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DOI: https://doi.org/10.34069/AI/2024.76.04.26
How to Cite:
Dushniy, A., Shafeta, V., Salii, V., Storonska, N., & Molchko, U. (2024). The impact of globalization on performance musicology:
Challenges and opportunities for music education in the 21st Century. Amazonia Investiga, 13(76), 323-332.
https://doi.org/10.34069/AI/2024.76.04.26
The impact of globalization on performance musicology: Challenges
and opportunities for music education in the 21st Century
Соціокультурні аспекти виконавського музикознавства у контексті глобалізації музичної
освіти
Received: March 1, 2024 Accepted: April 19, 2024
Written by:
Аndriy Dushniy1
https://orcid.org/0000-0002-5010-9691
Valeriy Shafeta2
https://orcid.org/0000-0003-0991-5920
Volodymyr Salii3
https://orcid.org/0000-0002-3522-3787
Nataliia Storonska4
https://orcid.org/0000-0002-6793-5199
Ulyana Molchko5
https://orcid.org/0000-0003-1519-6053
Abstract
Contemporary globalisation has a significant
impact on the development of musical art. The aim
is to analyse the socio-cultural aspects of
performing musicology in the context of
globalisation of music education. The
implementation of this study involves the use of
the following scientific methods. The content
analysis and the method of systematization were
used. The results of the study demonstrate that
contemporary performing music trends in the arts
are important components of socio-cultural
spaces. They reflect not only the social
transformations caused by globalisation of music
that are taking place in society, but also have a
direct impact on the formation of the artistic trend
in general. It is demonstrated that there are
bilateral relations that consist in the complex
1
PhD Pin Education, Professor, Head of the Department of Music Theoretical Disciplines and Instrumental Training, Drohobych
Ivan Franko State Pedagogical University, Ukraine. WoS Researcher ID: AHD-0792-2022
2
PhD in Art, Associate Professor of the Department of Music Theoretical Disciplines and Instrumental Training, Drohobych Ivan
Franko State Pedagogical University, Ukraine. WoS Researcher ID: KIC-7565-2024
3
PhD in Education, Associate Professor of the Department of Music Theoretical Disciplines and Instrumental Training, Drohobych
Ivan Franko State Pedagogical University, Ukraine. WoS Researcher ID: AHD-0767-2022
4
PhD in Art, Leading Concertmaster, Associate Professor of the Department of Music Theoretical Disciplines and Instrumental
Training, Drohobych Ivan Franko State Pedagogical University, Ukraine. WoS Researcher ID: AHD-0817-2022
5
Assistant Professor, Associate Professor of the Department of Music Theoretical Disciplines and Instrumental Training, Drohobych
Ivan Franko State Pedagogical University, Ukraine. WoS Researcher ID: KIC-7651-2024
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coexistence between music and society. It is also
determined that in modern conditions, the main
practical task of today's performers is to convey
their thoughts and feelings to the audience. The
conclusions emphasise that in order to work
effectively with modern artistic, educational and
musicological environments, future specialists
should master various means and methods of
performing expression. It is recommended to
deepen the use of digital technologies to achieve a
new level of performance skills.
Keywords: intercultural integration,
interdisciplinary methods, music, performing arts
research.
Introduction
Music and performing arts in modern globalised
socio-cultural spaces have undergone significant
transformations in the early twenty-first century.
First of all, we are talking about the expansion of
the genre stylistics of performers, the use of
modern digital transformations and the
increasing role of innovative technologies in
musical creativity. Other important aspects of our
time include the need for appropriate
modernisation of artistic and performing music
education, the development and intensification of
festival and competition movements, and the
integration of local schools and traditions into
global music and performance environments. All
these factors, on the one hand, lead to a growing
scientific interest in the study of the
contemporary development of music and
performing arts, taking into account the current
views of anthropocentric and cultural
approaches.
On the other hand, the practical aspect of
performance remains important, which affects
not only theoretical science but also forms new
methodological foundations and assessments of
the creative potential of performers in the
musical arts. Undoubtedly, this aspect also
influences the formation of relevant pedagogical
principles, methodological and scientific
literature, changes to curricula, and their
updating to meet the requirements of the labour
market.
The use of new concepts opens up opportunities
for a comprehensive study of music and
performing arts through the projections of
anthropological analysis, identifying the
specifics of performance processes,
substantiating the cultural relevance of music and
performing arts education (the place of national
traditions in the modern globalised world), and
studying the peculiarities of the functioning of
performing schools as expressors of established
cultural traditions. Another relevant issue for
further consideration is the organisation of music
and concert practices that take into account the
modern requirements of employers in the field of
music and the conditions and changes in the
contemporary socio-cultural reality.
