work; they worry the stage fails
relatively easily.
It is difficult for choleric-performers to achieve the unity of
the emotional and the rational during the study of the
works. There is a willed beginning in the performing
interpretation, their performance is characterized by the
high artistry, the expressiveness, and also they can
accelerate the tempo, shorten the pauses during the
performance, they worry hard the stage fails.
Phlegmatic-performers have a relatively poor scale of the
dynamic shades, they are not often artistic enough in the
performance, sometimes they slow down the tempo, they
do not show the initiative in the organization of their
performances. The rely on previously acquired performing
- 17 -