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DOI: https://doi.org/10.34069/AI/2022.53.05.8
How to Cite:
Dushniy, A., Boichuk, A., Kundys, R., Oleksiv, Y., Stakhniv, R. (2022). Performing musicology: retrospective, methodological
principles, looking to the future. Amazonia Investiga, 11(53), 82-91. https://doi.org/10.34069/AI/2022.53.05.8
Performing musicology: retrospective, methodological principles,
looking to the future
Музичне виконавство: ретроспектива, методологічні принципи, погляд у майбутнє
Received: April 29, 2022 Accepted: May 29, 2022
Written by:
Dushniy Аndriy35
https://orcid.org/0000-0002-5010-9691
Boichuk Antonina36
https://orcid.org/0000-0001-5401-8343
Kundys Ruslan37
https://orcid.org/0000-0002-6374-4811
Oleksiv Yaroslav38
https://orcid.org/0000-0002-1542-4928
Stakhniv Roman39
https://orcid.org/0000-0002-3659-781X
Abstract
The history of performing musicology is a vast
panorama of traditions in the context of national
schools and styles of certain eras. It provides a
key to deciphering individual and widely used
techniques. Her legacy helps not only to
comprehend the process of the formation of the
art of outstanding representatives of world
musical performance, but also opens up
unlimited prospects for the further development
of performing skills and enriching it with new
content. In this article, the author collects and
studies materials on the topic of research. The
purpose of this publication is an analysis of
sources (the quality effects model), revealing the
history of performing musicology and its key
methods which give grounds for constructing
hypotheses regarding the prospects of this
direction in the context of world (including
Ukraine`s art) culture. The author gives different
types of performing musicology analysis
including integrative, systematic and
comparative methods. It's a base for the aim of
this work which consists of the creation of
hypotheses connected with the performing
musicology`s future.
35
Head of Folk Musical Instruments and Vocals Department Educational and Scientific Insti-tute of Musical Arts Drohobych Ivan
Franko State Pedagogical University, Drohobych, Ukraine.
36
Educational and Scientific Institute of Musical Arts Drohobych Ivan Franko State Pedagogical University, Drohobych, Ukraine.
37
Department of Directing and Choreography Lviv Ivan Franko National University, Lviv, Ukraine.
38
Department Faculty of Musicology, Composition, Vocals and Conducting; Department of Folk Instruments Lviv Mykola Lysenko
National Music Academy, Lviv, Ukraine.
39
Department of folk music instruments and vocals Educational and Scientific Institute of Musical Arts Drohobych Ivan Franko State
Pedagogical University, Drohobych, Ukraine.
Dushniy, A., Boichuk, A., Kundys, R., Oleksiv, Y., Stakhniv, R. / Volume 11 - Issue 53: 82-91 / May, 2022
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Keywords: performing art, musical science,
systematic and comparative analysis,
polyanalysis, history and methods of performing
musicology.
Introduction
The main goal of the article is to open a panorama
of performing musicology in the past, at the
moment and to make prognose for future. It is a
conception of our publication. It is based on
exploration of the history of performing art and
performing practice. This theme is actual because
performance has its long way of evolution and a
lot of schools, styles, and national traditions.
Performing musicology is a branch of musical
science which is developing dynamically today.
The figure of musician-performer has its own
special place in modern musical culture.
Different questions connected with the theory
and the history of the performing art is actually
for modern musicology (Garratt, 2018). This
article is based on different resources connected
with the musicology of performing art. There are
different types of performing musicology
analysis: systematic, comparative analysis and a
prognose of the subject`s development in the
future. There are different aspects of its
exploration. Among them we can mark such as
the aspect of performing-analytical thinking
projection and the aspect of connection between
the way of organization of musical material and
composer`s stylistic thinking, the aspect of
semantics in a musical work and the aspect of
intonation`s analysis, the aspect of performer`s
co-creation with the composer and the aspect of
neo-folklore in the performing artistry
(Stelmashchuk, 2021). The aspects of future
musicians-performers` disclosure as a person and
the aspect of insurance, the cultural direction, the
aspect of the performance training of future
music teachers and the aspect of an integration of
different elements into the subject of performing
musicology researched by scientists of Ukraine.
