pedagogical sphere. Mikhailiuk explores the
main questions of this direction in her
dissertation: the practice of modern higher
education requires the creation of the necessary
conditions to ensure the cultural direction of
performance training of future music teachers, as
well as for in-depth knowledge of the educational
potential of Ukrainian piano art. These
conditions can be implemented by
methodological principles of student motivation.
The purpose of the orientation-motivational stage
is to ensure a conscious interest in the
performance of future music teachers. Mihalyuk
(2019) notes a role of national self-consciousness
in the field of musical training: there is activation
of students' national self-consciousness in the
process of learning and performing Ukrainian
piano works; providing dialogue bases of
interaction of the teacher and the student in the
course of mastering of domestic piano heritage.
Performing musicology is also in a deep
connection with psychology. The process of
interpretation supposes different emotional
statements of musicians and this fact influences
the picture of performing art. It has become one
of the main performing musicology branches
which studies such categories as person in
performance and the image of interpreter. The
problem of learning about a person in music is
researched by Mykhailiuk: the professional
training of students of higher music and
pedagogical educational institutions should be
aimed not only at professionals but also at the
personal growth of the future music teacher
(Mihalyuk, 2019). The problem of analyzing the
performer's psychological image is explored by
Siryatska. It determines the character of the
images of those compositions, which the master
turns to and, in fact, the style of his interpretation.
This raises the question of disclosing and
studying the psychology of personality, the
realization of its unique potential in the process
of performing activities. The interpreter's
characterization reflects the peculiarities of his
game. This fact explains the relevance of the
psychological and analytical approach to the
study of performing activities as a specific sphere
of creativity Stelmashchuk (2021).
A wide panorama of the evolution of the
connections between psychology and music
gives scientist Haumann. In his work there is one
of the modern directions in musicology. It's
cognitive musicology. This sector of musical
science has its main goal and task, which consists
of the research of the historical-scientific
presuppositions in the psychology of music. The
author offers an overview of basic empirical
research, which belongs to the end of the 19th
century and the beginning of the 20th one. The
historical overview focuses on the early
development of ideas and discoveries in the
psychology of music during the late 19th century,
and the first decades of the 20th century
(Haumann, 2015, p. 12). He opens a very
important idea, connected with the psychology of
perception music by performers and listeners.
That makes a new form and methods of musical
research because the scientists work in a wider
field. It's the interdisciplinary sphere. “Cognitive
Musicology is a fairly recent sub-discipline of
musicology that suggests drawing on disciplines
outside traditional musicology, to study and
explain musical phenomena. It finds its primary
approaches to music in the interdisciplinary
fields of the Cognitive Sciences. The goal of the
Cognitive Sciences is to study how humans apply
and respond to any kind of information. In
Cognitive Musicology, the basic theory is that
music may be understood as a type of
information that humans perceive. To study how
humans process any information in the world in
which we live, the Cognitive Sciences combine
theories and research methods from the
humanities and the natural sciences, such as
psychology, semiotics, computer science, and
neuroscience” (Haumann, 2015, p. 13). He
speaks about different methods of describing
cognitive psychology. He shows not only
qualitative methods of understanding the process
of perception music but the ones which belong to
the theory of music. “Theoretical methods in
Cognitive Musicology combine theories of
musical structures with theories of how the
human mind processes musical information.
These interdisciplinary theories provide
theoretical tools to analyze the perceptions and
experiences of the tonal and rhythmic structures
in music. Also, theoretical methods are applied,
to analyze associations of music and meanings,
beyond the domains of sounds and musical
structures' ' (Haumann, 2015, p. 14). The author
also uses neurophysiological methods of musical
perception`s exploration. He provides
measurements of brain activity as people listen
to, or play music (Haumann, 2015, p. 16).
Method of computer modeling helps him too. He
gives a deep and wide picture of cognitive
musicology as a science. “Cognitive Musicology
is a relatively new field. However, it has a partial,
150-year historical scientific background in the
tradition of the psychology of music. The
psychology of music and Cognitive Musicology
combine the study of music with investigations
into the psychological mechanisms underlying
music perception and performance” (Haumann,
2015, p. 45). He completes the steps of this
direction and gives a logical system of it. This