Music and performance schools of our time
function as a cultural tradition, so their
specificity lies in their focus on preserving
professional music and performance
experiences, implementing various aspects of
artistic creativity, in particular in the context of
direct interpersonal communication. Performing
schools, which are a phenomenal manifestation
of artistic cultures, unite the creative unity of
many representatives and successors, form
appropriate sets of teaching methods that
characterise the changes in the modern
globalised world, which should be taken into
account in the future.
Therefore, the purpose of the article is to
investigate the socio-cultural aspects of
performing musicology in the context of
globalisation of music education. the realisation
of the proposed goal involves the following
tasks: to study the impact of globalisation on
musicology, to highlight the patterns of
interpretation and perception of a musical work
in the social space, to determine in which aspects
globalisation has had a decisive impact on
performing musicology.
Dushniy, A., Shafeta, V., Salii, V., Storonska, N., Molchko, U. / Volume 13 - Issue 76: 323-332 / April, 2024
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original source is cited.
Literature Review
The researchers analysed various aspects of
performing musicology. Much attention has been
paid to current trends in musicology. In
particular, Green (2014) traced cross-cultural
changes in the teaching of contemporary music
against the background of global aspects. Bower
(2023). He traced the modern aspects of the
development of musicology as a science and an
academic discipline.
In addition the study by Harrison (2023)
investigated the process of self-expression during
the performance of musical compositions, both
instrumental and vocal. Wiley & Watt (2019)
summarised the experience of teaching
musicology with the use of modern digital
technologies. It was also important to summarise
the Ukrainian vector of education development
(Hysa et al., 2023; Dushniy et al., 2022).
The second important area of research is the
analysis of global trends in the development of
cultural paradigms and the place of music in
these trends. Thus, Rudenko & Kharkov (2023)
highlighted the main trends in the philosophical
understanding of educational traditions and the
impact of globalisation on these processes.
Bhandari (2023) traced the future trends in social
development and the integration of music into it.
Kertz-Welzel (2015) analysed the comparative
aspects of musicology in the context of the
globalised world. These studies make it possible
to determine the foundations of modern global
transformations of musicology.
It is important that Guo et al. (2020) emphasised
the relevance of combining music with the
environmental sphere, which allows for a new
assessment of the possibilities of music therapy,
the development of music services, etc. In
contrast to this view, Boddie (2023) proposed a
statement about the constancy of musical tastes,
so that the fascination with new trends in musical
art, understanding of its creative essence and
influence on creative development are not
subject to current trends in socio-political life,
environmental activism, and the search for
strategies to combine the social environment
with music. This discussion is important from a
theoretical point of view, as it demonstrates the
role of music in public life, explaining how
society and the realities of life influence music,
and how its existence is separated from everyday
life, as it belongs primarily to creative people for
whom the problems of our time give way to
creativity.
The analysis of the scientific literature has shown
that the performing arts are included in a fairly
wide range of studies, however, comprehensive
cultural studies of the performing arts in the
realities of the modern development of socio-
cultural environments remain relevant. The study
of music and performing arts, in addition to
covering the processes of performing work in
general, also includes other phenomena, studies
of music education, concert life, criticism,
musical instruments, means of reproducing
performing arts, music information carriers, etc.
These issues will require further analysis.
Methodology
The study of music and performing arts and its
place in modern society is based on a qualitative
approach. It involves the involvement of modern
scientific literature containing relevant thoughts
and provisions, its analysis and a detailed
consideration of research concepts.
The necessary scientific information was
collected in several stages. At the initial stage,
the most relevant scientific and metric databases
of journals containing materials on the problems
of contemporary music art and its place in
anthropological paradigms were selected. For
this reason, the main attention was paid to the
scientific and metric databases Scopus, Web of
Science, ERIH+, Crossref, and Worldcat.
The search in the relevant databases was carried
out using the following keywords: cross-cultural
integration, interdisciplinary methods,
transcultural art, and musical anthropology. The
small number of results obtained led to a certain
expansion of the search and the addition of new
keywords that detailed the educational features
and role of music and performing arts in modern
society (art education, modernity, digitalisation,
innovation, training).
The search resulted in the identification of 262
relevant studies, which were pre-sorted based on
the review of abstracts and analysis of keywords
contained therein. Then the process of analysing
the content of the works began: those studies that
did not contain references to the socio-cultural
aspects of performing musicology were
eliminated. Using this approach, 75 literature
items were selected.