The themes of performing skills (particularly,
concert performance skills) and interpretation are
researched by Plokhotniuk and Ivanova
(Plokhotniuk, 2016; Ivanova, 2017). It also
becomes very important for performing
musicology, the aspect of interdisciplinary
(Lobova et al., 2020). The aspect of Ukrainian
performing art as a component of spiritual culture
and the aspect of students' national self-
consciousness in the process of learning and
performing, the aspect of methodology
connected with the formation of performing
culture of future music teachers are in the sphere
of interest’s author by Mihalyuk (2019). The
aspect of cognitivism in this sphere is explored
by Haumann (2015). The process of
implementing an ethnic tradition in performing
practice is researched by Morgenstern (2019). In
contemporary performing musicology opened
the aspect of using the innovative technologies in
musical art too (Ward, 2019). Scientists
demonstrate the deep connection between social
life and musical culture. Particularly they note
the process of forming art societies (Garratt,
2018; Dunkel, & Schiller, 2020; Campbell &
Stewart, 2005). The best traditions of historical
approach to the performing musicology are
continuous by Garratt (Garratt, 2016). But all
these valuable sources need to be integrated in
one big analytical sphere. And this sphere is a
new method of performing musicology`s
exploration at the moment and in future. So
methodology of the research we share in this
article is a collection and analysis of thesis and
main thoughts from works dedicated to the
performing musicology and a creation of
performing musicology`s development
hypothesis. It's also an aim of this work.
Methodology of the publication includes also
principles connected with the search of
systematization of all material we have today.
The main method of the exploration and the
making of the author's own hypothesis here is an
analysis including its different types. In order to
implement it the author finds works which are
close to each other with their goals of exploration
and with a picture of performing art they
describe. We give a system of performing
musicology aspects and make a conclusion
which shows the main vectors of development in
this sphere of culture.
Methodology of the study research model
Method
In this article the author uses different types of
performing musicology analysis. Among them it
can talk about integrative, systematic and
comparative analysis. The first one is supposed
to unite similar materials from different sources.
It gives an opportunity to explore the main
principles of performing musicology research
taking place in different countries and different
periods of time. It also provides the base for the
next type of the analysis, which is the systematic
one. It allows to make the sources` groups, which
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have their own general context. The context
describes the main sides of the performing
musicology sphere, uniting similar principles of
different branches of musical art. The last type of
the analysis helps to find the depth of every
component of performing science because the
comparative analysis shows a real number of
important questions connected with musicology
in the past, at the moment. The author of this
publication also implements the method of
hypothetical analysis which is based on
searching and learning performing musicology`s
materials. All these types of musical science
exploration have two main sources. They are
empirical and scientific methods. The first of
them gives a lot of valuable materials because it
is based on search and collection information
from the cultural life of society. The second of
them needs to use deep theoretical research of all
sources scientists get by empirical method. So
these two ways of performing musicology
exploration are in deep connection with each
other. These main and important methods include
a number of necessary components. Among them
we can provide such as: principle of search;
principle of experiment; principle of monitoring;
principle of description; principle of analyses;
principle of classification. Principle of search is
a mechanism of getting a wide and deep
knowledge of a subject. It finds the
implementation mainly in such spheres of
performing musicology as history of it, national
and spiritual traditions. Principle of experiment
is very important for getting results of the
exploitation in such spheres of performing
musicology as developing student`s concert
skills and the integration of different components
of study. Principle of monitoring provides
scientists with information connected with the
future musician`s personal development and
integrative process between performing practice
and society`s life. Principle of description makes
a panorama one of the performing musicology
spheres such as formation of the social art
groups. Principle of analysis is unique for all
sciences and for performing musicology
particularly. It takes place in research of different
components of performance such as intonation,
the performer's psychological image, the quality
level of cultural direction in process of learning,
the historical pictures of performing art and the
innovative technologies` implementation in it.
Principle of classification is a way to
systematisation all materials the author got
during research. The fact of using all these
principles shows that performing musicology as
a branch of science has a serious foundation of
union between musical practice and analytical
thinking. So the main methods of performing
musicology`s exploration (the search of the most
important sources connected with performing
science and practice; monitoring, description,
analysis and systematization of all materials) are
united with the author`s conception of a new
principle of research which is called
polyanalysis.
