UNDERSTANDING THE MEANING OF A MUSICAL WORK BY FUTURE TEACHERS OF MUSICAL ART: THE SEMIOTIC ASPECT

Abstract

Introduction. The article highlights the need to transform the traditional educational model of training future music teachers in higher educational institutions, which, based mainly on receptive-reproductive approaches, does not provide sufficient opportunities for students to develop the ability to interpret the metaphorical meanings of musical texts; the need to integrate modern studies of music pedagogy, musicology, music studies, musical hermeneutics, semiotics and semasiology is emphasized. Purpose. Research of the ability of future teachers of musical art to recognize the semantic typology of musical signs, to determine the hidden possibilities of textual analysis as intoned meaning and its role in the process of improving professional training. Methods. A series of analytical tasks, which involved listening to fragments of musical works in order to recognize iconic signs, index signs and symbolic signs according to the types of musical intonations; conversation, observation. Results. The average indicator of the ability of future music teachers to recognize the semantic typology of musical signs is insufficient (38.4 %), in particular: recognition of index signs is 42.8 %, icon signs – 41.9 %, symbol signs – 30.4 %. Originality. The proposition is justified that the ability of future music teachers to determine the semantic logic of intoned movement in a musical text, the level of their mastery of the rules of musical speech, knowledge of musical syntax (awareness of the location of a musical sign in a phrase, the meaning of this phrase in the theme) illustrates the understanding of the relationship in the text of a musical work of musical signs, the dominance of a certain sign from the point of view of the nature of filling with semantic meaning; understanding of modification, transformation of a musical sign according to the context. Conclusion. The creative interaction of the future music teacher with the musical text, as opposed to the reproductive reproduction, has advantages and proves the focus on the meaningful interpretation of the musical work and the setting for a dialogical “conversation” with the text. The results of the empirical study prove the need to rethink approaches to interpretation and understanding of the essential meaning of signs in a musical text in the process of professional training.