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/ June 2022
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DOI: https://doi.org/10.34069/AI/2022.54.06.13
How to Cite:
Dushniy, A., Salii, V., Storonska, N., Ulych, H., & Zaets, V. (2022). Performing musicology in the socio-cultural space of Ukraine
of the XXI century: scientific and creative discourse. Amazonia Investiga, 11(54), 137-145.
https://doi.org/10.34069/AI/2022.54.06.13
Performing musicology in the socio-cultural space of Ukraine of the
XXI century: scientific and creative discourse
Виконавське музикознавство у соціокультурному просторі України ХХІ століття:
науково-творчий дискурс
Received: June 14, 2022 Accepted: July 14, 2022
Written by:
Dushniy Аndriy56
https://orcid.org/0000-0002-5010-9691
Salii Volodymyr57
https://orcid.org/0000-0002-3522-3787
Storonska Nataliia58
https://orcid.org/0000-0002-6793-5199
Ulych Hanna59
https://orcid.org/0000-0002-2747-8384
Zaets Vіtalіy60
https://orcid.org/0000-0002-1013-5270
Abstract
At the present stage, performing musicology
plays an important role in the formation and
development of professional musicians. In the
socio-cultural space of Ukraine of the 21st
century, it continues the historical traditions of
research on the formation of performers, but, at
the same time, it undergoes serious
transformations. The aim of the research is to
identify the key, fundamental principles of
performance skill in the context of today’s
realities, to determine the factors influencing the
reformatting of the essential features of the
creative activity of musicians. The methods of
work were: analysis of scientific literature,
systematization of methodological complex,
method of analysis and synthesis, method of
thematic analysis and critical approach to
discretization of musical works. The results of
the work allow us to assert about radical changes
in the approach to art as such, as well as in the
formation of professionals and their creative
activity with a change in the basic parameters of
the approach to music education. The
56
Drohobych Ivan Franko State Pedagogical University Educational and Scientific Institute of Musical Arts Folk Musical Instruments
and Vocals Department, Ukranie.
57
Drohobych Ivan Franko State Pedagogical University Educational and Scientific Institute of Musical Arts Folk Musical Instruments
and Vocals Department, Ukranie.
58
Drohobych Ivan Franko State Pedagogical University Educational and Scientific Institute of Musical Arts Folk Musical Instruments
and Vocals Department, Ukranie.
59
Drohobych Ivan Franko State Pedagogical University Educational and Scientific Institute of Musical Arts, Ukranie.
60
National Petro Tchaikovsky Music Academy of Ukraine Faculty of Folk Instruments Department of Bayan and Accordion, Ukranie.
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institutionalization of art currently plays a
leading role in the cultural socialization of
masters, but today it is not decisive. With the
development of progressive methods and
approaches to education, modern technologies,
globalization, the process of becoming a
musician becomes easier, but access to the world
of art without mediation opens wide horizons for
promising musicians, and, at the same time,
increases the level of competition for material
and non-material incentives. The study offers a
new perspective on performing musicology as a
promising field for further scientific work, which
will allow a better understanding of the
peculiarities of the formation of musicians in the
socio-cultural space of the 21st century.
Keywords: musical education, modernization,
interpretation, socio-cultural field, recognition.
Introduction
Like any term in the humanities disciplines,
performance musicology has no single
interpretation. It is defined by several basic
features. First, performing musicology acts, in a
certain way, the professionalization of the
authors of scientific research, which is essential
in the specification of this field of musicology.
Secondly, it is a kind of method, an approach to
music, that is, a view from the performer to the
big picture of the performance with all its
context. One of the important principles of
performance-musicology is the cognition of
performance alternatives in the presentation of
the composition created by the author. In this
type of research, the emphasis shifts to the
individuality of the performer. The basis of this
study is to prove the interdisciplinary essence of
performing musicology, as it is based on a
combination of research of different areas of
scientific knowledge: music pedagogy,
sociology, psychology, aesthetics, musical
folklore, and several others. Taken together, they
allow to create an idea of the essence of
performance musicology and identify its key
features at the present stage. It is impossible to
lose sight of such an important aspect as the
application of the results of the study. Their
practical usefulness lies in the possibility of
applying the principles and techniques described
in the study in the process of performing practice.
