HUN V. Artistic technique of the choir conductor in the context of psychophysiological analysis

In the dissertation work the theoretical substantiation is carried out and specificity of art technique of the conductor of choir from positions of psychophysiology and musical art through a prism of the theory of creativity is revealed. The difference and characteristic of the presented work is the synthesis of musical, aesthetic and socio-psychophysiological perspectives on the study of the nature, essence and specifics of conducting and performing arts. Based on the analysis of the source base of the research, devoted to conducting and performing skills, the artistic technique of the choir conductor is analyzed on the border of aesthetic, psychological, sociological, semiotic and other related fields of knowledge. Detailed study of scientific achievements, comparison of various scientific positions led to the clarification of the conceptual apparatus of conducting art, which has not yet received a well-established and systematic meaning. In order to avoid scientific duplication, the basic concepts concerning the theory of conducting art are specified, namely: interpretation of music and real performing interpretation; conductor thinking and conductor plasticity; manual technique, art technique. Auxiliary concepts were introduced into the work, which allowed to clarify the terminology of conducting and performing arts: craft, technique, skill, art, semantic, expressive movements, facial expressions, plastics, etc. The basic position that conducting is both a phenomenon of applied art and a product of applied science and self-management is substantiated. Based on psychophysiological analysis, the role of emotions as a component of the choir conductor's thinking was revealed. It is noted that the conductor's activity is a specific translation of a musical work into the language of movements (gestures), emotions and facial expressions, ie the transformation of the sound image into visual-motor.