Abstract:

The article examines the theoretical and methodological foundation for studying the phenomenon of performance culture. The concept of culture is considered as a fundamental basis for the spiritual development of personality through the prism of philosophical, sociological, cultural, art studies, and pedagogical aspects of the concept of culture. In the context of art pedagogy, particular attention is paid to the axiological, praxeological, and personality-oriented creative approaches to understanding the phenomenon of performance culture.

The terminological lexemes «culture of performance» (professional tools, mechanism of professional activity) and «performance culture» (the core of the specialist’s personal and semantic sphere) are accurately clarified and differentiated. The manifestation of performance culture are systematized, in particular the performer’s ability for artistic interpretation of a work, the development of empathy, and the ability to decode the meaning of musical notation. The study summarizes the understanding of the dynamic nature of performance culture, which transforms and modifies under the influence of changing aesthetic ideals and dominant performance standards.

Thus, the theoretical analysis conducted allowed us to clearly distinguish between the concepts of «performance culture» and «performance culture». We determined that performance culture is a professional foundation that includes instrument skills and technical mastery. In turn, performance culture is the highest level of development of a performer. It encompasses the spiritual world of the performer, the ability to deeply understand the artistic content, show aesthetic empathy and create one’s own interpretation of a musical work. The study also substantiates that performance culture is a dynamic, not a static system, which is constantly updated under the influence of new artistic standards and the prevailing aesthetic ideals of society.

Keywords: parameters of the manifestation of performance culture, performing competence, aesthetic consciousness, stage performance standards, performing mastery.

References:

1. Andrushchenko, V. P. (2020). Fenomen osvity. [The phenomenon of education]. Sumy.

2. Hrytsenko, T. B., Hrytsenko, S. P., & Kondratiuk, A. Yu. (2007). Kulturolohiia. [Culturology]. Kyiv.

3. Ziaziun, I. A. (2004). Pedahohichna maysternistʹ u konteksti profesiynoyi kulʹtury. Pedahohichna maysternistʹ. [Pedagogical mastery in the context of professional culture]. Kyiv.

4. Kyrylenko, Ya. O. (2012). Vykonavska maisternist: teoriia ta praktyka. [Performing skills: theory and practice]. Kyiv.

5. Moskalenko, V. H. (2018). Vykonavska kultura: problemy teorii i praktyky. [Performing culture: problems of theory and practice]. Kyiv.

6. Moskalenko, V. H. (2015). Muzychna interpretatsiia: teoriia i praktyka [Musical interpretation: theory and practice]. Kyiv.

7. Oleksiuk, O. M. (2013). Muzychna pedahohika. [Musical pedagogy]. Kyiv.

8. Oleksiuk, O. M. (2015). Formuvannia profesiinoi kultury muzykanta-vykonavtsia: metodychni aspect. [Formation of professional culture of a musician-performer: methodical aspects]. Kyiv.

9. Padalka, H. M. (2008). Pedahohika mystetstva: Teoriia i praktyka. [Pedagogy of Art: Theory and Practice]. Kyiv.

10. Popovych, M. V. (1998). Narys istorii kultury Ukrainy. [An outline of the history of Ukrainian culture]. Kyiv.

11. Rebrova, O. Ye. (2010). Teoriia i metodyka formuvannia profesiino-pedahohichnoi kultury maibutnyoho vchytelia muzyky. [Theory and methods of formation of professional and pedagogical culture of the future music teacher]. Kyiv.

12. Rudnytska, O. P. (2002). Pedahohika: zahalna ta mystetska. [Pedagogy: general and artistic]. Ternopil.

13. Shynkaruk, V. I. (Ed.). (2002). Filosofskyi entsyklopedychnyi slovnyk. [Philosophical encyclopedic dictionary]. Kyiv.

14. Ship, S. V. (2004). Muzychna kultura: teoriia i praktyka. [Musical culture: theory and practice]. Odesa.