Music-performing communicative skills as a pedagogical phenomenon in the content of instrumental training of students of art faculties

Abstract

The article deals with the problem of music-performing communicative skills in the content of instrumental training of students of art faculties. The approaches to understanding the essence of the concepts of “communication”, “conversation”, “communicativeness” in philosophical and psychological and pedagogical discourse are considered. The concept of musical communication in the context of the communicative aspects of music and performing arts, which includes the spiritual design of performance activities, is explored. It has been found out that among the various types of musical activity, musical performance creativity as an intellectual and communicative process is one of its most complex varieties, since it requires not only mental but also spiritual activity of the student instrumentalist, filled with emotions, will, feelings, intuition, etc.
The author defines communicativeness as a potential ability of a person to empathize,
dialogic communication, empathy, understanding of the “other”, and transition to the spiritual level of communication in the process of communicating with the world of musical art. The role of communication skills in the development of a musician is rethought at the level of: “composer – musical work – performer – listener (spectator)”, which creates a methodological basis for extrapolating the above theoretical considerations into the field of “pedagogical hermeneutics of art” in view of the prospects and productivity of these ideas for the theory and practice of music and performing arts.
The architectonics of students’ musical and performing communicative skills is outlined, the main blocks of which are: artistic and communicative thesaurus; hermeneutics of musical communication; communicative consciousness and communicative abilities.
It is proved that musical and performing communicative skills as a pedagogical phenomenon are in great demand in the content of instrumental training of students of art faculties. This is due to the multi-stage process of realizing, evaluating and correcting the individual trajectory of a student’s musical and performing development, which generally has a positive impact on the quality of instrumental training of students of art faculties.