The dissertation examines the actual problem of formation of performing master's students of musical art in the process of singing training. The problem of the origins and nature of singing, the unique specificity of the human voice as a unique natural instrument, thanks to which vocal art is clearly distinguished from other types of art, the formation of the singer’s skill as a special type of artist has always been and is in the center of research attention of philosophers, musicians, musicologists, singers, pedagogues-vocalists in different cultural and historical periods of human development.
In the context of this work, the main research focus is on the formation of performance skills of master's students of musical art in the process of singing training. In the modern international educational and scientific space, the concept of a master's degree is an academic degree that is common in higher education institutions of various countries around the world. We consider the performing skill of master's students of musical art as a systemic dynamic professionally significant personality quality that is formed and constantly improved in the process of singing training and includes a complex of acquired abilities, skills, competencies that determine a high degree of mastery of vocal technique and reveal the singer's ability to skillfully manage the performance process to achieve the highest quality artistic result. Since vocal performance is that form of musical activity, the quality of which is directly related to the level of the singer's performance skill, therefore the formation of this phenomenon must be considered as a systemic multifunctional complex process, the content of which combines artistic-aesthetic, performance-technological, psychological-pedagogical and vocal and methodological tasks of vocal training.
We have defined the following main approaches to the formation of performance skills of master's students of musical art: axiological, hermeneutic, and reflexive-projective. As a holistic structural phenomenon, the executive skill of an individual consists of a number of such interrelated components - motivational-value, cognitive-cognitive, emotional-volitional and creative-active. The motivational and value component in the ontogenesis of the formation of performance skills plays a key role, as it is based on stable internal motivation and the individual creative orientation of master's students of musical art towards performing activities and determines the value attitude towards it. The cognitive-cognitive component of the researched phenomenon characterizes broad erudition in the field of vocal art, which implies the degree of formation of master students of musical art in deep systematic integrated knowledge of the history, theory and methodology of musical (vocal) art and the ability to operate with them in performing activities. The emotional-volitional component determines the degree of development of master students of musical art in the emotional-volitional sphere in relation to vocal performance, which is characterized by the ability to emotional-sensual experiences, empathic penetration into the artistic and figurative content of a musical work. The creative activity component reflects the level of practical readiness of master's students of musical art for independent performing activities, focus on artistic search and self-realization in the field of vocal performance. The criteria and indicators of these components are developed in the dissertation.
Pedagogical conditions for the formation of performance skills of masters of musical art are defined as: creation of a positive educational atmosphere; provision of active concert activity, diverse in direction and form of conducting; ensuring freedom of self-determination in performing activities (individual choice of performing means in the process of interpreting a musical work). The second pedagogical condition of ensuring active concert activities, diverse in direction and form of conducting, orients the educational process to obtaining maximum practical experience by the master of musical arts directly in performing activities. The third pedagogical condition for ensuring freedom of self-determination in performing activities (individual choice of performing means in the process of interpreting a musical work). This condition is closely interconnected with the previous pedagogical condition, as it is determined by the embodiment of a conscious and original interpretive version of the performance of a musical work.
