Yu Y. Formation of future musical art bachelors’ artistic-figurative representations by means of piano program works

The research presents theoretical justification and offers a new solution to the problem of forming artistic-figurative representations of future musical art bachelors by means of piano program works. The purpose of the study is theoretical justification, development and experimental verification of the methodology of forming artistic-figurative representations of future musical art bachelors by means of piano program music. The functions (perceptive-semantic, emotional-evaluative, performative-creative) of artistic-figurative representations were determined and their structure was built in the system of clusters of future musical art bachelors’ piano training. Based on the causal-functional analysis, the components of artistic-figurative representation are determined, taking into account the vector for piano training: cognitive-semantic, emotional-evaluative, interpretive-experiential. Based on the developed methodology, three pedagogical conditions are presented, which were introduced in stages: accumulation of a fund of artistic-perceptual standards and artistic-figurative associations (interiorization-experiential stage); stimulation of an evaluative-reflective attitude to the emotional-meaningful content of the work in the holographic projection of experience (artistic-dispositional stage); systematic application of the “action-image-word” meta-construct (interpretive-praxeological stage). Piano program works were chosen as the content line of the introduced conditions. During the molding experiment, which was conducted on the basis of the phased implementation of pedagogical conditions, a number of methods were used that proved to be effective: creating a bank of images and symbols based on software piano music (Deutsch, D.; Feroe, J. (scheme of pattern mental representation)); construction and comparison of stylistic parallels of similar images/programs (identification of similarities and differences); transfer of residual knowledge/skills into a new artistic and textual format (D. Puig (method of controlled improvisation)); building an emotional and reflective context of representations based on previous experience (Si Millican; S. H. Forrester); construction of the evaluation trajectory and emotional attitude to different clusters of program music (D. Calvocoressi (aesthetics of program music)); selection of artistic-illustrative material in accordance with the program of the work; creation of a work program based on self-referentiality and artistic narrative; verbal accompaniment of performance interpretation based on existing experience.