UDC 78.071.2: 37.091.12
DOI: https://doi.org/10.59694/ped_sciences.2025.14.008
PROFESSIONAL PRACTICES OF A COLLABORATIVE PIANIST IN A FRONTLINE CITY DURING THE RUSSIAN-UKRAINIAN WAR AND COVID-19 PANDEMIC
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BATAEVA Ekaterina Viktorivna
Dr Habil.
(Philosophy), Professor, Department of Social
Rehabilitation Technologies, Zhytomyr Institute of
Economics and Humanities, University «Ukraine».
ORCID іD: https://orcid.org/0000-0002-4628-4817
BATAIEVA Olha Viktorivna
Leading
concertmaster, Department of Solo Singing and Opera
Training, Kharkiv Kotlyarevsky National University
of Arts.
ORCID іD: https://orcid.org/0009-0002-3788-7541
Abstract:
The article explores the specifics of the professional practices of collaborative pianists in Ukraine’s higher music education institutions in the frontline cities during the Russian-Ukrainian war and the COVID-19 pandemic. This specifics is associated with prolonged online learning and dangerous working conditions due to the threat of shelling. It reveals the features of a pianistconcertmaster’s distance work and presents the concept of a «convenient phonogram». During the pandemic and war, Ukrainian collaborative pianists were forced to record «convenient phonograms» of their musical parts and send them to students. This process was both technical and phenomenological, requiring constant reflection.
The article emphasizes that the collaborative pianist must tune in to a particular performer’s voice and adjust the audio recording accordingly. In the context of distance learning, the relevant competencies of a collaborative pianist are musical erudition, the ability to read music, to learn parts with vocalists or instrumentalists, to control the quality of performances remotely (from recordings or during online classes), to provide recommendations for correcting shortcomings in musical performances, and to plan and organize professional activities.
However, in the context of online learning, a collaborative pianist may have difficulties with synchronizing piano playing with vocal or instrumental performance of students and, as a result, with the reproduction of the ensemble sound of a particular musical piece. It is emphasized that the experience of distance work of collaborative pianists have had not only negative but also positive aspects: the possibilities of home work on a musical piece were expanded; the ways of creating a «convenient phonogram» and the ways of interaction with vocalists were improved; the ability to freely perform a musical piece, despite the fixed sound of the accompaniment in the phonogram, was developed; the ability to perform a musical piece in front of the camera was improved.
Keywords: collaborative pianist, distance education, convenient phonogram, professional practices, competencies, the Russian-Ukrainian war, the COVID-19 pandemic.
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