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  • Документ
    Musical Interpretation in the Context of Forming Pianistsbeginners’ Performance-Interpretation Skills
    (2025) Chzhen Lin; Чжен Лінь
    The article substantiates the necessity of considering the problem of performanceinterpretation skills through the prism of musical interpretation to develop these skills in pianists-beginners. It has been established that the phenomenon of performanceinterpretation skills has an interdisciplinary character and is examined within the framework of interpretation theory, music pedagogy, performance psychology, cultural studies, and the theory of pianism. It is argued that interpretation in the humanities discourse is understood as an active process of comprehension and creative reproduction of the content of a work of art, which involves not only conveying the composer’s intention but also personal emotional involvement, analytical reflection, and individualized artistic embodiment. In musical art, interpretation appears as a process of isomorphic reflection of the artistic structure of a composition through performance activity while preserving the logic, imagery system, and stylistic features of the original. Based on the analysis of scholarly sources, it has been determined that the theory of pianism, as a specialized field of musicology, integrates historical, anatomicalphysiological, psychological, technical-methodological, and artistic-interpretative aspects of performance. It provides a methodological foundation for understanding the regularities of the formation of performance mastery, particularly in the context of primary music education. The content of the concept “performance-interpretation skills of junior schoolchildren” has been clarified. Within the scope of this study, it is interpreted as an integrative personal and activity-based formation that combines technical performance abilities, analytical and interpretation skills, emotional and imagery-based perception, and artistic-communicative characteristics of a pupil’s musical activity in the process of piano playing. It has been determined that the specificity of piano instruction in children’s music schools lies in the integration of technical training with the formation of aesthetic consciousness, artistic taste, value orientations, and the spiritual potential of the individual. It is demonstrated that the process of piano learning functions not only as a means of mastering instrumental technique but also as a holistic artistic and educational space in which musical creativity develops, interpretative thinking is formed, and the ability for creative self-realization is cultivated.