The current needs in the modernization of the system of performing interpretation and the search for mechanisms for its optimization necessitate a review of approaches to the professional activity of musicians. The creation of favorable conditions for the development of the performers’ creative potential and the multifaceted realization of their unique talent is of particular relevance. The aim of the study is to reveal and substantiate the content, significance and effectiveness of the application of innovative approaches to the creation of performing interpretation of a musical work. The study employed both practical (monitoring of the interpretation of a musical work) and theoretical (analysis, comparison, synthesis) methods. The study established that a mixed system of performing interpretation the most progressive, optimal and oriented towards the individuality of the music performer, as it combines the principles of several approaches — traditional academic and innovative. It provides for a full multifaceted implementation of approaches that contribute to the successful performing interpretation: interdisciplinary synthesis and the mechanism of creative interaction of the pianist, soloists, and choral group, knowledge of the achievements of various performing schools in the world, application of conditions for improvisation and implementation of non-standard solutions during a performance on stage. The key components of optimizing the professional activity of performers were identified: auditory experience and research of musical primary sources; ensemble music-making practice; genre and stylistic diversity of the repertoire. The prospects for studying this problem are determined by the openness of the performing interpretation processes to innovative principles and their commitment to preserving and implementing the fundamental principles of the classical academic tradition of performance.
The present study examines the communicative dimensions of the artistic activity of the contemporary French saxophonist Jean-Denis Michat. The musician is a highly accomplished performer on various members of the saxophone family who, in his compositional practice, actively integrates established academic traditions of earlier stylistic epochs with elements derived from jazz and popular culture. Such an approach not only reveals the extensive expressive and technical potential of the saxophone family – including the use of unconventional playing techniques – but also contributes to the enrichment of the original repertoire written for these instruments. Continuing the traditions of collective music-making associated with saxophone ensembles, J.-D. Michat also appears in the role of conductor, directing a large saxophone ensemble and shaping its artistic profile. In addition to expanding the ensemble’s repertoire through arrangements of works that have acquired the status of canonical compositions, the musician – drawing upon his own performing experience and detailed knowledge of the technical and timbral possibilities of each member of the saxophone family – creates original compositions specifically conceived for this instrumental formation. From this perspective, the article investigates J.-D. Michat’s artistic practice in terms of communicative interaction, encompassing the interrelated functions of Composer – Conductor – Performer, whose mutual interrelation forms a unified artistic and interpretative process.
The article substantiates the concept of auditory–motor thinking as a key artistic–cognitive structure of musical performance. Drawing on the phenomenological tradition of analyzing embodied consciousness and the temporality of musical action, it proposes a distinction between sensorimotor integration as the physiological precondition of performance and auditory–motor thinking as an intentionally organized process of shaping artistic meaning. It is demonstrated that musical performance cannot be reduced to the coordination of auditory and motor responses; rather, it emerges as an integral act of performative consciousness in which auditory projection, motor structuring, and expressive regulation are unified within a single temporal perspective.
This study examines structural awareness as a shared interpretive competence in duo performance. Rather than treating analysis as an individual cognitive tool, it frames structural awareness as a relational process emerging through coordination between performers. Duo performance is approached as an interpretive system in which form is negotiated in real time, shaping phrasing, agogics, articulation, and expressive timing. Selected examples (violin–piano, clarinet–piano, voice–piano) show how shared structural reference points guide interpretive decisions and support advanced chamber-music practice.
The study of the mechanisms underlying the development of national consciousness is of great importance for cultural promotion, as it fosters personal identification with the nation and its traditions. This study aimed to assess the benefits of artistic and choreographic projects for the development of national consciousness among students pursuing higher education in the arts. The study utilised correlation analysis, the Student’s t-test, a Likert scale, and expert assessment of students’ perceptions of vocal and choreographic projects. The authors identified factors that influence the formation of national consciousness in vocal projects (repertoire, intonation, arrangement, symbolic elements, interpretation). In choreographic projects, these factors include movement, rhythm, imagery, symbolism and synchronisation. It was found that the trends in the perception of elements of national consciousness in vocal projects include the melodic basis of the composition, an emphasis on ornamentation, and the choice of performance interpretation. For the choreographic projects, these indicators are the emotionality of the staging, selected movements, and the stage image. The students’ performances of the traditional composition “Oi u luzi chervona kalyna” (4.3 points) and the contemporary piece “Shum” (4.2 points) demonstrated the advantages of the folk compositions in conveying elements of national consciousness. In choreographic projects, the highest level was demonstrated in the creation of the modern jazz dance improvisation with ethnic elements “Rodynnyi oberih” (4.5 points), due to the high level of choreographic plasticity. Understanding the criteria for expressing national consciousness in artistic projects contributes to the popularisation of art and intercultural development.
