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FORMATION OF ANALYTICAL THINKING THROUGH THE ANALYSIS OF INTERPRETATIONS OF MUSICAL WORKS IN THE PROCESS OF TRAINING A SPECIALIST MUSICIAN

Year 2025, Volume: 8 Issue: 1, 832 - 862, 27.03.2025
https://doi.org/10.51576/ymd.1628706

Abstract

The purpose of the study was to reveal the key aspects of the formation of analytical thinking through the analysis of interpretations of musical works. In the process of conducting this study, such methods as monitoring and surveys were used, as well as the identification of key analytical aspects of performers and their systematization. As a result of the study of the processes of forming analytical thinking based on listening to musical interpretations, its components were revealed. These are the skills of artistic perception of music, the system of comprehension of works, and the components of a musical composition, which are of key importance in the context of performers' thinking. The skills of artistic perception of works include focusing on the object, analysing it as a multifaceted phenomenon, and gaining knowledge about the object as a whole and its individual elements. The indicators of the importance of the analysis of interpretation of works for students to see the prospects of their own interpretation of the formation of high artistic taste, and the multifaceted disclosure of stylistic and epochal features inherent in the work were obtained. The key components of musical interpretation in the context of the activities of prominent representatives of art of the 20th and 21st centuries were discovered. They are a number of means of articulation and phrasing, individual approaches to creating a dramatic plan of composition through the sequence of climaxes and the nature of dynamic shades, operating with ranges of registers and principles of sound production.