The combination of evidence from different
scientific directions allows musicians to expand
the range of professional orientation and to
improve the skills of performative activity. The
theoretical significance of the work consists in a
comprehensive and detailed analysis of the
phenomenological syncretism of scientific and
creative components of performance musicology
in the context of contemporary socio-cultural
space. To date, research in this area has been
mostly specialized in nature. Encouraging a
cross-disciplinary approach to research makes it
necessary to reconsider the principles of further
work in this direction, which in turn will increase
the perspective of this research.
The essence of scientific and creative discourse,
both performing and other types of art, is based
on the paradigm of creativity, which in its
essence requires the author to respond to the
challenges of the dynamics of time and the
variability of socio-cultural space. Performing
craftsmanship is formed as a special type of
communication generated in the process of
fusion of creative potential and educational
activity. This dialectical relationship creates the
possibility of mutual adjustment of both elements
of the performing process, which forms a unique
and inimitable authorial style. Thus, the
syncretism of theory and practice in its essence is
formed through a constant communicative
interaction that takes place not only in the
musical environment but also outside it. In
Ukraine, one of the main advantages of music
education is a constant connection of theoretical
and practical training, respectively there is a
formation of its own communication system,
which is aimed at the comprehensive
development of the future musician's abilities, as
well as a highly-skilled and professional creative
personality.
Dushniy, A., Salii, V., Storonska, N., Ulych, H., Zaets, V. / Volume 11 - Issue 54: 137-145 / June, 2022
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Theoretical Framework or Literature Review
Previous musicology studies have tried to reveal
the essence of performance musicology
superficially. In fact, in Ukrainian musicology,
this direction is only acquiring its development,
although it is actively developed by researchers.
Its approach to music as a special way of
interpreting the world forms a new image of
reality, manifested in sound detection. Within the
framework of performing musicology, of course,
were formed certain patterns and features of
musical art, confirming its special specific
nature. Not the least role in studies of such a plan
is the study of folk music. Modern techniques
and methods of performance have brought this
direction to a new level. Prospects of such studies
are due to the actualization of the national
question in the context of globalization
processes. Modernization of traditional music
contributes to its popularization, but at the same
time, it loses its original characteristics, which
explains the contradictory attitude of researchers
to these processes. According to some
researchers, there are revolutionary processes
taking place in the musical environment. Society
is reorganizing, preferring appropriation and
amateur practices in music-making (Delalande,
2007). However, it is the aesthetics of sound that
remains the key factor that is the main challenge
for musical analysis. It is performance
musicology that investigates the
institutionalization of the musical sphere, the
development of new forms of communication
between the performer and the audience, etc. The
horizontal social system promotes the
intensification of relations based on exchange,
they construct interaction in such a way that
everyone is able to independently choose the
direction of activity and ways of its
implementation, while the aspect of belonging to
certain institutional organizations or a certain
circle of artists remains controversial because it
still remains relevant from the position of
socialization of the performer in the artistic
environment (Pohjannoro, 2021). The
competence of performance musicology in the
modern dimension includes ethnic music. Ethno-
cultural musical complexes even today play a
large role in the musical art of countries. Against
the background of globalization processes the
issue of preservation of national identity, which
is visually manifested in several features of
material and spiritual culture, becomes relevant
(Babii et al., 2021). Folk music preserves the
historical flavor of the ethnic group and includes
coded information about traditional culture.
However, folk music, which synthesizes modern
compositional solutions and folklore sources,
becomes more and more popular. This approach
is based precisely on the individual
characteristics of the author's worldview because
exclusively his vision generates a musical work
created at the intersection of different temporal
cultures (Dushniy et al., 2019). The musical
instruments that are used to create this type of
music also change. The musical-instrumental
complex, which affects the socio-cultural
paradigm of the image of each individual
instrument as traditional, is gradually changing.