The next step was to apply the exclusion criteria.
We are talking about further consideration of
those works that met the following requirements:
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1. The study contains information that is
directly related to the purpose of the
research.
2. The study deals with the current state of
performing musicology and its role in socio-
cultural development.
3. The work deals with innovative
technologies, relevant educational trends,
cultural and anthropological significance,
etc.
4. The study is devoted to highlighting the
necessary methodological tools.
5. The study includes a review of modern
scientific literature that is directly related to
the research topic and on the basis of which
certain generalisations can be made.
Using these criteria, 30 scientific papers were
selected.
The chronological range of scientific papers
included in the proposed study is from 2015 to
2024, which makes it possible to take into
account the current positions of scholars.
Data análisis
An important method used for the preparation of
the relevant study was the method of content
analysis of the literature, which was used to
systematise the information collected from the
scientific literature. The application of the
systematisation method made it possible to
summarise the results of contemporary
transcultural art and identify certain socio-
cultural aspects of performing musicology. The
application of the prognostic method made it
possible to propose some possible scenarios for
the further development of performing
musicology in the modern realities of
globalisation.
The proposed study also has certain limitations.
First of all, we used English-language studies,
which is due to the high citation indices of these
works. At the same time, it is possible that
important information was also contained in
articles or monographs published in other
languages. Although the proposed scope of the
historiography review would have touched upon
fresh and relevant thoughts written in non-
English-language works, there is a possibility
that some national aspects were left out of the
research. Another important limitation is related
to the global nature of the study, which aims to
analyse global major trends. Obviously, the
problem of concretisation requires considerable
attention, and further research should be devoted
to the local study of the performing arts.
The validity of the results was obtained by using
different types of sources and checking the
relevant references. Different points of view on
the existing problems are taken into account,
which makes it possible to continue researching
this important area of social, artistic and
educational life.
Results and Discussion
Contemporary performing music is an important
component of the socio-cultural space. In
particular, it reflects not only the social changes
taking place in society, but also affects the very
nature of these relations. Thus, modern scholars
have determined that there is a two-way
relationship, which is a complex interaction
between music and society (Smith & Peters,
2023). It should also be recognised that music is
an integral part and characteristic of any culture
or people.
Like any artistic phenomenon, a piece of music
evokes a large number of associations: this is the
depth of its impact on the audience and the
performers themselves. Contemporary
researchers prove that a musical image, even if it
depicts a phenomenon, still evokes not just one
association, but several perceptions. In this
context, the dual nature of art is noticeable, when
its creation is associated with the personality of
the author, and the fruits of his work are in the
public domain (Martynenko et al., 2023). As a
result, there are at least four main types of
interpretations of a musical work: audience,
performer, musicologist, and author's (i.e., the
composer's own intention).
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Figure 1. Scheme of interpretations and perception of a musical work in the social space.
Source: author's development
For this reason, the language of a piece of music
is an important complex communication tool in
the modern socio-cultural space and performs
several important roles, including information
transmission, communication, cognition,
expression of feelings and emotions, formation
of thinking, and representation of human
experience (see Table 1).
Table 1.
Functions of the musical language
Functions of the musical language
Description
Communication function
Musical language is a means of communication between people.
Data transmission and storage function
Music allows you to transmit and preserve cultural and historical
information.
Function of expressing feelings and emotions
Through music, people can express their feelings and emotions.
Formation of thinking
Music helps to develop thinking and imagination.
Accumulation of human experience
Music accumulates and transmits the experience of previous
generations.
A means of cognition
Music helps in the process of understanding the world and
oneself.
National self-identification
Musical language contributes to the formation of national
identity.
Preserving and passing on experience and
traditions
Music preserves and transmits the traditions and experience of
the musical culture of the people.
Immersion in the semiosphere field
Musical language is integrated into the semiosphere - the space
of cultural signs and meanings.
Dependence on the socio-cultural system of
society
Musical communication is conditioned by the entire socio-
cultural system of society.
Source: author's development
Thus, the musical performance language, as a set
of means of musical expression, is an important
part of musical communication and is
conditioned by the entire socio-cultural system of
society.
Performing arts, as an important type of musical
art, has the ability to play the role of a medium
for inspiration in any field of human activity
(Ockelford, 2023). For this reason, the
performance of music should be at such a level
that the impression of its perception has great
potential. When the human senses of seeing and
hearing are activated, i.e. when the process of
distortion is particularly overwhelming, then
perception develops into a different quality of
creativity.