Results and discussions
Spheres and problems of performing
musicology
It was the time when performing musicology
made the monitoring, fixed and explored only
one theme, one problem connected with the
process of performance. It had its own positive
side, because this principle gave a deep answer
for one big question. This question was
addressed to improvisation. Then, this sphere of
musical science began to fill with knowledge
from other disciplines. The basis of it was the fact
that performing musicology researches the
creative realisation of human resources. And it
needs to explore the components of a person's
development in the process of learning and
performing practice. In accordance with it
scientists began to pay attention to other sciences
such as pedagogy, psychology, sociology. It
made the subject of performing musicology wide
enough. It gave opportunities to take answers for
more different questions addressed to the
performing arts' nature.
At the moment performing musicology is a wide
scientific sphere. There are many serious themes
and problems in the field of specialists` interest.
Performing musicology as a subject is in a deep
connection with pedagogy, psychology,
sociology, and innovative technology today.
A number of scientists research the problems of
performing musicology in the light of
pedagogical practice. Particularly it noted an
importance of the systematic continuous
improvement of the student`s performing
technique. Plokhotniuk works in this branch and
shares her points of view: the students get
experience in the process of interpreting works
on stage. This fact plays a leading role in training
the future generation of performing arts masters
in Ukraine. This is facilitated, to a large extent,
by familiarizing young performers with the depth
of the figurative content and the spiritual and
value orientations of composers of different eras,
national schools and styles (Plokhotniuk, 2016).
Scientists also see an importance of keeping the
best traditions of cultural direction in the
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pedagogical sphere. Mikhailiuk explores the
main questions of this direction in her
dissertation: the practice of modern higher
education requires the creation of the necessary
conditions to ensure the cultural direction of
performance training of future music teachers, as
well as for in-depth knowledge of the educational
potential of Ukrainian piano art. These
conditions can be implemented by
methodological principles of student motivation.
The purpose of the orientation-motivational stage
is to ensure a conscious interest in the
performance of future music teachers. Mihalyuk
(2019) notes a role of national self-consciousness
in the field of musical training: there is activation
of students' national self-consciousness in the
process of learning and performing Ukrainian
piano works; providing dialogue bases of
interaction of the teacher and the student in the
course of mastering of domestic piano heritage.
Performing musicology is also in a deep
connection with psychology. The process of
interpretation supposes different emotional
statements of musicians and this fact influences
the picture of performing art. It has become one
of the main performing musicology branches
which studies such categories as person in
performance and the image of interpreter. The
problem of learning about a person in music is
researched by Mykhailiuk: the professional
training of students of higher music and
pedagogical educational institutions should be
aimed not only at professionals but also at the
personal growth of the future music teacher
(Mihalyuk, 2019). The problem of analyzing the
performer's psychological image is explored by
Siryatska. It determines the character of the
images of those compositions, which the master
turns to and, in fact, the style of his interpretation.
This raises the question of disclosing and
studying the psychology of personality, the
realization of its unique potential in the process
of performing activities. The interpreter's
characterization reflects the peculiarities of his
game. This fact explains the relevance of the
psychological and analytical approach to the
study of performing activities as a specific sphere
of creativity Stelmashchuk (2021).
A wide panorama of the evolution of the
connections between psychology and music
gives scientist Haumann. In his work there is one
of the modern directions in musicology. It's
cognitive musicology. This sector of musical
science has its main goal and task, which consists
of the research of the historical-scientific
presuppositions in the psychology of music. The
author offers an overview of basic empirical
research, which belongs to the end of the 19th
century and the beginning of the 20th one. The
historical overview focuses on the early
development of ideas and discoveries in the
psychology of music during the late 19th century,
and the first decades of the 20th century
(Haumann, 2015, p. 12). He opens a very
important idea, connected with the psychology of
perception music by performers and listeners.
That makes a new form and methods of musical
research because the scientists work in a wider
field. It's the interdisciplinary sphere. “Cognitive
Musicology is a fairly recent sub-discipline of
musicology that suggests drawing on disciplines
outside traditional musicology, to study and
explain musical phenomena. It finds its primary
approaches to music in the interdisciplinary
fields of the Cognitive Sciences. The goal of the
Cognitive Sciences is to study how humans apply
and respond to any kind of information. In
Cognitive Musicology, the basic theory is that
music may be understood as a type of
information that humans perceive. To study how
humans process any information in the world in
which we live, the Cognitive Sciences combine
theories and research methods from the
humanities and the natural sciences, such as
psychology, semiotics, computer science, and
neuroscience” (Haumann, 2015, p. 13). He
speaks about different methods of describing
cognitive psychology. He shows not only
qualitative methods of understanding the process
of perception music but the ones which belong to
the theory of music. “Theoretical methods in
Cognitive Musicology combine theories of
musical structures with theories of how the
human mind processes musical information.