The most striking example is the emergence of
electronic versions of familiar instruments
(Suvorov et al., 2021). Performing musicology
includes the study of the biological
characteristics of musical performance and
perception (Pletsan, 2021). Several factors
affecting the ability of an individual to
understand a piece of music are determined not
only by psychological characteristics and level of
musical awareness but also by anthropological
factors, which in certain situations may limit the
ability to grasp the subtleties of creative work.
Also important for this study is the development
of issues of performer recognition and criteria for
evaluating their performance. The
subjectivization of evaluative judgments creates
a new field of discussion. If one defines
professionalism by technical performance, there
are criteria, techniques, by which one can analyze
the level of training. However, in addition to this,
researchers emphasize the emotional component
of performance, which leads to the thesis of the
consensual status of the recognition of the
performer's skill.
Methodology
The nature of the study has a theoretical basis,
but in the context of the essence of the subject
were used the results of practical research on
performing musicology, which is inherent in the
socio-psychological coloring. The work was
done in three stages. The first stage of the study
analyzed the scientific literature, directly or
related to the topic of study. It involved
establishing the semantic meaning of the
performing musicology, identifying the essence
and its characteristic features, the features of its
functioning in the socio-cultural space in the XXI
century. This stage included a direct selection of
literature to support the hypothetical settings set
by this study. The second stage included the
formulation of the strategic goal of the work and
the key provisions to be confirmed (or refuted) in
the process of research. Determination of the
objectives of the work involved the
systematization of the methodological complex.
At the final third stage was finally formulated the
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results of the study and summed up the prospects
of performing musicology as a potential-value
scientific direction and subsequent searches in
this science.
Theoretical and methodological justification of
the relevance of performance musicology in the
socio-cultural space of Ukraine at the present
stage occurs by attracting several general
scientific interdisciplinary methods and
techniques. The study involved the use of
methods of analysis and synthesis to identify the
essential characteristics of performance
musicology, induction and deduction to identify
the essential features of the scientific field in
general and its individual aspects, reductionism
for theoretical treatment of complex
philosophical and psychological characteristics
of the performer within performance activity,
method of logical generalization for a structured
and coherent presentation of material, predictive
for generalizing the research results, proving
complex approach to the study determines its
syncretic nature, which is transformed in the
proof of the need for an interdisciplinary
approach to the definition of functional features
of performance musicology in a long
chronological perspective.
Methodological development of the research of
performing musicology in the socio-cultural
space includes several more special methods. In
particular, it uses the method of thematic analysis
to determine the basic principles of functioning
of performance musicology in various directions,
theoretical-historical music analysis to determine
the temporal transformations, which allows you
to trace changes in the structure of musical
knowledge and musical practice, music criticism,
which uses a critical approach to Discretization
of musical works, philosophy of music, creating
a categorization apparatus, determining the
principles of functioning of its individual The
effectiveness of scientific research in this
direction is determined by the degree of depth in
the research topic and a more detailed study of
the key aspects of the basic elements of a
performance. Future research will include the
development of this direction on specialized
areas of musical art, on different performance
practices, which are based on individual stylistic
features. Special attention should be paid to the
studies aimed at establishing the interdependence
in the process of communication interaction
between the performer and the listener, in the
framework of which there is a special process of
interpretation of a musical work. It should be
noted the relevance of psychological and
philosophical musicology, which defines a
theorized approach to the performing activity and
interpret it through the functional purpose.
Results and Discussion
Performing musicology in Ukrainian science acts
as a relatively new direction of modern
musicology. One of its fundamental essential
features is syncretic character. Performing
musicology synthesizes different aspects of
scientific directions, which determines the
essence of its interdisciplinary approach by
Carlson and Cross (2021) to the study of
performance skills. The educational process
plays a leading role in the formation of future
performers. It involves going through the basic
steps of a series of problem-solving cycles, using
the right resources and strategies. American
researchers Sternberg and Kibelsbeck (2021)
define the process of music education as a form
of implementing solutions to basic tasks:
mastering the theoretical base, performing
practice, etc.
Accordingly, several additional approaches to
musical activity emerges, where studies in
psychology, sociology, pedagogy are involved,
which, following the example of the analysis of
the performing activity in the conditions of the
educational process, justify the role of
sociological theory in music education Karlsen
(2021), the theory of musical intelligence and
several other concepts of scientific knowledge.
