Muzikos kūrinio interpretacija instrumento dalyko pamokoje: emocinio imitavimo metodo kontekstas

LTStraipsnyje pristatomi akademinės muzikos repertuaro interpretavimo problematika bei empirinio tyrimo fragmentas, kuriame nagrinėjamas emocinio imitavimo metodas (EIM) kaip originali praktinė pedagoginė alternatyva, mokant interpretuoti instrumento dalyko pamokoje. Tyrimo rezultatai atskleidė, kad EIM muzikos mokyklų mokytojams yra žinomas, tačiau kūrinio interpretavimo veiksenoje metodas dar nebuvo išbandytas. Tyrime dalyvavusių muzikos mokyklų mokytojai pabrėžė galimybę, taikant EIM instrumento dalyko pamokoje, įgyvendinti visus ugdomuosius tikslus ir ne tiesmukai auklėti mokinį. Paaiškėjo, kad EIM taikymas instrumento dalyko pamokoje ženkliai keičia interpretacijos turinį ir kokybę: interpretacijos proceso metu mokinys ne tik perteikia unikalią autoriaus kūrinio koncepciją, bet ir išreiškia savąjį „aš“, interpretuodamas tobulėja ne tik kaip atlikėjas, bet ir kaip asmenybė. Raktiniai žodžiai: muzikos interpretacija, ugdytinio saviraiška, emocinio imitavimo metodas. [Iš leidinio]

ENThis paper presents a study revealing the potential of Method of Emotional Imitation (MEI) in teaching interpretation in a music instrument performance class. Interpreting academic music repertoire is often seen as a complex process for both the student and the teacher; however, it is necessary and irreplaceable because of many aspects: it helps to develop student’s personal skills, enlarge their cultural scope, deepen their knowledge in music history and theory, enrich their artistic creativity, associative thinking, emotionality, and promote self-expression. Aiming to make the interpretation of a music piece a unique space for fostering student’s self-expression, the teacher in a music instrument class has to create proper emotional conditions: encourage the student to find their personal meaning, emphasize positive experiences, foster moral values, and inspire to create. MEI, developed by L. J. Piličiauskaitė, co-author of this text, has a potential to help teachers in this process. The Method of Emotional Imitation acts as a way to promote student’s self-expression in general and their musical and interpretative skills in particular by imitating the contents of emotional intonations of a music piece or the experience of its imaginary character, with the integrative help of other forms of art.With the aim to describe MEI theoretically and empirically as an original practical pedagogic alternative in teaching music interpretation in music schools, we chose the strategy of educative project for this study. Firstly, from February to October, 2018 we organized seminars for the teachers of music schools in Lithuania, where we introduced MEI and showcased its usage in a music instrument class. During these seminars, the teachers observed and participated in the process of music interpretation; afterwards, we conducted interviews with the participant teachers. Then, from March, 2019 to October, 202010 we visited the same music schools, where we participated in the classes of various instruments and performed single alternative experiments. We gathered written reflexions of participant students immediately afterwards and later analysed its qualitative content. Having in mind the aim of this qualitative study, we used an inductive data analysis structure. Our study revealed that participant teachers were aware of MEI from other contexts of music education, however they had never applied it in the interpretative activities in a music instrument class. The teachers observed that MEI helps to achieve all educative aims of a music instrument class, allowing not only to instruct the student but also to indirectly bring them up. Importantly, we found that using MEI in an instrument class significantly impacted the content and quality of music interpretation: during the process the student could not only transmit a unique composer’s concept of the performed piece but also express their artistic “self”, and perfection themselves not only as performers but also as personalities. [From the publication]