Abstract
The article analyzes the scientific works of famous music educators, in which artistic and performing interpretation is defined as an active creative process, an individual, unique artistic and figurative understanding of the content of a musical work. It has been established that performing interpretation involves a creative search, valuable understanding and evaluation of a musical work, thanks to which an artistic image is created that is adequate, but not identical to the author's vision, containing the full potential of the «I» of the performer's personality in the process of artistic cognition. Therefore, the presence of a high degree of creative independence, the development of a unique associative complex, fantasy, imagination, the art of reincarnation, empathy and co-creation in the artistic- interpretive process contributes to the non-stereotypical solution of creative tasks, "entering" the deep layers of a musical work, dialogicity of artistic communication, artistic dialogue and co-creation with the author of the musical work. Subjectivization of the reproduction of a musical image is a natural phenomenon, since each performer differs in the level of knowledge, skills, development of emotional and empathic culture, performance technique, experience of artistic perception, development of musical abilities and other performance qualities that characterize him as a unique personality and determine individual artistic and interpretive process. It has been proven that precisely thanks to the elements of co-creation, the enrichment of the artistic interpretation process with the extraordinary thinking of the performer, his personal and individual attitude to the work, the artistic interpretation becomes not only adequate and convincing, and personally-convincing, personally-adequate, harmoniously combining the classical interpretation of the work with an individual vision and feeling of its essence, the spiritual-personal potential of the work is realized, a state that contributes to the solution of the personal task is reached. Through co-creation, the dialogue of consciousness, the understanding of the other as oneself, and the experience of the "spirit" of the musical work are carried out. The ability to co-create as a certain way of dialogic communication between the composer and the one who understands the artistic image determines the level of musical performance competence of the future teacher of musical art.
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