Music education acts as a key factor in the
education of the individual, its creative
development under the conditions of
humanization and democratization of the
educational process. The democratic approach to
teaching contributes to the correlation of the
basic principles of scientific synthesis, which is
expressed in general theoretical and practical
knowledge, skills, and creativity, which forms
the creative approach and allows you to create a
new one. Analysis of the value priority in the
performing, pedagogical, scientific, and
methodological basis forms the repertoire and
further compositional direction (Dushniy et al.,
2019).
Training within educational institutions
promotes professional development and
excellence, at the same time forcing constant
support of the performing form. Practice within
the musical realm is crucial. Performing
contributes to the enrichment of the stage
experience, shapes and continually improves
one's own style, and provides an opportunity to
assert oneself and present oneself as a
professional. The creative discourse of musical
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performance activity focuses on its essential
characteristics. Yes, it involves constant
development, regulating over time a more
specialized vector of musical communication.
Defining the context in which the creative
activity takes place involves the realization of the
semantic meaning of the cultural level, which is
expressed in the understanding of the mechanism
of interaction between the visual musical design
and the conventional context. The common
semantic meaning of the various components of
musical performance can be understood because
of the variability of forms of its functioning.
Creative practices acquire different meanings in
the process of interaction between the author
(performer) and the listener. The formation of the
basic principles of the theory of musical
interpretation is based on the development of the
concepts of communication. The interpretation
of a musical work consists in the determination
of the central element of the compositional
system, and further analysis of additional
information and general conditions takes place.
Interpretation of a piece of music occurs as the
creation of a new reality under conditions of
immersion in the atmosphere, which reveals the
dominance of interpretive thinking. The study of
musical interpretation encompasses key issues
concerning musical performance. First of all,
interpretive thinking is influenced by several
factors: the lack of music education research that
considers a specific work, performance
interpretation, and the performative realities of
the work; the traditional tendency to separate the
education of future performers, teachers, and
researchers and, as a consequence, different
approaches to the presentation of educational
material (Silverman, 2008).
An integral part of the performance activity of
performance. The culturological approach to the
phenomenon of performative work as an
important means of actualizing the process of
becoming a cultural subject acts as a determining
factor for the formation of creative objects.
Descriptive analysis of the creative sphere of
musicology generates aesthetic-philosophical
and moral aspects of competitive and
performative performance, which attract the
attention of researchers of performance
musicology. Thus, several conditional and
prescribed rules are created, defining the
regulations of the performing activity.
Competitive activity, as one of the types of
performative, acts as a necessary event for the
music performance. Researchers often refer to
various organizational activities such as
competitions, festivals, art projects - in the field
of practical performance, and, in parallel, on a
theoretical basis, not the least role is played by
participation in scientific and practical
conferences (Dushniy et al., 2019).
Under pandemic conditions, the possibility of
active performing activity becomes more
difficult. This is one of the topics of modern
research. One of the areas to address this issue,
directly related to both professional creative
activity and the educational process, is the topic
of digitalization in the creative industries.
Theoretical and methodological substantiation of
the peculiarities of this process is based on
illuminating the concept of evolutionary
development of culture and transposition of
creative space into the digital field. This
approach is ambivalent, which, on the one hand,
translates the need to meet the requirements of
the time, acting as a driving force of innovation
processes, and on the other hand, requires a lot of
effort to implement the concept of digitalization
of art, which will lead to a complete restructuring
of the musical system, which in the conditions of
its full digitalization, will lose the essential
nature, produced by a long development process,
characteristic features, and fundamental
foundations. Now we are not talking about full
digitalization, because at this stage it is a utopian
idea, limited by the discussion of the question
itself, however, today this method seems one of
the possible means of functioning of the
performing musicology in the conditions of a
pandemic.
