<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-0180</journal-id>
<journal-title><![CDATA[Convergências - Revista de Investigação e Ensino das Artes]]></journal-title>
<abbrev-journal-title><![CDATA[Revista Convergências]]></abbrev-journal-title>
<issn>2184-0180</issn>
<publisher>
<publisher-name><![CDATA[Escola Superior de Artes AplicadasInstituto Politécnico Castelo Branco]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-01802023000200125</article-id>
<article-id pub-id-type="doi">10.53681/c1514225187514391s.32.218</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Interpretive Content of a Musical Work: The Performing Aspect]]></article-title>
<article-title xml:lang="pt"><![CDATA[Conteúdo interpretativo de uma obra musical: A vertente performative]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Solomonova]]></surname>
<given-names><![CDATA[Olga]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Ohanezova-Hryhorenko]]></surname>
<given-names><![CDATA[Olha]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Demydova]]></surname>
<given-names><![CDATA[Viola]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Kuchurivskyi]]></surname>
<given-names><![CDATA[Yurii]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Bordonyuk]]></surname>
<given-names><![CDATA[Volodymyr]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Ukrainian National Tchaikovsky Academy of Music Department of History of World Music ]]></institution>
<addr-line><![CDATA[Kyiv ]]></addr-line>
<country>Ukraine</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Odessa National A.V. Nezhdanova Academy of Music Department of Solo Singing ]]></institution>
<addr-line><![CDATA[Odesa ]]></addr-line>
<country>Ukraine</country>
</aff>
<aff id="Af3">
<institution><![CDATA[,Odessa National A.V. Nezhdanova Academy of Music Department of Choral Conducting ]]></institution>
<addr-line><![CDATA[Odesa ]]></addr-line>
<country>Ukraine</country>
</aff>
<aff id="Af4">
<institution><![CDATA[,Odessa National A.V. Nezhdanova Academy of Music Department of General and Specialized Piano ]]></institution>
<addr-line><![CDATA[Odesa ]]></addr-line>
<country>Ukraine</country>
</aff>
<pub-date pub-type="pub">
<day>30</day>
<month>12</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>30</day>
<month>12</month>
<year>2023</year>
</pub-date>
<volume>16</volume>
<numero>32</numero>
<fpage>125</fpage>
<lpage>138</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-01802023000200125&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-01802023000200125&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-01802023000200125&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The relevance of this study is determined by the urgent importance of the issues of training musicians in the context of qualitative nurturing of their abilities for music interpretation in accordance with the author's main ideas. The purpose of this study lies in the analysis of the main features of the problem of interpretation of musical works by different composers, in terms of the development of the performing skills of musicians, as a major constituent of qualitative perception of a musical piece. The main methodological approach explored in this paper combines a systematic analysis of the performance practice of musical works with a consideration of the development of musicians' performance skills, taking into account their individual characteristics and level of skill. The study also analyzes the process of developing performance skills in musicians studying in modern educational institutions, such as music schools, and secondary and higher music schools. The results of this study indicate the high importance of qualitative interpretation of musical works by performers for the perception of listeners, as well as the low level of research on this range of issues, which necessitates further research in this area. The results and conclusions of this study are important both for teachers of music schools who train future musicians and for musicians themselves. The main idea is that in the process of performing musical works, it is important to convey the author's intention or design, which is expressed in the musical nuances of the work. The authors of the study show that understanding this intention and the ability to reproduce it with performance techniques are important for musicians. The study indicates that musicians should constantly improve their skills and abilities to reproduce the meaning of musical works in order to give them a deeper expression.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo A relevância deste estudo é determinada pela importância urgente das questões da formação dos músicos no contexto do desenvolvimento qualitativo das suas capacidades de interpretação musical, de acordo com as ideias principais do autor. O objetivo deste estudo consiste na análise das principais características do problema da interpretação de obras musicais de diferentes compositores, em termos do desenvolvimento das competências performativas dos músicos, como um dos principais constituintes da perceção qualitativa de uma obra musical. A principal abordagem metodológica a considerar no âmbito da investigação combina uma abordagem sistemática ao estudo das características da interpretação de diferentes obras da cultura musical, em função das suas características individuais e do nível de competências de execução, com o estudo analítico do desenvolvimento das competências de execução dos intérpretes individuais, no contexto da sua formação em instituições educativas modernas do ensino básico, secundário e superior de música. Os resultados deste estudo indicam a elevada importância da interpretação qualitativa de obras musicais por parte dos intérpretes para a perceção dos ouvintes, bem como o baixo nível de investigação sobre esta gama de questões, o que torna necessária mais investigação nesta área. Os resultados e conclusões deste estudo são essenciais para os professores das instituições de ensino que formam os futuros músicos, bem como para os próprios músicos, que pela natureza das suas actividades profissionais se deparam com a necessidade urgente de refletir nas obras musicais que executam a intenção do autor expressa na paleta entoacional da obra musical e de aperfeiçoar a sua performance para expandir a sua capacidade de refletir os significados de uma obra musical.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[musical work]]></kwd>
<kwd lng="en"><![CDATA[musical art]]></kwd>
<kwd lng="en"><![CDATA[performance aspect]]></kwd>
<kwd lng="en"><![CDATA[performer's interpretation of a musical work]]></kwd>
<kwd lng="en"><![CDATA[intonational meaning]]></kwd>
<kwd lng="pt"><![CDATA[obra musical]]></kwd>
<kwd lng="pt"><![CDATA[arte musical]]></kwd>
<kwd lng="pt"><![CDATA[aspeto performativo]]></kwd>
<kwd lng="pt"><![CDATA[interpretação do intérprete de uma obra musical]]></kwd>
<kwd lng="pt"><![CDATA[significado entoacional]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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