These interdisciplinary theories provide
theoretical tools to analyze the perceptions and
experiences of the tonal and rhythmic structures
in music. Also, theoretical methods are applied,
to analyze associations of music and meanings,
beyond the domains of sounds and musical
structures' ' (Haumann, 2015, p. 14). The author
also uses neurophysiological methods of musical
perception`s exploration. He provides
measurements of brain activity as people listen
to, or play music (Haumann, 2015, p. 16).
Method of computer modeling helps him too. He
gives a deep and wide picture of cognitive
musicology as a science. “Cognitive Musicology
is a relatively new field. However, it has a partial,
150-year historical scientific background in the
tradition of the psychology of music. The
psychology of music and Cognitive Musicology
combine the study of music with investigations
into the psychological mechanisms underlying
music perception and performance” (Haumann,
2015, p. 45). He completes the steps of this
direction and gives a logical system of it. This
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system is deeply connected with the historical
methods of musical science (Tuchowski, 2021).
Performing musicology as a part of human
culture is supposed to be in touch with social life.
Scientists describe and analyse the leading role
that the arts organizations are playing in society
life. They make a monitoring of the influence of
new technologies to contribute to communication
between groups of visual artists with different
backgrounds and cultural experience throughout
and beyond regional places. Particularly they
describe the work of the Flying Arts society in
Australia (Campbell & Stewart, 2005). An
unusual research in the musicology sphere offers
scientist Garratt from Great Britain. He analyses
musical art and performing art too in a social life
context: how have the relationships between
music and politics changed over time and across
cultures, and are the familiar tools we use in
dealing with them fit for purpose? Garratt`s work
helps to understand how these fields interact,
offering a rigorous reappraisal of key concepts
such as power, protest, resistance, subversion,
propaganda, and ideology. He explores and
evaluates a wide range of perspectives from
contemporary political theory, engaging with an
array of musical cultures and practices from
medieval chant to rap. In addition, it discusses
current ways in which the relationships between
music and politics are being reconfigured and re
conceptualized (Garratt, 2018). This kind of
research is interesting for another scientist.
Dunkel and Schiller are learning the problem of
populism in the cultural life of society (Mani,
2021). They note that populism has been
researched from a great array of disciplines in the
humanities and social sciences over the last
decades. Scientists discovered this deep and
serious question in the sphere of musicology
(particularly in the branch of popular music). The
theme “Populism and music” as they explain
have been intricately connected at least since the
nineteenth-century populist movement in the
United States and popular music studies have a
long tradition of research into music and politics,
subcultures and counter-cultural movements that
challenge the hegemonic ‘power bloc’. So, the
scientists are exploring a range of international
and interdisciplinary contributions from different
perspectives, including popular music studies,
ethnomusicology, and cultural sociology
(Dunkel & Schiller, 2020).
Performing musicology also demonstrates its
deep connection with historical, intellectual and
spiritual cultures of humanity. The problem of
historical reading of performing arts traditions is
opened by Garratt. He explores the role of organ
music and organ performing art during the First
World War. Garratt notes that organ music tends
to be associated with religion rather than politics,
and with order and continuity rather than
violence and upheaval. But if the organ was
worlds apart from the horrors of the trenches, its
associations with religion, stability and the
established order gave it a powerful ideological
heft. The organ was one of the primary musical
emblems of nationhood in Germany and Austria
in the period of First World War (Stefan
Schmidl). Garratt revealed to us that German
organ works from the war years engage more
extensively, and often more overtly, with
religious national narratives. Within German
organ music, such narratives can be divided into
three overlapping categories, each of which
approaches the meaning and significance of the
war through the lens of particular Christian
concepts: 1) apocalyptic narratives offering
prolepsis or anticipatory stories of victory,
religious awakening and societal transformation;
2) narratives presenting the war as a test and
sacrificial process leading to a purer, redeemed
nation; 3) narratives of individual sacrifice and
transfiguration” (Garratt, 2016, p.391). It is an
example of great historical exploration of
performing art and composer practice. But not
only this way of performing musicology research
is known.