The issue of digitalization is directly related to
the more global theme of modernization
processes in the music sphere. There is a constant
transformation of organizational forms,
restructuring of the content context, methods,
and ways of work. Under the conditions of
democratization of the educational process new
ways of creative activity are being formed. In
addition to the theoretical and practical training
of future performers, the emphasis is made on the
creative component of the process of formation
of a cultural subject. Thus, accordingly,
preference is given to increasing the role of self-
control and self-organization in the process of
becoming a professional actor. Discipline at this
stage acts as a key rule in the development of the
necessary skills for the emergence of their own
way of self-expression. Research on the
performance and effectiveness of performers in
the musical field uses performative activity as a
way of examining sociocultural processes. The
purpose of performative performance, above all,
is to gain experience. In this case, experience
involves more than just working through
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technical skills. It includes several important
cultural and social aspects. The emphasis may
shift to the ability to communicate in the public
space, where cultural and artistic socialization of
the performer takes place. Thus, the issue of
involving specialists from other fields for a
thorough and comprehensive analysis of the
activities of representatives of the musical sphere
remains relevant. Performing art is interpreted
differently by representatives of scientific
directions: psychologists, culturologists,
sociologists, art historians, and others. However,
all of them do not exclude the communicative
function of performing art as an important factor
in the interaction between performer and listener,
and between performers.
In 2020, American scientists conducted a study
of the influence of performers' physical
movements on the audience's perception of the
quality of a musical piece at different levels of
physical expression (Bland and Cho, 2021).
Thus, a correlation was established between
listeners' levels of musical awareness and
perceptions of musical performance. The study
found that listeners with some musical
knowledge were less influenced by their visual
perception when evaluating musical
performance. At the same time, a study by
McConkey and Kuebel (2021) in which the
authors analyze the stress factor among musical
performers, seems interesting in this context.
They argue that high levels of stress among
performers, especially students, are a
phenomenon faced by all members of the music
performance profession. However, little is
known about how emotional competencies can
be used as coping mechanisms to overcome
performance stress. Researchers have attempted
to understand and formulate strategies for coping
with stressful situations. It has been determined
that different factors can be sources of emotional
stress, ranging from general life circumstances to
the formulation of certain expectations or
psychophysical tension. The study articulates a
perspective on building stress resilience among
musicians by recognizing the causes of anxiety,
attempting to rationalize the irrationality of fear
or arguments for coping with circumstances,
maintaining a balanced mental state by
maintaining a healthy lifestyle and seeking
support.
Along with local organizational activities that
empower the performing arts, we should mention
the mainstreaming of the issue of globalization in
the field of music. The emphasis in this direction
is placed on the role of international cultural
events or organizations. In addition to playing an
important integrative role in the processes of
cross-cultural exchange of knowledge and
experience, creating a powerful communication
field for the demonstration of creativity, they
have become a determinative indicator of
professional development as defined by
recognized representatives of the cultural
community. The subjectivization of evaluative
judgments of performing activity exposes the
dual nature of the evaluation system: on the one
hand, it is able to point out the advantages and
disadvantages of the performer's work, allowing
to turn constructive criticism into a resource for
self-improvement, and on the other hand, makes
the performer hostage to conditional standards.
Based on the thesis of the subjectivity of the
categorization of the professional and the
amateur, an interesting study for this topic is that
of Adrian S. Norse and David Hargreaves, which
analyzes respondents' evaluative judgments
about greatness and professionalism of masters
in six art forms. In the course of the musicology
study, high positive correlations were found
between the frequency with which subjects
nominated works of art and the names of
performers who were considered “greatest”
(North and Hargreaves, 1996).
However, meeting the criteria of “greatness” is
quite conditional, for it may not correspond to the
subjective perceptions of the individual. As a
result, it has been found that identifying the
professional traits of a performer is nothing more
than a derivative of a conventionally accepted
consensus in a cultural environment. At the same
time, the essence of this phenomenon, which lies
in the definition of the level of professionalism
as a measure of socio-cultural determinants,
becomes clearer. It is accepted to understand
what good taste is in seeing and appreciating art
and what is bad taste. The general conventional
context of judgments of greatness comes to the
fore, reaping the forefront of one's own
preferences. The elitist nature of the ability to
determine the greatness of a work gives it a
pretentiousness that psychologically forms a
closed social institution whose authority includes
evaluative judgments. In chronological
retrospect, the mastery and significance of work
have often been tested by time. The prerogative
of art in this regard is its longevity. Works that
have passed the test of time and meet the
requirements of “majesty” remain immortal.