References

  • Brenner, W., Uebernickel, F. (2016). Design thinking for innovation: Research and practice (pp. 1-237). Cham: Springer.
  • Burska, O. P. (2005). Methodological bases of development of students’ musical and performing thinking in the process of piano training (pp. 1-220). Kyiv: Dragomanov Ukrainian State University.
  • Cecchetti, G., Tomasini, C. A., Herff, S. A., Rohrmeier, M. A. (2023). “Interpreting rhythm as parsing: Syntactic-processing operations predict the migration of visual flashes as perceived during listening to musical rhythms”. Cognitive Science, 47(12): e13389.
  • de Araújo, R. C., Ferronato, R. S., Veloso, F. D. D. (2024). “Metacognition in musical practices: Two studies with beginner and expert Brazilian musicians”. Frontiers in Psychology, 15: 1331988.
  • de Morais, R. G. (2015). “Listening and analysis of mixed electroacoustic music as tools for interpretation’s construction”. International Journal of Music and Performing Arts, 3(2): 7-18.
  • Héroux, I. (2018). “Creative processes in the shaping of a musical interpretation: A study of nine professional musicians”. Frontiers in Psychology, 9: 665.
  • Holbrook, U. A. S. (2019). “Sound objects and spatial morphologies”. Organised Sound, 24(1): 20-29.
  • Hrinchenko, T. D., Yakymchuk, O. M., Vereshchagina-Bilyavska, O. Y., Burska, O. P., Liva, N. V. (2020). “Hermeneutic analysis as a basis of forming a musician’s artistic experience”. Option, 36(27): 281-300.
  • Igric, B. (2024). “Education of audience in the digital space – Post-COVID musical educational strategy”. Science and Security, 4(4): 392-399.
  • Komenda, O., Kysliak, B., Marach, O., Moskvych, O., Rehulich, I. (2024). “The structural and activity method of studying the universal creative personality (on the example of musical culture)”. Convergences  Journal of Research and Arts Education, 17(33): 201-213.
  • Krause, A. E., Pardon, M., Hoang, M., Lucano, R. (2024). “Listen up: A case study examination of focused listening”. Musical Science, 28(2): 264-272.
  • Martin, R., Nielsen, N. (2024). “Enacting musical aesthetics: The embodied experience of live music”. Music & Science, 253918.
  • McAuley, J. D., Wong, P. C. M., Bellaiche, L., Margulis, E. H. (2021). “What drives narrative engagement with music?” Music Perception, 38(5): 509-521.
  • Merezhko, Y., Khodorovska, I. (2020). “Development of artistic mentality of novice singers at music and music theory classes”. Pedagogical Education: Theory and Practice, 28(1): 302-310.
  • Moruzzi, C. (2020). “The assumptions behind musical stage theory: A reply to Letts: Discussion”. Journal of Aesthetics and Art Criticism, 78(3): 362-366.
  • Mozgalova, N., Novosadova, A. (2023). “Motivation bases for the formation of students’ polyphonic hearing in the process of piano training”. Baltic Journal of Legal and Social Sciences, 3: 108-114.
  • Nagorna, G. (2018). “Theoretical and methodological foundations of a holistic process of musical research as a condition of development personality’s musical thinking”. Bulletin of Taras Shevchenko National University of Kyiv. Series “Pedagogy”, 1(7): 46-50.
  • Rudenko, N. I. (2022). “Raising public awareness in N. O. Yeshchenko’s performance activity”. Problems of Interaction Between Arts Pedagogy and the Theory and Practice of Education, 62(62): 124-140.
  • Schulte, C. M., Webster, Р., Anttila, Е., Lin, М.-C. (2019). “Free music improvisation: An ethnography of Brazilian improvisers”. International Journal of Education & the Arts, 20(15): 1-23.
  • Siao, L. (2021). “Characteristic features of self-expression during preparation future teachers of musical art”. Educological Discourse, 35(4): 196-209.
  • Tetelea, M. (2020). “Training of artistic skills of the music teacher”. Review of Artistic Education, 20(1), 304-308.
  • Tetelea, M., Glebov, A. (2016). “Some aspects of developing musical thinking in the training of musical student”. Review of Artistic Education, 11(1), 15-19.
  • Ünlü, L., Dinç, A. (2024). “An analysis of F. Chopin’s music language in terms of melody, harmony and rhythm”. Studia Universitatis Babeş-Bolyai Musica, 69(1), 165-179.
  • van der Schyff, D. (2019). “Improvisation, enaction & self-assessment”. In: D.J. Elliott, M. Silverman, G.E. McPherson (Eds.), The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education (pp. 318-345). Oxford: Oxford University Press.
  • Vereshchahina-Biliavska, O.Y., Mazur, I.V., Burska, O.P., Iskra, S.I., Teplova, O.Y. (2022). “Musical thinking problems”. Thinking Skills and Creativity, 46, 101138.
  • Vereshchahina-Biliavska, O.Y., Mazur, I.V., Cherkashyna, O.V., Burska, O.P., Hrinchenko, T.D. (2023). “Semantic aspects of musical language”. Convergences – Journal of Research and Arts Education, 16(32), 139-151.
  • Volioti, G., Williamon, A. (2024). “Nurturing the musical imagination: Listening to recordings for self-regulated and creative learning”. In: G. Volioti, D.G. Barolsky (Eds.), Recorded Music in Creative Practices: Mediation, Performance, Education (pp. 157-175). London: Routledge.
  • Wen, M. (2023). “Interactive online classes in music education: The impact of online technologies on the level of creative thinking of students”. Current Psychology, 43(15), 13619-13629.
  • Xiaobin, L. (2024). “Social conditions for the development of musical thinking”. Scientific Opinion, 3, 49-53.
  • Yaroshenko, O.M. (2007). “Formation of musical thinking of the future teacher of music on employment on the basic musical tool (piano)”. Educational Dimension, 18(2), 264-275.
  • Zaretdinov, K.Q. (2020). “Conditions for the formation of national-musical thinking of students in the activities of musical circles”. European Journal of Research and Reflection in Educational Sciences, 8(5), 74-79.

UZMAN MÜZİSYEN YETİŞTİRME SÜRECİNDE MÜZİK ESERLERİNİN YORUMLARININ ANALİZİYLE ANALİTİK DÜŞÜNMENİN OLUŞTURULMASI

Year 2025, Volume: 8 Issue: 1, 832 - 862, 27.03.2025
https://doi.org/10.51576/ymd.1628706

