The psychoaesthetic approach as a methodological orientation in the performance training of popular music vocalists
DOI:
https://doi.org/10.34142/27091805.2026.7.02.20Keywords:
psychoaesthetic approach, popular music vocalist,, vocal performance training, artistic image, interpretive concept, emotional and imagery-based experience, performance reflectionAbstract
The article provides a theoretical substantiation of the psychoaesthetic approach to the professional training of popular music vocalists and examines its potential for integrating the psychological and aesthetic dimensions of vocal performance.
The purpose of the study: the theoretical substantiation of the psychoaesthetic approach as a methodological orientation in the training of popular music vocalists and the identification of interactions between the psychological and aesthetic components of vocal performance.
Methods: analysis, synthesis, comparison and generalization of scholarly approaches in vocal pedagogy, music psychology and interpretation theory, supplemented by theoretical modelling.
Scientific novelty: the content of the psychoaesthetic approach to vocal performance training has been clarified, and a psychoaesthetic model of the popular music vocalist’s performance process has been theoretically structured. The model integrates psychological processes of perception, emotional experience and reflection with the formation of an artistic image and an interpretive concept. The vocalist’s artistic stance in performance has also been specified.
Results: the model comprises artistic perception, emotional and imagery-based experience, meaning-making, the formation of an interpretive concept, embodied vocal and stage expression, and reflective evaluation of performance. The cyclical interaction of these components has been substantiated. The pedagogical potential of the approach has been identified in relation to the development of the vocalist’s artistic stance in performance, interpretive independence and conscious choice of expressive means.
Conclusions: the psychoaesthetic approach can serve as a methodological orientation for coordinating the artistic content of a musical work, the performer’s personal experience and the professional means of vocal and stage expression.
Downloads
References
Гаснюк, В. В. (2025). Парадигма підготовки академічного та естрадного вокаліста: традиції, трансформації, перспективи. Наукові записки. Серія: Педагогічні науки, 14, 97–102. https://doi.org/10.59694/ped_sciences.2025.14.097
Клименко, І., & Максимова, О. (2024). Психологічні особливості взаємозв’язку музики з емоційними станами особистості в умовах війни. Вісник Київського національного університету імені Тараса Шевченка. Психологія, 2(20), 63–67. https://doi.org/10.17721/BPSY.2024.2(20).10
Комісар, В., & Комісар, К. (2023). Потенціал естрадного вокального мистецтва у розвитку емоційного інтелекту студентів. Актуальні питання гуманітарних наук, 63(2), 216–221. https://doi.org/10.24919/2308-4863/63-2-35
Максименко, Ю., & Синенький, Д. (2009). Теоретичні засади пізнання художнього образу. Психологія і суспільство, 4(38), 181–185.
Новська, О. Р. (2024). Категорія емоційності в сучасному фортепіанному виконавстві. Південноукраїнські мистецькі студії, 3, 109–114. https://doi.org/10.24195/artstudies.2024-3.16
Оганезова-Григоренко, О. В., & Хуа Цивей. (2024). Образно-смисловий контент інтерпретації: герменевтичний підхід. Південноукраїнські мистецькі студії, 4, 88–93. https://doi.org/10.24195/artstudies.2024-4.14
Самая, Т. В. (2025). Фундаментальні засади становлення естрадного вокаліста: ритмологічний контекст. АРТ-платФОРМА, 2(12), 13–31. https://doi.org/10.51209/platform.2.12.2025.13-31
Ткаченко, А. В. (2016). Художній образ як ключове поняття в естетичному вихованні. Наука і освіта, 12, 63–67. https://doi.org/10.24195/2414-4665-2016-12-13
Швець, І. (2026). Формування професійної майстерності естрадного вокаліста в умовах інтеграції міжнародного вокального досвіду. Науковий альманах мистецтва та освіти, 3, 213–215. https://doi.org/10.31652/3083-7871-2026-3.61
Hakanpää, T., Waaramaa, T., & Laukkanen, A.-M. (2023). Training the vocal expression of emotions in singing: Effects of including acoustic research-based elements in the regular singing training of acting students. Journal of Voice, 37(2), 293.e7–293.e23. https://doi.org/10.1016/j.jvoice.2020.12.032
Jiang, H., & Wu, W. (2025). How embodied cognition affects vocal performance: An integrative review. Journal of Voice. Advance online publication. https://doi.org/10.1016/j.jvoice.2025.11.005
Juntunen, M.-L., Arlin, E. P., & Liira, K. (2023). Expression in popular music singing as embodied and interpersonal. Frontiers in Education, 8, 1092736. https://doi.org/10.3389/feduc.2023.1092736
Lewis, M. C., & Hendricks, K. S. (2022). “It’s your body, it’s part of who you are!”: Influences upon collegiate vocalists’ performance self-efficacy beliefs. International Journal of Music Education, 40(4), 514–529. https://doi.org/10.1177/02557614221074057
Ngo, T., & Spreadborough, K. (2022). Exploring a systemic functional semiotics approach to understanding emotional expression in singing performance: Implications for music education. Research Studies in Music Education, 44(3), 451–474. https://doi.org/10.1177/1321103X211034694
Sear, J. (2024). Modern vocal pedagogy: Investigating a potential curricular framework for training popular music singing teachers. Journal of Popular Music Education, 8(2), 239–254. https://doi.org/10.1386/jpme_00105_1
Wagemans, J. (2011). Towards a new kind of experimental psycho-aesthetics? Reflections on the Parallellepipeda project. i-Perception, 2(6), 648–678. https://doi.org/10.1068/i0464aap
Downloads
Published
License
Copyright (c) 2026 Ходот Аліна (Автор)
This work is licensed under a Creative Commons Attribution 4.0 International License.
You are free to:
- Share — copy and redistribute the material in any medium or format for any purpose, even commercially.
- Adapt — remix, transform, and build upon the material for any purpose, even commercially.
- The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
- Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
