The essence of the phenomenon of the creative potential of the future music teacher

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Huang Ruiping Izmail State University of Humanities

The essence of the phenomenon of the creative potential of the future music teacher

Хуан Жуйпін

Ukraine

Abstract

The article defines the essence and content of the phenomenon of the creative potential of the future teacher musical art. Humanization has become dominant in the strategy of educational policy today of domestic pedagogical science and practice. The main educational guideline is respect to the dignity of a person, the development of his potential, aimed at the future. Creative potential, which is defined by many researchers as the presence of hidden, unused reserves in a certain type of human activity, becomes a kind of «core» of the personality. Regular selforganization of the creative potential of the future music teacher at all hierarchical levels organization ensures the convergence of this system to a certain optimum of negentropic stability at the expense of the environment and leads to the formulation of the principle of system-dynamic complementarity. Thus, based on achievements of modern science, it can be stated that the creative potential of an individual is a dynamic integrative personal quality (a combination of personal abilities, knowledge, skills, beliefs, relationships, orientation), which determines the need, readiness and possibility of creative self-realization and self-development. The article determines that the emergence of many original programs and methods, the desire of many schools to work in the mode of the latest innovative ideas, where not the last place is occupied by the ideas of developing, for example, inverted learning, designing new forms of musical and aesthetic education, creating an extensive system of digital musical and aesthetic of education - all this testifies to the awareness of the huge role of the potential of art in the formation of personality, which was also talked about by outstanding specialists in education and culture, who stood at the origins of the formation of the domestic, previously Soviet, system of musical and aesthetic education. It has been proven that mastering the potential of musical art in class is aimed at developing students' musical thinking, developing creative abilities, and increasing motivation to perceive musical art. Various forms of activity in the lesson are subordinated to the logic of the educational process to reveal the potential of musical art, structured on the basis of various didactic principles, which ensures the artistic integrity of the high school lesson.

Key words: creative potential, future music teacher, professional training, creative personality, art education.

Анотація

СУТНІСТЬ ФЕНОМЕНУ ТВОРЧОГО ПОТЕНЦІАЛУ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИЧНОГО МИСТЕЦТВА

Хуан Жуйпін аспірантка

Ізмаїльський державний гуманітарний університет, Україна

У статті визначено сутність та зміст феномену творчого потенціалу майбутнього вчителя музичного мистецтва. Гуманізація сьогодні стала домінуючою в стратегії освітньої політики вітчизняної педагогічної науки і практики. Головним виховним орієнтиром є повага до гідності людини, розвиток її потенціалу, спрямованого в майбутнє. Своєрідним «стрижнем» особистості стає творчий потенціал, який багатьма дослідниками визначається як наявність прихованих, невикористаних резервів у певному виді діяльності людини. Закономірна самоорганізація творчого потенціалу майбутнього вчителя музики на всіх ієрархічних рівнях організації забезпечує наближення цієї системи до певного оптимуму негентропійної стійкості за рахунок зовнішнього середовища та призводить до формулювання принципу системно-динамічної комплементарності. Таким чином, спираючись на досягнення сучасної науки, можна стверджувати, що творчий потенціал особистості - це динамічна інтегративна особистісна якість (сукупність особистісних здібностей, знань, навичок, переконань, стосунків, спрямованості), яка визначає потребу, готовність до можливість творчої самореалізації та саморозвитку. У статті визначено, що поява багатьох оригінальних програм і методик, прагнення багатьох шкіл працювати в режимі новітніх інноваційних ідей, де не останнє місце посідають ідеї розвитку, наприклад, перевернутого навчання, проектування нового. форм музично- естетичного виховання, створення розгалуженої системи цифрового музично- естетичного виховання - все це свідчить про усвідомлення величезної ролі потенціалу мистецтва у формуванні особистості, про що говорили також видатні педагоги, які стояли біля витоків формування вітчизняної, раніше радянської, системи музично- естетичного виховання. Доведено, що оволодіння можливостями музичного мистецтва спрямоване на розвиток музичного мислення учнів, розвиток творчих здібностей, підвищення мотивації до сприйняття музичного мистецтва. Різноманітні форми діяльності на заняттях музичного мистецтва підпорядковані логіці навчального процесу для розкриття можливостей музичного мистецтва, структурованого на основі різноманітних дидактичних принципів, що забезпечує художню цілісність уроку загальноосвітньої школи.

Ключові слова: творчий потенціал, майбутній учитель музики, професійна підготовка, творча особистість, мистецька освіта.

