ENSEMBLE MUSIC-MAKING AS A POLYSUBJECTIVE SPACE FOR THE DEVELOPMENT OF CREATIVE THINKING OF FUTURE TEACHERS IN THE SYSTEM OF PIANO TRAINING

Abstract

The article is devoted to conceptualizing ensemble music-making as a polysubjective artistic and educational space for the development of creative thinking of future teachers within the system of piano training. The relevance of the study is обусловed by the need to reconsider the role of ensemble practice in the system of professional training of higher art education students from the perspectives of dialogicity, performativity, and synergy. The aim of the article is to determine the theoretical and methodological foundations of ensemble functioning as a developmental environment that ensures the integration of individual and collective principles in the process of meaning-making. The methodological framework includes historical-theoretical analysis, generalization of scholarly positions regarding the nature of ensemble interaction, and a synergetic approach to collective music-making. It is revealed that the polysubjective organization of the ensemble activates the analytical, prognostic, imagery-associative, and reflective components of creative thinking, fosters variability of artistic choice, the ability for anticipatory forecasting, and the conscious adjustment of the performance concept. The performative dimension of ensemble activity is substantiated as a form of artistic communication aimed at expanding emotional and aesthetic experience and unfolding an open dialogue with the audience. A system of methods (synergetic listening, collective interpretative laboratory, emotional resonance wave, digital co-creation) is outlined to ensure the practical implementation of this approach in piano training. It is noted that the proposed model of ensemble interaction enhances awareness of performance activity and develops the communicative and creative potential of future music teachers. The scientific novelty lies in interpreting ensemble music-making as an integral self-organizing artistic system, an artistic and educational studio in which an emergent quality of sound arises and an integrated type of creative thinking of future music teachers is formed under conditions of co-creative polysubjective instrumental performance interaction