Self-Regulation Techniques in the Content of Professional Training of Future Music and Choreography Teachers for Performance Activities.

Abstract

The article examines self-regulation techniques in the context of the performance activities of future music and choreography teachers. The specifics of the professional training of future music and choreography teachers are analyzed, which involves the integration of musical-performance, musical-plastic, pedagogical, and artistic-communicative aspects. The main features of the performance activity of a music and choreography teacher are outlined: polystructurality, psychophysiological involvement, creative activity and initiative, communicative orientation, creative-interpretative character, and reflexivity. It is determined that the specificity of performance activity is manifested in the fact that, under conditions of stage performance or pedagogical interaction with students, significant influence on the teacher’s personality is exerted by factors of excitement, emotional tension, and stress, which can both stimulate and destabilize the performance process. Under these conditions, the necessity of integrating effective self-regulation techniques into the content of training future music and choreography teachers is substantiated; these techniques comprehensively combine achievements of music pedagogy, psychology of creativity, art therapy, and neuropsychology. It has been established that the readiness of future music and choreography teachers for self-regulation of performance activity holistically encompasses bodily condition, emotional-volitional sphere, thinking, reflection, and the ability for creative interpretation. From these positions, the functional grouping of selfregulation techniques (psychophysiological, cognitive-analytical, emotional-volitional, activity-reflective, and creative-regulatory) has been clarified and carried out; these techniques combine psycho-emotional, technical, artistic-interpretative, communicative, and stage aspects of performance activity. Such an approach makes it possible to consider self-regulation not as an auxiliary element, but as a key component of the professional competence of the future teacher-musician and choreographer.