Vocalist Self-Control in the Process of ArtisticImagery Development During Musical Interpretation

The study examines the conscious process of the imaginary construction of artistic images by the vocalist during engagement with musical works, focusing on the interplay of the components of his self-monitoring. It has been established that a vocalist’s artistic images are holistic and dynamic mental formations rather than static constructs, consisting of musical-image elements enriched with associative and expressive content. These musical images are conceptualized as cohesive, lowerorder mental formations that reflect the vocalist’s transformation of the notated score into a generalized sonic representation of the work, incorporating the individual emotional response to the timbral and expressive palette of the music. It has been established that the dynamic variability of the associative and artistic content of each construct of artistic images under different conditions of public musical performance elicits a distinct (new) emotional response from the audience to the perceived information each time. The psychological mechanisms underlying the conscious construction of a more refined functional model of these images are elucidated, which occurs through the supplementation and cognitive transformation of the perceived information based on the representation of associative semantic concepts, abstracted from the directly perceived sensory features. It has been demonstrated that a vocalist’s imaginary artistic images serve as a source for the continuous development of his performance mastery. The success of constructing this performance phenomenon depends on the clarity of defining the constructs of artistic images and their mental prototypes. The constructs of a vocalist’s artistic images reflect both primary and derived indicators: the primary indicators represent spatiotemporal structure and modal-intensity features, while the derived indicators capture objectivity, integrity, and generalization. Similarly, the prototypical mental constructs of this phenomenon are characterized by primary and derived indicators; the primary indicators, in addition to spatiotemporal structure, reflect the variability of modal-intensity features, whereas the derived indicators reveal instability, fragmentation, and generalization of their attributes. The process of constructing artistic images by the vocalist begins with defining these constructs, which are subject to conscious self-regulation during work on musical material.