Performing activity should be different from
musicology, which is addressed mainly to the
inner ear of a professional. For this reason, the
field of performing musicology plays an
important role, a concept that is interpreted
differently by scholars (Karlsen, 2021).
Performing musicologists are specialists who
study not only analyse, but also critically
examine and interpret various aspects of musical
performance. Their professional activities cover
a wide range of important aspects, including the
historical evolution of performance practices, the
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study of different styles and techniques of
performers, and the study of the multifaceted
influence of social and cultural context on music.
In order for a piece of music to be heard, not just
listened to, it must be original and especially
performed. Therefore, the authors of the article
believe that performing musicology should be a
science of music and its power of influence on
both the performer and the audience (Sharif,
2023). The creative activity of the future
musicologist is the core of the space of art, the
coordinates of which are infinite in their length.
Such a system of space is man-made, as it is
created by the researcher himself. On the other
hand, such a space is constructed by existing art
objects and represents a structure that is capable
of constant self-development (Pletsan, 2021). A
space that is both self-organised and organised is
a synergistic view of art as a system as a whole.
At the same time, it should be noted that the main
practical task of the performer is to convey his or
her thoughts and feelings to the audience through
actions on stage. To do this, future musicologists
should learn to use various means and methods
of performing expression to accurately embody
the intended stylistic or figurative elements,
intellectual and emotional content of the musical
work itself. By implementing this approach, the
future musicologist will learn to explore the
unique mechanism of reproducing and
perceiving a piece of music from their own
perspective (Helena Vieira, 2021).
Also, future performers should learn to explore
the mechanism of music reproduction and
perception, perceiving the thoughts and ideas of
composers as an advisory voice.Thus, the
modern training of future professionals faces a
challenging task. At the same time, the process of
adapting performing musicology to modern
globalised educational standards is a process that
ensures the integration of national musical
traditions into an international context (Boddie,
2023). This allows not only to preserve one's own
cultural identity, but also to increase the
competitiveness of graduates in the modern
global market. Thus, for the effective training of
performing musicologists, global educational
standards play an important role. Figure 2 shows
the main requirements of global educational
standards in the field of music.
Figure 2. Main requirements of global educational standards
Source: Author’s development
In order to comply with global educational
principles, modern music education institutions
usually undergo international accreditation (for
example, NASM in the USA or AEC in Europe).
In this way, diplomas and qualifications are
recognised internationally.
A general trend in globalised music education is
the integration of modern technologies. Taking
into account the ever-increasing requirements for
musicology specialists (against the background
of the development of the performing arts),
innovative methods of education play an
important role, contributing not only to
theoretical skills but also to practical ones.
Contemporary researchers prove that modern
innovative technological tools play an important
role in the process of adapting performing
musicology to global educational needs (Guo et
al., 2020).
Innovative technologies make it possible to
effectively implement learning from any
location. In this way, students not only receive
new knowledge from teachers, but it also
facilitates the ability of students to acquire
knowledge and practice at home. Another
important area is the use of virtual reality
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technologies. In particular, various virtual
masterclasses from musicians and leading
teachers from around the world help to develop
practical and research competences. Innovative
software for analysing and recording music is an
important tool for developing the professional
skills of future musicologists of performing arts
(Govorukhina et al., 2021).
A separate area of professional competence
development for future musicologists is the
internationalisation of curricula, which involves
the inclusion of research and analysis of different
cultures and styles. This approach not only
develops a high level of knowledge among
students, but also helps to broaden their musical
outlook and intercultural communication skills,
which are now in great demand in the modern
professional world (Vasil, 2020).
At the same time, another area of globalised
education is the development of academic
mobility, which allows students to gain
experience in different social and cultural
environments. This, in turn, enriches traditional
methods of teaching musicology and improves
the quality of music education in general (Smith
& Peters, 2023). Thus, given the development of
modern performing music, the process of
adapting musicology to global educational
standards contributes to improving the quality of
education and ensuring the competitiveness of
graduates.
The results obtained have shown that the
activities of a musicologist are completely
different in nature from those of a performer.
Their critical research activities define a wide
range of research aspects, including the historical
development of performance practices, the study
and interpretation of performers' styles and
techniques, and the study of the influence of the
socio-cultural context on music (Boddie, 2023).
On the other hand, the performing concept is
based not only on the study of the composer's
intention, but also on the musicologist's
interpretation of it.
