Contemporary vocal pedagogy faces a complex set of methodological challenges that encompass not only the search for ways to improve technical vocal skills for the realization of artistic vision, but also the development of self-control and self-regulation in future singers, as well as the entire creative process. A successful artist cannot function without the ability to effectively manage their physical state, psychological balance, emotional state, and stress responses, as well as the cognitive processes of memory and imagination during performance. This article discusses the question of whether it is possible to foster a sustainable capacity for self-regulation and self-control in the academic and professional life of musicians and vocalists. Is it possible to integrate this capacity into the teacher's methodological approach to developing self-control skills in students not only on stage but also during lessons with a teacher, rehearsals, exam preparation, and performances at assessment events? Based on an analysis of scientific, methodological, and autobiographical sources, the authors clarify the key concept of “self-regulation of the learning process”. This, coupled with the skill of emotional self-regulation during academic, examination, and concert practice, essentially means developing a meta-ability for self-regulation of state and activity both in situations of onstage stress (situational) and in the longterm educational process (personal). The authors propose the rationale and content of their methodical concept for developing self-regulation of students in vocal classes, revealing proven approaches, principles, conditions, and methods of implementation, and substantiating criteria for evaluating its effectiveness.
The article examines the formation of piano performance and pedagogy in Kazakhstan within the context of the traditions of the Russian pianistic school. The historical stages in the development of Kazakhstan’s pianistic art are considered on the basis of an analysis of factual material; the origins and continuity of performing and teaching traditions within the Moscow piano-school lineage A. Goldenweiser - G. Ginzburg - G. Axelrod - G. Kadyrbekova are identified; and the conceptual methodological approaches that distinguish this school in relation to performance art and the professional training of future pianists are revealed. The creative biography of G. I. Kadyrbekova and her contribution to the development of Kazakhstani piano performance and to the national musical culture as a whole are presented. It is shown that the inherited traditions of the Goldenweiser school, refracted through the prism of the pianist’s individual characteristics (professional abilities, psychological qualities, and spiritual sphere), found continuation in her performing activity and in her educational practice in a new form. The article concludes that the stability of the national school is ensured by a combination of cultural continuity and the adoption of the high standards of Russian pedagogy.
The article is devoted to the problem of research activity in the work of a teacher-musician. Although it is obviously necessary to maintain the effectiveness of professional activity, research work is not always recognized by musicians as such a tool. Based on the analysis of scientific and pedagogical literature, the essence of research is revealed as a creative process of creating something new through the mechanisms of cognition and selfcognition. The specificity of musical art (emotional and sensual comprehension of the meanings of being) is highlighted as forms of research, cognition, and self- 151 cognition of largely unconscious aspects of being and bringing them to the level of conscious comprehension, giving them a certain form (production of concepts in theory or artistic expression in works of art). In this regard, the importance of research activities in the work of a music teacher is emphasized in view of the need to teach students to understand emotions, feelings, generate them arbitrarily and manage them. The characterization of the stages of research activity and their refraction in the music-pedagogical process is given. A look at selfeducation from the point of view of the system-synergetic approach, which is active in pedagogical research - as self-creation, self-formation of the personality of a teacher-musician, carried out through the processes of cognition and selfrealization through communication and activity - gives grounds to consider research activity as one of the foundations of professional self-education (selfcreation) of a teacher-musician.