The dichotomy of the perception-performance
program reveals the perspectives of the musical
performer. The embodiment of a musical work
involves triggering the processes of mirroring a
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visual textual (in this case musical notation)
object, which facilitates the encoding of
expressive gestures into sounds, and vice versa,
the decoding of sounds interpolates them into
gestures. During performances with live music,
performers make movements that accompany
communicative expression with expressive and
supportive gestures. In such circumstances,
gestures allow for the listener's sensory
engagement with the performance. This
approach to performance musicology takes
advantage of the psychosomatic features of
human performance and perception. At this
stage, the issue of interpreting the work again
becomes relevant, because the difference
between performance and perception risks
creating a false dichotomy between the action (as
an act of performance) and perception, which
contradicts the generally accepted attitudes about
the embodied paradigm of musical cognition.
Accordingly, the person acting as a listener is a
translator of the meaning of the work. She
becomes already an intermediary in the
formation of meaning. Such an intermediary in
art is vital, because in its capacity to fill the gap
between music, which is represented by encoded
physical energy in the form of sound waves, but
already at the mental level there is a transcription
of the emotional and substantive components, an
assessment of the intension.
The biological characteristics assigned to man by
nature form certain limitations in a piece of
music. First of all, several human body systems
are responsible for the perception of music:
auditory, motor-affective, cognitive, and others.
In particular, limitations in the cognition of
music can be justified by certain acoustic
limitations, biomechanical resonators, etc. In this
context, the overall picture of the performance,
including performance and perception, is
influenced by several factors: internal (both the
performer with his level of skill, inner
psychological world, the nature of the
presentation of the piece, and the listener, with
his sense of tact, level of sound perception, the
efficiency of resonators), etc.), external (general
conditions of the performance, the room where
the performance takes place or open space, the
sound acoustic system or lack thereof,
architectural features of sound accompaniment,
etc.). Musical participation of the listener lies in
a complex system of interactive dynamics
involving the presence of musical experience that
contributes to a clearer awareness of the
analytical component of the perception of a
musical work (Schiavio et al., 2021).
It is performance musicology that is concerned
with developing theoretical tools with which
researchers can describe these key aspects of the
musical performance-perception dichotomy in
greater detail. These include the predictive
function of performance musicology, the
analysis of the parties' adaptability to
performance, the socio-cultural environment, the
interaction between listener and performer, and
the aspect of reward, which can manifest itself in
tangible and intangible rewards, such as
recognition, further offers of performance, etc.
Returning to the contradictory nature of
performance itself as a phenomenon of musical
art as interpreted philosophically, it should be
noted that performative activity itself exists in
two dimensions. The first is a scientific
dimension; it can be explained as unity. These are
the fundamental principles of performance,
which are worked out in the process of education
and further development of the musician, it is a
theoretical basis, which includes several
musicological, cultural, and other disciplines,
which provide the basis for the formation of
consciousness of the performer. The second
dimension is diversity. It manifests itself in the
ways of using the acquired skills and abilities,
creating your own unique style, or perfecting the
skill. This is the creative aspect that serves as the
basis for the creative space and allows the
creation of the new. In turn, theoretical and
practical sources of knowledge come from
cognitive anthropology and individual
experience (Bel and Bel, 1992).
The mix of stylistic and genre elements in the
work generates a new author's work. In
particular, performers often resort to pop and jazz
compositions, adding dynamics to the work.
The very instrumental performance in its ethnic
coloring acts as a reflection of the ideal sound
image for a particular people. Polystylistic
creative methods, actively used in modern
compositional techniques, have become a kind of
special way of generating the cultural integrity of
a musical work.