Abstract

Çalışmanın amacı, müzik eserlerinin yorumlarının analizi yoluyla analitik düşüncenin oluşumunun temel yönlerini ortaya çıkarmaktır. Bu çalışmanın yürütülmesi sürecinde, izleme ve anket gibi yöntemler kullanılmış, ayrıca icracıların temel analitik yönleri belirlenmiş ve sistemleştirilmiştir. Müzik yorumlarını dinlemeye dayalı analitik düşüncenin oluşma süreçlerinin incelenmesi sonucunda bileşenleri ortaya çıkarılmıştır. Bunlar, icracıların düşünme bağlamında temel öneme sahip olan müziğin sanatsal algılanması becerileri, eserlerin anlaşılması sistemi ve bir müzik kompozisyonunun bileşenleridir. Eserlerin sanatsal algılanması becerileri, nesneye odaklanmayı, onu çok yönlü bir olgu olarak analiz etmeyi ve nesnenin bir bütün olarak ve bireysel unsurları hakkında bilgi edinmeyi içerir. Öğrencilerin yüksek sanatsal zevkin oluşumuna ilişkin kendi yorumlarının olasılıklarını görmeleri için eserlerin yorumlanmasının analizinin öneminin göstergeleri ve eserde bulunan üslup ve çağ özelliklerinin çok yönlü ifşası elde edildi. 20. ve 21. yüzyıl sanatının önde gelen temsilcilerinin faaliyetleri bağlamında müziksel yorumlamanın temel bileşenleri keşfedildi. Bunlar bir dizi eklemleme ve ifade etme aracı, doruk noktaları dizisi ve dinamik tonların doğası aracılığıyla dramatik bir kompozisyon planı oluşturmaya yönelik bireysel yaklaşımlar, kayıt aralıkları ve ses üretimi ilkeleriyle çalışmaktır.