Scientists learn the presence and implementation
of such elements as intellectuality in performing
musicology. It can be intellect in its classical
version and also the newest type of the one: the
innovative technologies. As for the first type we
can introduce the work of Sumarokova. The
intellectuality here is a power of thought in
performing art. There are several aspects that are
very important for performing musicology as a
science. The scientist opens:
▪ the aspect of connection between the way of
organization of musical material and
composer`s stylistic thinking;
▪ the aspect of intonation`s analysis (the
analysis of monotheism);
▪ the aspect of performing-analytical thinking
projection.
Musical style is analyzed in the projections of
performing-analytical thinking; composer's style
is studied as a prerequisite for performing
interpretation (Sumarokova, 2014). The bridge
between classical and innovative intellect of
performing musicology exploration is a work of
Atanasovski. He explores the challenges of the
“affective turn” and maps new avenues of music
research with the help of semiotic models.
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Atanasovski shares four paths of enquiry, in
deviation from the semiotic models: the
discovery of the non-signified materiality and its
potentiality to generate affects, the potentiality of
affect to de-signify, the ability of sign machines
to catalyze the production of intensities and,
finally, the power of social machines to
overcome the produced affect through non-
discursive mechanisms (Atanasovski, 2015). He
argues that the affective turn in musicology can
provide a different structuring of a view from
without and a view from within, calling both for
finely tuned “close reading” and for the ability of
the researcher to grasp the performative context.
The most important thing he has opened is the
post disciplinary as a fact of modern musicology
of performing arts. He notes that the cited
examples of contemporary sound and music
studies prove the complexity and variegation of
the challenge which effective turn presents to our
disciplines. The semiotic models are both
divergent amongst themselves and asking for a
different kind of analysis compared to what we
are used to – different methods and competences
through which we truly enter into the post
disciplinary age. He made a conclusion that the
effective turn challenges us to restructure and
extend both the view from without and the view
from within the music itself (Atanasovski, 2015).
The newest type of performing musicology`s
intellectual sphere is the software used in
learning process and performing practice.
Scientist Ward implements the exploration in this
branch. He notes that the newest system of
distance learning is an effective method of
contemporary performing practice realisation.
He concentrates his attention on the Irish musical
culture, but this material is actually for other
countries (Ward, 2019). He gives statistical
information about the place of software in this
sphere: the Internet is now a central resource in
the transmission of Irish traditional music, with
over 80 per cent of Irish traditional musicians
citing that they use online resources. The Online
Academy of Irish Music (OAIM) is a website
that offers online tuition, and employs innovative
virtual pedagogies including Virtual Classrooms,
Virtual Sessions, Jam Sessions and Virtual
Reality Sessions. Through ethnographic means
and focusing on the OAIM as a case study, this
article highlights the connection between music
and social learning in the ITM tradition (Ward,
2019).
One of the most important branches of
performing musicology is national spiritual
culture. It was introduced in the work of
Sumarokova. She gives a number of categories of
it:
▪ the aspect of semantics in a musical work;
▪ the aspect of neo-folklore in the performing
artistry;
▪ the aspect of spiritual and national musical
traditions.
These are all aspects that illuminate the context
of contemporary musical practice (Sumarokova,
2014).
The component of performing musicology`s
spiritual culture is the ethnic traditions which
opens in the work of Morgenshtern. Felix
Morgenstern from the University of Limerick
began to explore a theme connected with Irish
Traditional Music in Germany. The German
performance context contributes important new
understandings of the routes that Irish musical
practices have taken globally. There is a process
of the study of Irish traditional music as part of
the ethnomusicological project. There is the
exploration of the ethnic-national and diasporic
terrains of musical identity construction and
negotiation. There is an elucidation of a recursive
interplay between discourses and musical
practices, and trace how this crucial intersection
has informed the German engagement with Irish
traditional music both historically and in the
present (Magalhães & Pires, 2019). The project
identifies agents that fashion, control and disrupt
these narratives, and uncovers trajectories
through which these processes unfold. The
ethnographic responses of interlocutors in
relation to larger bourgeois late Enlightenment
and Romantic discourses have profoundly
tethered folk music to the cultural enterprise of
nationality in Ireland and Germany
(Morgenstern, 2019). At the moment it is a new
era of performing musicology. This subject goes
through the transformation and becomes an
integrative musical science which unites
different spheres of human life. In this way are
scientists: Mykhailiuk, Garkusha. They note that
there is a fact that musical pedagogy, performing
art and psychology are connected with each
other. There is a practice result of it. It reveals
psychological and pedagogical features of the
process of performing interpretation music as a
synthesis of musical education and artistic
creativity. The peculiarities of music
performance, on which the author's method of
formation of musical-performing thinking is
based, are revealed too (Garkusha, 2016).
