Musical and performing training of bachelor-instrumentalists: theoretical and practical guidelines

Abstract

The aim of the article is to highlight the theoretical and methodological aspects of improving the musical and performing activities of bachelors-instrumentalists. The research methodology chosen to achieve the set goal was based on a comprehensive approach that combined theoretical and empirical methods, in particular, analysis and synthesis of scientific sources, abstraction, generalization and comparison to determine the features of musical and performing activities, as well as pedagogical observation and interviewing to assess the effectiveness of students’ performing training. It was found that musical and performing activities are one of the forms of creative activity, which is characterized by uniqueness both in the process of implementation and in the result, originality, as well as socio-historical and individual uniqueness. It was established that it is a dialectical combination of the conscious and subconscious, intuitive and rational, emotional and prudent. It is determined that the basis of this activity is a communicative process aimed at transmitting musical information encoded through the symbolic system of musical language (musical text) from the author to the listener. It is emphasized that the musician-performer acts as an intermediary, carrying out the “decoding” of the musical text, its comprehension and translation into sound images accessible for perception by the audience. It is emphasized that the result of performing activity is the interpretation of a musical work, which combines two creative elements: composer and performer. The relationship between them depends on the artistic and aesthetic beliefs of the interpreter, his musical culture, the level of development of artistic taste and a sense of proportion. It is presented how practical experience of stage performances allows a musician to develop not only performing skills, but also the ability to artistically interpret the work, deep perception and expression of the emotional essence of the musical text. At the same time, it has been proven that concert activity contributes to the formation of professional confidence, emotional communication with the audience and the development of interpretative flexibility necessary for adaptation to various musical genres and styles.