Формування виконавської майстерності у студентів на основі активізації емоційно-естетичного переживання музики

Abstract

У дисертації розглянуто проблему активізації емоційно-естетичного переживання музики у студентів-інструменталістів як сутнісної складової формування виконавської майстерності. Визначено її структуру, критерії сформованості, особливості, сутність і функції емоційно-естетичного переживання в процесі виконавської інтерпретації музики. Створено та експериментально перевірено методику активізації емоційно-ететичного переживання студентів в процесі викладання музично-виконавських дисциплін, яку складає комплекс методів, що органічно взаємопов’язані і взаємодіють один з одним, а також зумовлені індивідуалізованою педагогічною дією опосередкованого характеру. В результаті дослідження визначено роль педагогічного керування, виявлені його основні умови з позиції непрямого впливу на емоційну сферу в процесі формування виконавської майстерності студентів.

Problem of energization of emotional-music student-instrumentalist’s experience as a important part of formation student’s performance skills is examined. One mentions that specification of energization of emotional-aesthetic attitude to a music composition is an important factor which significantly influences on the effectiveness of specialist’s preparation in music-performance field. The structure of performance skills and criterias of its formation in students-individualities are concretized, pedagogical interpretation of the term "emotional-aesthetic experience" is given, functions of musician’s emotional-aesthetic experience are specified and its specificity in a process of performance music interpretation are revealed. Also categorical-conceptual research apparatus is revealed: performance skills, energization of emotional-aesthetic experience, artistic interpretation, emotional-aesthetic activity, students. The role of psychological aim at emotional-aesthetic perception of music, which makes the ground for artistic interpretation of the musical composition’s content. Real condition of student musical performance is enlightened, disadvantages of teaching-up-bringing process in high educational establishments of artistic major are brought out, which have a negative effect on formation of performance skills of future professionals-musicians. Disadvantages in performance is caused by elemental student’s understanding of emotional program of the composition. Such disadvantages as not adequate student’s perception of emotional-figurative composition content, not defined emotional-aesthetic reaction on music passive-spectacular attitude of performer to its interpretation. It is defined by aimed observations that one of the main reasons of not sufficient level of student’s professional performance skills is an absence of pedagogical attention to special energization of emotional-aesthetic factors of musical interpretation. Such disadvantages in teaching as authoritsrity of pedagogical management, obtrusive meddling in the sphere of aesthetic self-expression, absence of psycho-logical-pedagogical support from instructor’s side on individual needs and artistic interests of student, instructor’s low level of mastering special methods of pedagogical influence on stimulation of student’s emotional-aesthetic experience of music are principle and crucial in establishment of artistic personality of interpreter. Actualization of pedagogical influence on formation of musician’s performance skills, emotional-aesthetic attitude of a personality to musical composition in a process of musical preparation to performance activity, comprehend of all sides of teachingpedagogical process – are a basis of complex principles of energization of student’s emotional-aesthetic experience of music. It is defined by the leading methods: peculiarities of reaching the emotional-aesthetic contact between an instructor and student in a process of working with a musical composition; preservation of individual-aesthetic student’s reaction on music, comparing of personal music interpretation by student with results of diagnostics of other performance interpretations; matching of emotional-subjective and rational-unbiassed indications of interpretation on the basis of realizing style peculiarities of composer’s creation, making analogies with different kinds of art as a mean of strengthen of emotional-image perception of music; broaden of emotional-aesthetic experience in a process of sketching work with musical material, consolidation of positive aesthetic experiences in conditions of a concrete concert performance. Unity of the worked out methods is provided by usage of pedagogical influence of local character. The role of pedagogical management is defined by the result of research, its main conditions from a position of indirect influence on emotional sphere in a process of formation of student’s performance skills are revealed, i.e. directing of student’s personal perception of music on revealing of performance personality in a process of interpretation of music images, individual self-expression and self-realization, compel students to preserve emotional-esthetic reaction on music by way of practical implementation of subjective indications of interpretation on all stages of studying a musical composition, realization of emotional-image orientation of students on music on the basis of local influence, which includes direct interference of instructor to the sphere of artistic-image usage of students in executive program of music composition.