Performing culture of a future music teacher is
defined as an integrated professional and
personal property that characterizes a high level
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of mastery of artistic knowledge, musical
performance skills, pedagogical competencies,
which is expressed in the ability to artistically
sound and pedagogically appropriate
interpretation of the content of a musical work,
activity of person`s professional and creative
growth (Mihalyuk, 2019). So, performing
musicology as a science needs to be renovated
with the principle of integration of different
branches of human life in it. The aim of the
article is to make analysis (systematic,
comparative) of the performing musicology`s
main sources and to propose her own hypotheses
of development in this subject in the future.
Analysis (The sources systematisation and
comparison)
The author of this article sees a great importance
of all these works. In this publication she uses
different principles of performing musicology
exploration. Among them there are searches for
necessary materials, systematisation and
classification of it all, and the method of
comparing different conceptions and scientific
points of view to the performing musicology. She
makes synthesis of all conceptions researching
performing musicology.
All the sources divide into groups in accordance
with the main thought (the idea) of their content.
It's systematic analysis.
One of the groups unite performing musicology
and other disciplines: history, psychology,
sociology. It's an interdisciplinary group.
There are aspects it consists of:
▪ the aspect of historical approach in
performing musicology;
▪ the aspect of interaction between performing
musicology and the social life context;
▪ the aspect of the forming art societies;
▪ the aspect of an integrated professional and
personal property;
▪ the aspect of the analyzing the performer's
psychological image.
The other group describes different sides of
musical pedagogy connected with the performing
art. It`s a group of pedagogical ideas and
methods. There are aspects it consists of:
▪ the aspect of methodology connected with
the formation of performing culture of future
music teachers;
▪ the aspect of future musicians-performers`
disclosure as a person;
▪ the aspect of the presence the necessary
conditions to ensure the cultural direction of
performance training of future music
teachers;
▪ the aspect of students' national self-
consciousness in the process of learning and
performing;
▪ the aspect of the instilling of students`
concert performance skills.
In the performing musicology sphere there is a
very deep theme connected with the main source
for every nation. The theme opens people's
ancestry and its history, its life with the help of
knowledge of the spiritual culture. It's a group of
spiritual (cultural and ethnic) traditions. There
are aspects it consists of:
▪ the aspect of ethnic musical art`s practice;
▪ the aspect of neo-folklore in the performing
artistry;
▪ the aspect of Ukrainian performing art as a
component of spiritual culture;
▪ the aspect of spiritual musical traditions;
▪ the aspect of semantics in a musical work.
The most popular now is the group which
researches innovative processes in human life.
It's a group of innovations.
There are aspects it consists of: the aspect of the
innovative technologies in performing
musicology
But the biggest group is the one which explores
different questions connected with the theory of
performing musicology. It's a group of
theoretical thoughts. There are aspects it consists
of:
▪ the aspect of performing-analytical thinking
projection;
▪ the aspect of the interpretation;
▪ the aspect of intonation`s analysis (the
analysis of monotheism);
▪ the aspect of connection between the way of
organization of musical material and
composer`s stylistic thinking;
▪ the aspect of semiotic models` exploration
performing musicology as the post
disciplinary research;
▪ the aspect of performer`s co-creation with
the composer.