Formally, the performing musicology, although
it appears in Ukrainian music science as a
relatively new scientific direction, however, has
a fairly wide range of perspectives and is actively
developing. Thus, in this context are carried out
both general studies and more specialized,
relating to individual areas of musical
performance. The key principle of this direction
of scientific knowledge is its interdisciplinary
nature, the essence of which lies in the cross-
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scientific approach to the demonstration of
research results. Musicology is a special form of
perception of cultural space, which includes
different ways of comprehending reality with the
help of musical systems. The sonic
demonstration of the creative process is not the
only subject area of performance musicology. It
combines several interdisciplinary approaches
that explore the individual characteristics of the
performer and the listener, the concepts of their
interaction, involving the determination of levels
of professionalism of masters, etc.
Comprehensive development of all possible
directions will allow us to better understand the
essence of the processes contributing to the
changes in the modern sphere, and their analysis
will allow us to speak about the positive and
negative features of the cultural transformation
processes.
Conclusions
In the process of work, it was found that
performing musicology today remains a relevant
and promising area for further research. Its
significance lies in the practical and theoretical
values, as it implies a wide field for further
research and application of achievements in
professional or amateur performing activities.
Performing art takes a leading place in the
modern socio-cultural space of Ukraine because
preserving the traditional content is disclosed in
a new way in the spirit of modern trends.
Dynamic temporal changes and constant
technical development necessitate the
development of adaptive abilities of musical art,
expanding the range of its representation and
further interpretation.
The personalities of the performer of a work, its
author, are not ignored. They are actively studied
in the framework of world studies. Specialists
from different disciplines are actively involved in
the development of problems of the performer's
stress tolerance, his professional training,
communication, perception of the analysis of
performance results. Thus, the rationale for the
interdisciplinary nature of research in the field of
performance musicology because they use the
wealth of philosophy, aesthetics, psychology,
sociology, and several other sciences. Therefore,
the syncretic approach, which became the basis
of this work, is a key attribute of the analysis of
the performing arts in the context of scientific
and creative discourse.
Undoubtedly, musical pedagogy acts as one of
the fundamental bases for the formation of
musical performers. It shapes their worldview,
professional skills, and network of social
connections, which further influence the
formation of the performer's style and activities.
Music education determines the direction in
which the development of the artist takes place.
Cognitive abilities are adapted to the perception
of information received during the learning
process and form the basis for combining
acquired experience with one's own creative
beliefs. Thus, at the intersection of well-
established forms of skill acquisition and
individual characteristics of the individual, a new
personality is formed. The form of its
manifestation, in turn, are performative activities
that demonstrate the results of its work.
Performing schools (in the broad sense) as one of
the forms of institutionalization of the musical
sphere contribute to the entry of future musicians
into the existing cultural environment, they serve
as a means of their artistic socialization.
Performing activities stimulate the improvement
of the performer's skills, contribute to the
formalization of his musical and stylistic
character, leveling with practice the
psychological affective aspects that block the
free presentation of the work, and prevent the full
disclosure of creative potential. The essence of
performing musicology lies in the interaction
between performer and listener, their dialogue
through the presentation and interpretation of a
musical work. Subjects of interaction have the
right to a democratic interpretation of the
meanings of cultural space, and therefore it is an
important not only psychological and emotional
component but also anthropological, which
determines the biological characteristics of
perception. Performative activity is governed by
several factors established in the course of the
study. Not the least role in the process of musical
performance is played by the overall context in
which the demonstration of the work takes place.
Yes, the nature of the activity is influenced by
technical features: the acoustic capabilities of the
room, the quality of musical instruments,
technical design, etc. Such conditions form the
environment for comfortable interaction between
performer and listener.
Consequently, the dualistic content of the
performing arts, combining a rigorous scientific
and personal creative approach, contributes to the
expression of the essential characteristics of
musical art itself. The humanistic orientation of
the performing activity is expressed in the
interaction between the performer and the
listener, which results in a dialogue between the
creator of the performance and the interpreter.
The interpretation of the work itself plays no
small role in this process. The semantic
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characteristics provided to it by the listener create
images in the mind, which, in turn, shape the
perception of the musical work. Therefore, not
the least role is played by the interpretation of the
content of art, because depending on what
meaning was laid down, and whether the work
requires an unambiguous reading depends on
further analysis of the artist's work itself.
However, it is in the peculiarity of people's
interpretative abilities that the counterversionary
essence of art is as such.
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