INTEGRATION OF THEORETICAL KNOWLEDGE AND PERFORMANCE SKILLS IN THE PROCESS OF LEARNING TO PLAY IN A CHAMBER ENSEMBLE WITH THE PARTICIPATION OF WIND INSTRUMENTS

Autores

DOI:

https://doi.org/10.18623/rvd.v23.n4.4679

Palavras-chave:

Ensemble Playing, Wind Instruments, Music Education, Integration of Knowledge, Performance Skills, Theoretical Training, Musical and Pedagogical Process, Teaching Methodology, Ensemble of Wind Instrument Performers, Professional Training, Chamber Ensemble, Emotional Communication

Resumo

The article considers the current problem of integrating theoretical knowledge and performance skills in the process of teaching ensemble playing on wind instruments. Ensemble playing is defined as a complex type of musical activity that requires performers to have high technical mastery and thorough knowledge in the field of music theory, harmony, stylistics and analysis of musical forms. The authors analyze pedagogical approaches and methodological strategies that ensure an effective combination of theoretical and practical components in the process of musical and professional training of students of art educational institutions. Thanks to the use of general scientific and special research methods, in particular the analysis of scientific literature, pedagogical observation, modeling of educational situations and generalization of pedagogical experience, the pedagogical conditions for the successful integration of knowledge and skills have been clarified and systematized. Specific methodological techniques have been proposed that contribute to the conscious interpretation of musical material and the formation of professional ensemble interaction of wind instruments performers.

Referências

Barchiy, M., & Yamchuk, T. (2018). Integrative approach in professional training of future teachers of vocational education. International Scientific Journal Education and Science, 2(25), 89–93.

Bates, E. (2012). The social life of musical instruments. Ethnomusicology, 56(3). http://dx.doi.org/10.5406/ethnomusicology.56.3.0363

Cai, J., & Mamedov, N. (2020). Facilitating learning through collaborative ensemble performance. International Journal of Music Science, Technology and Art, 2(1), 26–32. https://doi.org/10.48293/IJMSTA-59

DeLorenzo, L. (2019). Teaching music: The urban experience. Routledge.

Edwards, J. (2017). The Oxford handbook of music therapy. Oxford University Press.

Gibbs, B. (2015). Musical expression on wind instruments: Perspectives from a panel of experts. GSTF Journal of Music, 2(1). https://doi.org/10.7603/s40958-015-0001-7

Keller, P. (2023). Integrating theory and models of musical group interaction. Trends in Cognitive Sciences, 27(12). http://dx.doi.org/10.1016/j.tics.2023.07.008

Koster, K. (2010). Revisiting teaching strategies for woodwinds. Music Educators Journal, 96(3). http://dx.doi.org/10.1177/0027432109358974

Kunderevich, O. (2022). Integrative approach in education: Formation of competencies and reflective ability to act. In Philosophy of cultural and artistic education: Materials of the All-Ukrainian scientific conference, March 24, 2022 / June 24, 2022 (pp. 98–100). Kyiv.

Marra, Ch. (2019). The relationship between large ensemble participation and the social identity of high-performing secondary band, orchestra, and choir students (Doctoral dissertation). University of Michigan.

Maxwell, R. (2025). Pedagogical creativity: A multiple case study of concert band director practices (Doctoral dissertation). Illinois State University.

Miller, J. (2016). A harpist’s pedagogical experience: Bridging the gaps in music theory and ensemble training (Doctoral dissertation). Texas Tech University.

Nallbani, D. (2014). Development of wind instruments teaching curriculas for professional education in Kosova. Academic Journal of Interdisciplinary Studies, 3(2), 73–81.

Nikolaevska, Y., Paliy, I., Chernenko, V., Tsurkanenko, I., Lozenko, K., Yurchenko, O., & Dirarev. S. (2022). Instrumental Fantasy in the 20TH Century: Variations on the Genre-Style Genotype. AD ALTA: Journal of Interdisciplinary Research, 12/02/XXIX, 193-198. DOI: 10.33543/https://doi.org/10.33543/120229193198 https://doi.org/10.34064/khnum1-63.01

Nikolaievska, Y., Paliy, I., Denysenko, I., Cherednychenko, O., Kuzhba, M., Cherniavskyi, I., Wang, Y., & Zeng, Q. (2023). Style paradigm of the instrumental etude genre. AD ALTA: Journal of Interdisciplinary Research, 13/02/XXXV, 18-25. https://www.magnanimitas.cz/ADALTA/130235/papers/A_03.pdf

Novska, O., & Levytska, I. (2021). Ensemble music making as a resource for the professional development of future teachers of music. Innovative Pedagogy, 39, 63–66.

Paxton, J. (2021). A new model of interpretation and communication for ensemble music-making (Doctoral dissertation). University of Sussex.

Rager, D. (2013). In search of the wind-band: An international expedition. Wind-Band Music.

Schiavio, A., Küssner, M. B., & Williamon, A. (2020). Music teachers’ perspectives and experiences of ensemble and learning skills. Frontiers in Psychology, 11, 291. https://doi.org/10.3389/fpsyg.2020.00291

Shumska, O., Oleshko, V., & Oleshko, T. (2020). Theory and methodology of ensemble performance. Kharkiv.

Terepin, C. (2023). Together but not ‘together’: A radical phenomenology of ensemble performance (Doctoral dissertation). King’s College London.

Verrier, T., & Founrain, R. (2020). The ensemble musician: Six principles for a more rewarding life in music. GIA Publications.

Downloads

Publicado

2026-02-02

Como Citar

Ovchar, O., Vysoven, A., Pastukhov, O., Shulgin, O., & Obolenska, M. (2026). INTEGRATION OF THEORETICAL KNOWLEDGE AND PERFORMANCE SKILLS IN THE PROCESS OF LEARNING TO PLAY IN A CHAMBER ENSEMBLE WITH THE PARTICIPATION OF WIND INSTRUMENTS. Veredas Do Direito , 23, e234679. https://doi.org/10.18623/rvd.v23.n4.4679