For this reason, in modern studies, it is
determined that the key subject of research for a
modern musicologist is the unchanging essence
of a particular piece of music, that is, what is
preserved in various professional performances,
which is the whole composer's work (Horton,
2020; Medic, 2022). At the same time, it is worth
agreeing with the argument that the performer's
musical ideas can in no way replace or negate the
need for theoretical musicology. However, it
should also be acknowledged that an excessive
theoretical division of spheres of influence can in
some cases hinder the very process of
interpenetration of the branches of musicology.
At the same time, the study confirms the thesis of
contemporary scholars that the research work of
the performer should also take its place in music
science. This is due to the specifics of the
theoretical art of interpretation, which should
have its own theoretical and methodological
basis (Won, 2020). The results also demonstrate
the importance of using innovative tools and
technologies in the training of professional
musicologists. The paper determines that, given
the development of modern performing music,
the process of adapting performing musicology
to global educational standards contributes to
improving the quality of education and ensures
the competitiveness of graduates in general.
Innovative approaches (interdisciplinary,
personality-oriented) and modern digital
technologies have been found to play an
important role in this process.
These theses have been confirmed in a number of
contemporary works. In particular, these ideas
are consistent with Vasil (2020), who describes
the role of interdisciplinarity in music teaching.
In general, contemporary scholars also recognise
the significant impact of digital technologies on
globalised education. Hysa et al. (2023)
described the importance of digitalisation and its
main components in the education and science
system. The authors also described the main
challenges of digitalisation, primarily related to
cybersecurity. These statements are supported by
studies that directly address cybersecurity issues
in the modern digital space (Lysenko et al.,
2024). In general, modern scholars agree with the
thesis that modern digital technologies are
driving science and education (Milicevic, 2015;
Rossikhin et al., 2020).
Some studies have also found that innovative
tools generally improve students' research skills
(Mandanici et al., 2023). In addition, the study by
Kuzheliev, Zherlitsyn, Nechyporenko,
Lutkovska & Mazur (2023), which describes the
problem of implementing distance education in
Ukraine, found that electronic technologies make
the learning process more optimised and develop
students' independent skills, which also
correlates with this study. On the other hand, we
agree with those researchers who believe that
digital music and computer technologies have
their own specificity, which is a new integrated
digital type of music and computer activity. The
latter is a set of actions for the formation,
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processing, interpretation and reproduction of
musical and artistic material in digital format.
At the same time, the implementation of this
activity involves professional training, the
formation of musical and digital knowledge,
skills and abilities. However, the study also has
certain limitations. First of all, English-language
studies were used, which is due to the high
citation indices of these works. At the same time,
it is possible that important information was also
contained in articles or monographs published in
other languages. Although the proposed scope of
the historiography review would have touched
upon fresh and relevant thoughts written in non-
English-language works, there is a possibility
that some national aspects were left out of the
research. Another important limitation is related
to the global nature of the study, which aims to
analyse global major trends. Obviously, the
problem of concretisation requires considerable
attention, and further research should be devoted
to the local study of the performing arts.
Conclusions
Thus, the critical research activities of
contemporary musicologists of the performing
arts define a wide range of research aspects,
including the evolution of performance practices,
analysis and interpretation of styles and
techniques, and determination of the influence of
social and cultural contexts on music. The main
subject of research for a contemporary
musicologist is the unchanging essence of a
particular piece of music - that which is
preserved in various professional performances,
representing the whole composer's creation. In
the current circumstances of globalisation and
the development of digital technologies, it is
extremely important to form an appropriate
musical performance language, the universality
of which determines the impact on the socio-
cultural system of society.
Musicology studies, as an important element of
contemporary musical art, have the ability to be
an important environment for manifestations of
inspiration in any sphere of human existence.
Performing work differs from musicological
work, which is addressed to research paradigms.
Therefore, the areas of performing musicology,
as a discipline that not only analyses but also
critically examines interpretations of musical
performance, performance, biography and the
integration of cultural heritage into the global
artistic space, are becoming important.
Given the wide range of individual aspects,
including the historical traditions of performance
practices, the combination of different styles and
techniques of performers is part of the impact of
globalisation, which partially blurs the
distinction between cultures and peoples. Given
this influence of globalisation, in order to work
effectively with modern artistic, educational and
musicological environments, changes should be
made in teaching methods so that future
specialists have good cross-cultural
competencies, know various means and methods
of performing expression to accurately
implement the intended stylistic or figurative
elements.
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