Relevance

Modern education is considered a complex cultural learning process that creates conditions for personal development. Its goal is to cultivate individuals oriented towards understanding, recognizing, and embracing the beauty of the surrounding world and people. The tasks of humanizing the music pedagogical process and adopting an axiological approach to it require the creation of an atmosphere of creative focus for the student, ensuring the necessary conditions for their full cultural development. A crucial role is assigned to music art in achieving this goal, as research by numerous experts indicates that music art elicits emotional responses in students earlier than other forms of art. This signifies the significant educational potential of music art. Therefore, the creation of conditions for the effective development of the creative potential of an individual as a primary factor in their development is an urgent issue in contemporary education.

Analysis of Recent Research

In the current stage of Ukrainian society's development, there is a real need to activate the creative potential of individuals. Therefore, the opinions of experts and teachers are focused on developing methods and approaches that contribute to purposeful fostering of creative thinking and activity in students. Researchers such as F Andreev, D. Bogoyavlenska, I. Ilyasov, Zh. Zaitseva, A. Kirsanov, A. Malakhov, R. Petrosova, O. Sushchenko, A. Engelbrecht, N. Chernivanenko, and others have explored the issue of unlocking the potential of music art and its implementation in lessons, as well as the development of creative activity in individuals (Івершинь, 2019: 39). In the field of psychological and pedagogical studies, the problem of activating creative potentials is addressed in the scientific works of K. Abulkhanova-Slavskaya, A. Alexyuk, R. Burns, J. Guilford, S. Goncharenko, V. Zagvyazinsky, N. Kichuk, I. Kucheryavy, O. Klepikov, O. Leontiev, A. Maslow, V Molyako, Ya. Panomaryov, S. Rubinstein, S. Sysoeva, P Torrens, and others (Олійник, 2003: 78-80). Researchers like S. Konovets, L. Masol, O. Oleksiuk, V. Orlov, O. Otych, O. Rudnytska, O. Rostovsky, O. Shcholokova, and others are engaged in studying the pedagogical potential of art in the development of the creative personality of future music teachers (Воєводін, 2007). In psychology, creativity is understood as the process of creating something new and as a set of personality traits that enable its engagement in the creative process Воєводін, 2007). The professional creativity of a teacher involves activities aimed at acquiring pedagogical experience, allowing for the improvement of professional performance.

The Purpose of the Article

The purpose of the article is to define the essence and content of the phenomenon of the creative potential of future music teachers. A significant role in this process is attributed to the music teacher, whose activities reflect creative ideas and innovations, humanistic orientation, and creative transformation of reality. However, the issue of uncovering and implementing the potential capabilities of future music teachers has not received adequate attention in the scientific literature.

Presenting the main material

The primary task of a music art lesson is the moral and aesthetic perception, spiritual contemplation of a musical work, its feeling, and emotional response to the musical piece. Therefore, listening to or watching musical-dramatic, vocal, or instrumental works represents the potential of musical art, fostering musical culture and instilling interest in musical compositions. At this moment, the realization of the importance of what students are taught comes into play. This can range from light, small musical compositions - songs, dances performed to a recording, sometimes lacking any specific meaning - to a cultural layer accumulated over time. It can also involve large symphonic or operatic works, as the potential of musical art is vast. It is crucial to teach students to navigate this enormous potential, the world of musical art, instill in them a musical-aesthetic taste, and connect them to higher spiritual and aesthetic values. Teaching them to understand the world and its goodness and to shape their worldview through the means of musical art, in communication with the high classical or folk music, helps them comprehend themselves and their place in the complexity of the world (Олійник, 2003: 79). From this, the main objectives of music art lessons emerge as integrated art lessons, lessons of artistic creativity:

Comprehensive development of personality, its musical and creative potential, spiritual and moral upbringing through musical art.

Activation of the potential of musical-cognitive activities of students.

Disclosure of the transformative power of music and its impact on the inner world of a person, on their attitude towards the surrounding reality, and on the formation of a life position.

Mastering the aesthetic language of musical art based on music-theoretical knowledge and skills. dignity dynamic complementarity

To solve the set tasks in the lesson, there must be a necessary psychological climate, which involves creating an atmosphere of creativity and mutual assistance, providing opportunities for self-expression and self-realization. The application of integration methods in organizing the educational process contributes to this. Integration as a teaching tool should give the student knowledge that reflects the connection of individual parts of the world as a system in which all elements are interconnected. In art, integrated learning consists of understanding and perceiving various genres and types of arts (Олійник, 2003: 77).

