Auditory Self-Control in the Training of Future Teacher of Music Art in Instrumental Ensemble Classes

Abstract

The article examines the essence of the concepts “self-control”, and “auditory self-control”, characterises their meaning and purpose. Scientific works which determine the essence of the concepts “musical-auditory self-control”, “musical hearing”, “ensemble”, their content and structural components are analysed. Current works of modern scientists who investigate the self-control of future teachers of music art in various types of educational and instrumental performance activities are highlighted. The article substantiates the role of auditory self-monitoring of the future music teacher in instrumental ensemble classes, in particular the violinist ensemble. It is emphasised that collective music making is one of the most complex types of music activity and has its own specifics. And teaching music is a multifaceted process in which the teacher must not only develop professional performing skills, but also cultivate healthy aesthetic tastes and a broad artistic outlook. It is determined that auditory self-control is based on a person’s ability to perceive, realise and evaluate the result of his own activity. Three stages of studying a musical piece in instrumental ensemble classes are also considered, indicating the role of auditory self-control of a future music teacher in this process. At the first stage, attention is focused on laying solid foundations for the development of the most important elements of instrumental ensemble sonority of violinists, nuances. The second stage gives us the widest space for the practical implementation of artistic ideas. And, finally, the tasks of the third final stage are to give the performance artistic integrity and completeness. This period completes all previously performed work, improving the performance of the work to the possible limits.