References

  • Brenner, W., Uebernickel, F. (2016). Design thinking for innovation: Research and practice (pp. 1-237). Cham: Springer.
  • Burska, O. P. (2005). Methodological bases of development of students’ musical and performing thinking in the process of piano training (pp. 1-220). Kyiv: Dragomanov Ukrainian State University.
  • Cecchetti, G., Tomasini, C. A., Herff, S. A., Rohrmeier, M. A. (2023). “Interpreting rhythm as parsing: Syntactic-processing operations predict the migration of visual flashes as perceived during listening to musical rhythms”. Cognitive Science, 47(12): e13389.
  • de Araújo, R. C., Ferronato, R. S., Veloso, F. D. D. (2024). “Metacognition in musical practices: Two studies with beginner and expert Brazilian musicians”. Frontiers in Psychology, 15: 1331988.
  • de Morais, R. G. (2015). “Listening and analysis of mixed electroacoustic music as tools for interpretation’s construction”. International Journal of Music and Performing Arts, 3(2): 7-18.
  • Héroux, I. (2018). “Creative processes in the shaping of a musical interpretation: A study of nine professional musicians”. Frontiers in Psychology, 9: 665.
  • Holbrook, U. A. S. (2019). “Sound objects and spatial morphologies”. Organised Sound, 24(1): 20-29.
  • Hrinchenko, T. D., Yakymchuk, O. M., Vereshchagina-Bilyavska, O. Y., Burska, O. P., Liva, N. V. (2020). “Hermeneutic analysis as a basis of forming a musician’s artistic experience”. Option, 36(27): 281-300.
  • Igric, B. (2024). “Education of audience in the digital space – Post-COVID musical educational strategy”. Science and Security, 4(4): 392-399.
  • Komenda, O., Kysliak, B., Marach, O., Moskvych, O., Rehulich, I. (2024). “The structural and activity method of studying the universal creative personality (on the example of musical culture)”. Convergences  Journal of Research and Arts Education, 17(33): 201-213.
  • Krause, A. E., Pardon, M., Hoang, M., Lucano, R. (2024). “Listen up: A case study examination of focused listening”. Musical Science, 28(2): 264-272.
  • Martin, R., Nielsen, N. (2024). “Enacting musical aesthetics: The embodied experience of live music”. Music & Science, 253918.
  • McAuley, J. D., Wong, P. C. M., Bellaiche, L., Margulis, E. H. (2021). “What drives narrative engagement with music?” Music Perception, 38(5): 509-521.
  • Merezhko, Y., Khodorovska, I. (2020). “Development of artistic mentality of novice singers at music and music theory classes”. Pedagogical Education: Theory and Practice, 28(1): 302-310.
  • Moruzzi, C. (2020). “The assumptions behind musical stage theory: A reply to Letts: Discussion”. Journal of Aesthetics and Art Criticism, 78(3): 362-366.
  • Mozgalova, N., Novosadova, A. (2023). “Motivation bases for the formation of students’ polyphonic hearing in the process of piano training”. Baltic Journal of Legal and Social Sciences, 3: 108-114.
  • Nagorna, G. (2018). “Theoretical and methodological foundations of a holistic process of musical research as a condition of development personality’s musical thinking”. Bulletin of Taras Shevchenko National University of Kyiv. Series “Pedagogy”, 1(7): 46-50.
  • Rudenko, N. I. (2022). “Raising public awareness in N. O. Yeshchenko’s performance activity”. Problems of Interaction Between Arts Pedagogy and the Theory and Practice of Education, 62(62): 124-140.
  • Schulte, C. M., Webster, Р., Anttila, Е., Lin, М.-C. (2019). “Free music improvisation: An ethnography of Brazilian improvisers”. International Journal of Education & the Arts, 20(15): 1-23.
  • Siao, L. (2021). “Characteristic features of self-expression during preparation future teachers of musical art”. Educological Discourse, 35(4): 196-209.
  • Tetelea, M. (2020). “Training of artistic skills of the music teacher”. Review of Artistic Education, 20(1), 304-308.
  • Tetelea, M., Glebov, A. (2016). “Some aspects of developing musical thinking in the training of musical student”. Review of Artistic Education, 11(1), 15-19.
  • Ünlü, L., Dinç, A. (2024). “An analysis of F. Chopin’s music language in terms of melody, harmony and rhythm”. Studia Universitatis Babeş-Bolyai Musica, 69(1), 165-179.
  • van der Schyff, D. (2019). “Improvisation, enaction & self-assessment”. In: D.J. Elliott, M. Silverman, G.E. McPherson (Eds.), The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education (pp. 318-345). Oxford: Oxford University Press.
  • Vereshchahina-Biliavska, O.Y., Mazur, I.V., Burska, O.P., Iskra, S.I., Teplova, O.Y. (2022). “Musical thinking problems”. Thinking Skills and Creativity, 46, 101138.
  • Vereshchahina-Biliavska, O.Y., Mazur, I.V., Cherkashyna, O.V., Burska, O.P., Hrinchenko, T.D. (2023). “Semantic aspects of musical language”. Convergences – Journal of Research and Arts Education, 16(32), 139-151.
  • Volioti, G., Williamon, A. (2024). “Nurturing the musical imagination: Listening to recordings for self-regulated and creative learning”. In: G. Volioti, D.G. Barolsky (Eds.), Recorded Music in Creative Practices: Mediation, Performance, Education (pp. 157-175). London: Routledge.
  • Wen, M. (2023). “Interactive online classes in music education: The impact of online technologies on the level of creative thinking of students”. Current Psychology, 43(15), 13619-13629.
  • Xiaobin, L. (2024). “Social conditions for the development of musical thinking”. Scientific Opinion, 3, 49-53.
  • Yaroshenko, O.M. (2007). “Formation of musical thinking of the future teacher of music on employment on the basic musical tool (piano)”. Educational Dimension, 18(2), 264-275.
  • Zaretdinov, K.Q. (2020). “Conditions for the formation of national-musical thinking of students in the activities of musical circles”. European Journal of Research and Reflection in Educational Sciences, 8(5), 74-79.
There are 31 citations in total.

Details

Primary Language English
Subjects Interpretation in Western Classical Music, Music Education
Journal Section Research Articles
Authors

Olena Vereshchahina-biliavska 0000-0002-4559-0230

Nataliia Mozgalova This is me 0000-0001-7857-7019

Olena Burska This is me 0000-0001-9330-1299

Tetiana Hrinchenko This is me 0000-0001-8084-6732

Yaroslav Novosadov This is me 0000-0002-6484-9914

Early Pub Date March 19, 2025
Publication Date March 27, 2025
Submission Date January 29, 2025
Acceptance Date March 14, 2025
Published in Issue Year 2025 Volume: 8 Issue: 1

Cite

APA Vereshchahina-biliavska, O., Mozgalova, N., Burska, O., Hrinchenko, T., et al. (2025). FORMATION OF ANALYTICAL THINKING THROUGH THE ANALYSIS OF INTERPRETATIONS OF MUSICAL WORKS IN THE PROCESS OF TRAINING A SPECIALIST MUSICIAN. Yegah Müzikoloji Dergisi, 8(1), 832-862. https://doi.org/10.51576/ymd.1628706