UDC 378.147:37.018.43:784.1/.3:78.07
DOI: https://doi.org/10.59694/ped_sciences.2026.23.056
SYNCHRONOUS AND ASYNCHRONOUS ENSEMBLE MUSIC-MAKING IN DISTANCE PERFORMANCE TRAINING FOR FUTURE TEACHERS AND LECTURERS OF ARTISTIC DISCIPLINES
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ASHYKHMINA Nataliia Vitaliivna
PhD of Pedagogical Sciences, Associate Professor at the Department of Musical Art and Choreography of State institution «South Ukrainian National Pedagogical University named after K. D. Ushynsky».
ORCID iD: https://orcid.org/0000-0001-8843-5217
Abstract:
The article examines synchronous and asynchronous ensemble music-making in the distance performance training of future teachers and lecturers of artistic disciplines. The relevance of the topic is determined by the rapid expansion of digital education and by the need to prepare music and arts educators for effective pedagogical and performance work in online environments. In contemporary distance learning, ensemble music-making preserves its educational value as a means of developing aural perception, rhythmic coordination, interpretative sensitivity, artistic expressiveness, and communicative interaction. At the same time, digital formats reshape the organization of ensemble performance, introducing new methodological conditions and requiring a balanced combination of technological, pedagogical, and artistic approaches, which is consistent with recent research on online music teaching and collaboration.
The problem addressed in the article is the search for pedagogically effective ways of organizing ensemble work at a distance, given the technical limitations of online interaction and the differing didactic potential of synchronous and asynchronous formats. Synchronous ensemble music-making enables immediate mutual response, live communication, tempo-rhythmic coherence, and rapid correction of performance inaccuracies. Asynchronous ensemble work, in turn, creates favorable conditions for individual rehearsal, repeated recording, self-assessment, reflection, and creative refinement of musical material. Such a combination corresponds to broader findings in distance education research, where synchronous learning supports social presence and immediate interaction, while asynchronous learning enhances self-regulation and flexibility.
The purpose of the article is to substantiate the pedagogical potential of synchronous and asynchronous ensemble music-making in distance performance training and to determine the conditions for their productive integration in the preparation of future teachers and lecturers of artistic disciplines. The study demonstrates that synchronous work is especially effective at the stages of initial coordination, ensemble tuning, and development of collective rhythmic stability, whereas asynchronous work is more suitable for independent performance practice, technical polishing, and individual artistic interpretation. This distinction aligns with the growing emphasis on student-centered digital music learning and collaborative online pedagogy in music education.
The generalized results show that the most effective model is a blended one, in which synchronous and asynchronous forms function as complementary components of distance training. Their integration contributes to the development of professional, communicative, auditory, performance, digital, and reflective competences of future specialists in artistic education. The article concludes that ensemble music-making in digital format should not be viewed as a mere technical substitute for face-to-face interaction, but as a pedagogically meaningful space for cultivating collaborative musicianship, artistic autonomy, and readiness for modern educational practice.
Keywords: preparation, performance training of future teachers and lecturers of artistic disciplines, ensemble music-making, synchronous and asynchronous learning, distance education.
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