It must be noted that the deep and extensive
questions of performing musicology are learned
by Ukrainian scientists. They are interesting in
instilling of students` concert performance skills,
analyzing the performer's psychological image,
performing-analytical thinking projection,
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intonation`s analysis, connection between the
way of organization of musical material and
composer`s stylistic thinking, performer`s co-
creation with the composer, spiritual musical
traditions (Ukrainian performing art as a
component of spiritual culture) (Table 1). This
table gives us a picture of one of the most
important spheres of human culture. So modern
performing musicology gives a lot of valuable
materials. These sources open a wide panorama
of history, methods and help to make hypotheses
for the future. The author can share her own point
of view too. Performing musicology begins its
new life in human culture context. It becomes a
science which integrates different disciplines. So
this period of time, which is the post disciplinary
era, offers new decisions and branches in the
sphere of learning the performing musicology.
Table 1.
Comparative analyses of explorations from Ukrainian and foreign sources.
Ukrainian performing musicology
Foreign performing musicology
1. Scientists learn in their works several questions
at the same time. 2. Specialists deeply research contemporary
themes. 3. Authors of scientific publications unite in their
works elements from different spheres of cultural,
social life. 4. Scientists pay a lot of attention to the problem
of preparing the future musicians. 5. Specialists see a great importance of presenting
the elements of spiritual and national traditions in
the process of students` learning.
1. Scientists as a rule explore one theme (one
main question). 2. Specialists research contemporary spheres
connected with innovative technologies. 3. Authors of scientific publications do not often
unite elements from different spheres of life. 4. The problem of preparing the future musicians
is not a priority for foreign performing
musicology. 5. The theme of saving spiritual and national
traditions in the process of students` learning does
not take such a wide place in contemporary
musical science.
Source: author's development
It is necessary to use polyanalysis in order to get
full answers for all questions standing before
scientists now. This type of exploration can give
the map of contemporary performing musicology
today. It opens wide perspectives for musicians,
scientists in different spheres and unites them in
work connected with the exploration of music.
Conclusions
This article has given a description,
systematization, classification and comparative
analysis of a wide panorama of scientific points
of view, exploration`s process, principles and
results. There were different pedagogical
methods too. There is a lot of material connected
with the learning of performing musicology and
practical work of musical teachers, specialists of
innovative technologies. It is possible to see that
performing musicology integrates other
disciplines too. Making the analyses of all the
material we have come to the conclusion that
there are main aspects` group of realization
performing musicology`s methods. They are: an
interdisciplinary group; a group of pedagogical
ideas and methods; a group of spiritual (cultural
and ethnic) traditions; a group of innovations; a
group of theoretical thoughts.
The last group of performing musical aspects is
the biggest one because it collects, explores,
analyses different questions connected with
musical science. All of the groups are important
and actually enough but the last one gives a wide
picture of this sphere of human culture. It
integrates discoveries of other groups such as an
interdisciplinary group, a group of pedagogical
ideas and methods, a group of spiritual (cultural
and ethnic) traditions, a group of innovations. All
of them help to open wide the world of
performing musicology and give valuable
thoughts connected with the future of this sphere.
We suppose that it will be the center of
performing musicology`s development in the
future too. It has optimal opportunities in
accordance with its own nature. It reacts to all
innovations in society. It also includes
mechanisms of reception and scientific
transformation of all phenomenological cultural
spheres. This field is wide enough. It consists of
different components, such as people`s spirit and
pedagogical traditions and achievements, artist`s
psychology, the world of digital technologies. So
this group of performing musicology aspects has
wide perspectives but it must remember that it`s
foundations are all other groups of the musical
science and practice. We have to note that
Ukrainian scientists made great work in this
direction. They have given us a lot of valuable
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material connected with the research of musical
pedagogy, psychology of performing art, the
nature of people`s ethnic and spiritual sources.
We also share our hypothesis for the future of
performing musicology. We have come to the
conclusion that it will be an interdisciplinary
sphere, which makes synthesis of all
achievements from pedagogy, psychology,
sociology, modern technology too. That's why a
conception of polyanalysis is actually not only
this time but also in the future. All disciplines
constantly and continuously develop. It has great
influence on every scientific and practical sphere.
This fact is connected with development of the
performing musicology too. It must be noted that
in modern society there is an important
component of life. That component is a deep and
wide connection between practical and
theoretical work of different schools and between
empirical and scientific methods of exploration.
It gives opportunities for collaboration of
scientists from different countries. This cultural
communication will bring (as we suppose) a new
quality in the process of learning, collection and
systematization of materials, scientific analyses
and will give new deep discoveries, which help
to get not only national but also world culture`s
achievement.
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