Дослідження присвячене проблемі активізації художньо-емоційного сприйняття учнів-піаністів мистецьких шкіл як основи глибокого пізнання образно-поетичного змісту музичних творів, рефлексії власних емоцій і почуттів, створення та реалізації творчої інтерпретації музики засобами фортепіанного виконавства. З’ясовано, що музичне сприйняття має яскраво виражений індивідуальний характер та відрізняється цілісністю й одномоментністю осягнення усіх компонентів звучання, єдністю емоційної реакції та аналітико-синтетичних процесів свідомості. У фортепіанному навчанні емоційно-художнє сприйняття виступає як чинник перевтілення виконавських рухів піаніста в особливу якість звучання інструменту, організації і спрямованості свідомості та рухового апарату у напрямку створення цілісної художньо-виконавської концепції з використанням усіх можливостей фортепіанної фактури. Відтворення компонентів фортепіанної фактури під активним контролем загостреного сприйняття наповнює кожний виконавський рух і дотик емоційним, поетичним змістом, дозволяє піаністу відчувати процес розгортання і вибудови художньої образності твору. У цьому контексті розкривається значення формування установки на сприйняття музичних творів як готовності до дієвої форми реагування особистості на музичні звучання та орієнтації почуттєво-інтелектуальної сфери на певні очікування, інтуїтивно-емоційні прогнозування результату художньої комунікації. У роботі з учнями-піаністами для активізації художньо-емоційного сприйняття застосовано метод цілісного охоплення поетичного образу твору, метод тлумачення програмного змісту, метод художнього співставлення.
Relevance of the Study. The analysis of the modern theory of practice of specialized musical education of students, in particular, its organizational and methodical aspects, testifies to insufficient attention to the problem of the development of the artistic sphere of the child’s personality. Instead, the content of piano classes has a powerful potential for activating the artistic and emotional perception of students in the process of mastering varied, feature-rich works of musical art.
Literature Review. The individual psychological peculiarities of human perception of art were investigated by L. Vygotsky, D. Gachov, N. Buchilo, M. Kagan, O. Krivtsun and others. The artistic and emotional influence of music on consciousness of the person was studied by L. Dorfman, V. Medushevsky, S. Rappoport, Ye. Fedorov and others. The problems of activating the musical-auditory, artistic-figurative sphere are devoted to the works of Yu. Aliyev, L. Grigorovsky, O. Rostovsky, O. Rudnitsky, G. Padalka, and others. The psychological aspects of the development of consciousness of the musician within piano lessons were considered by D. Kirnarskaya, N. Kiyaschenko, A. Malinkovskaya, G. Tsipin and others.
The purpose of the article is the theoretical underpinning and coverage of the content of methods of activating the artistic and emotional perception of students of all ages within piano lessons.
Results. The perception as sensory knowledge lies at the heart of human comprehension of the reality, in particular art, ensuring the penetration into the ideological and semantic essence of artistic works, their evaluation and individual interpretation. The content of perception is mainly determined by the subject area, to which it is directed, as well as the individual peculiarities of psycho-physiological, emotional and intellectual development of a student.
The artistic and emotional perception of the pianist guides and organizes the activities of his consciousness and the motor sphere in the direction of creating a holistic artistic and performing concept based on the use of all possibilities of piano style. The demonstration of the components of the piano style while performing fills each movement with emotional content and sound prototype, and every touch of the instrument turns into a highly poetic, aesthetic process.The ways to enhance the artistic and emotional perception of students within piano lessons are highlighted in the research. "The method of holistic coverage of a poetic image of a piece of music" is appropriate to apply in the perception of any artistic phenomena, but it brings the greatest benefit while working on the pieces of time-spatial types of art - music, choreography, musical and theatrical genres. The pianist perceives the figurative content of a musical composition in a holistic and simultaneous manner due to a significant increase in the level of consciousness activity, especially at the stage of the initial (sketch) acquaintance with the new information. The work includes music-listening sphere, creative imagination and associations, intuition and perspective thinking, motor feelings are activated. At the initial stage of text processing students. as a rule, try (most accurately) to recreate each sound, its length and height, rhythm, application. It artificially devalues the musical content for the perception of the student, directs his attention to each individual piece of the work, instead of forming holistic representations about the image, mood of music. Instead, the task of the teacher is to target the young pianist to the comprehension of the general mood, the creation of integral representations about the artistic idea of a music piece. The implementation of the method of holistic coverage of the poetic content of the work should be done on the basis of small but artistically bright musical snippets with expressive characteristics of piano style. In the light of the above, "the method of interpreting the program content of a music piece" acquires an important significance in the context of activating the artistic and emotional perception of piano-students. To give names to pieces is not only an ancient tradition that prevailed in art, music, it is also a way to convey the composer’s complex and profound experiences, to specify, direct the perception of the listener in a certain figurative direction.
To enhance the artistic and emotional perception, we recommend using the "artistic comparison method". The implementation of this method within piano classes can be carried out on the material of various musical pieces, based on the identification of contrasting and expressive artistic characteristics. The essence of the method consists in the division of the work into separate episodes, each of which represents an artistic and semantic unit of figurative and musical content. The artistic unit may be an element of a form, a separate subject, a climax episode, and the like.
Findings. The materials of this article substantiate the importance of development of artistic and emotional perception of piano students in art schools, presents a number of effective methods of artistic and pedagogical work with children within piano classes on the basis of creating a psychological setting for active artistic communication.
Originality The novelty of the study is to refine the essential characteristics of musical perception of piano-students, to develop methods for activating the emotional-artistic component of their consciousness by means of piano performance.
Conclusions. An important issue in musical psychology and pedagogy is revealed in the article, the essence of the concept of "artistic and emotional perception" is clarified, the content of the methodical provision of piano classes in the direction of activation of the determined phenomenon is highlighted.
Significance. The theoretical conclusions and methodological guidence presented in the work can be used in scientific and practical work with students in classes of artistic profile.