The effectiveness of music art lessons depends not only on the program and methodologies but also on the characteristics and potential of the teacher's personality, their professional knowledge, and pedagogical skill. The educational potential of a modern music lesson should replace concepts like «memorize», «repeat» and «consolidate» with «experience», «evaluate» and «create». In a modern lesson, according to second-generation standards, the «teacher-student» system should foster cooperation, participation, co-creation, as well as the necessity of independent learning of musical material by students, facilitated by the teacher. Practically, there is no art lesson that is not permeated by that crucial moment we commonly refer to as the "educational moment." However, music art lessons differ from all others by the aspiration to make students contemplate the complexities of life, look into themselves through the high potential of the musical world. A lesson has the potential to influence the development of many qualities in students. This educational aspect should involve the use of educational material content, teaching methods, and forms of organizing cognitive activities in their interaction to form and develop moral, labor, musical-aesthetic, patriotic, and other qualities of students' personalities (Грекова, 2014: 25).

Shkolyar, emphasizes the development of students, a scholar as a creator, as an artist (which is the development of their spiritual culture) is impossible without the development of general fundamental abilities - the art of listening, the art of seeing, the art of empathy, and the art of thinking. The development of the human personality, in general, is impossible outside the harmony of its «individual cosmos» - I see, I hear, I feel, I think, I act, I create.

The structure of the concept of «musical culture and the potential of musical art» is quite diverse, with numerous components and parameters of musical development: the level of vocal development, skills in understanding and perceiving contemporary music, the level of creative activity, etc. However, the development of students in various aspects of realizing the potential of musical art does not, in sum, constitute musical culture. The components must be generalized, express the most essential, become common in relation to the specific. The basis for this can and should be those new formations in the student's spiritual world that develop through the reflection in their thoughts and feelings of the moral and aesthetic content of musical art. These formations allow us to clarify how the musical culture of a student's personality is connected with the vast material and spiritual culture of humanity. The prominent music expert Y. Aliyev considers the following as the main criteria for defining the development of students' musical culture the level of development of artistic musical preferences; the participation of students in some sphere of artistic musical creativity; awareness in the field of socio-cultural artistic musical culture (Воєводін, 2007: 52).

A similar property is highlighted by the outstanding expert in musical art and pedagogy, L. Shkolyar. In her opinion, these are: the musical-aesthetic experience of students; musical literacy and skills; musical-creative development of students.

Criteria for the presence of musical experience in students can include: the level of general knowledge about musical art; the presence of interest, certain preferences and inclinations in understanding music; motivation for a student's turn to specific music, genres, and styles, what the child seeks in it, and what expectations they have (Сисоєва, 1997: 36).

The most important task of fostering the spiritual culture of students is the development and implementation of a creative system of middle-level musical and aesthetic education. Comprehensive mastering of the artistic picture of the world allows for the closest connection of musical and visual arts with life, the history of the country, and peoples, promoting the ideological and moral development of the younger generation.

The idea of comprehensive and productive personality development is realized in the concept of the artistic-creative potential of musical art, as well as in art lessons. The object of study in lessons should be integrated art. Skills and knowledge should not be an end in themselves. They are means for the development of students' personalities, and art, particularly musical and visual art, is a form of expression of their life activity (Вербець, 2005: 38).

Integrated musical-aesthetic education of students in music lessons occurs through their involvement in the process of creating their own works.

The goals of the potential of musical art and secondary school lessons are as follows:

Comprehensive musical-aesthetic development of the personal potential of the student.

Optimization of heuristic thinking (cognitive activity).

Revealing the transformative power of musical art and its influence on the inner spiritual sphere of a person.

Mastering the imaginative artistic language of musical art through the acquisition of theoretical knowledge, the formation of skills and abilities.

Understanding the essence of musical intonation, its dramaturgy through various forms of vocal (solo, choral) and instrumental music-making.

A form is a way or method of theoretical research or practical implementation of something, in other words, a way to achieve any goal, solve a specific task; a set of methods or operations for practical or theoretical mastery (cognition) of reality (Олексюк, 2019: 29). In the context of music pedagogy, the term «form» refers to an organized way of activity aimed at achieving the educational goals of the potential of musical art. Form is characterized by three attributes: the direction of musical teaching and upbringing (goal); the method of acquiring knowledge and skills (sequence of actions); and the nature of interaction between subjects (teaching and learning - teacher and students).

The methods of musical pedagogical activities of the teacher and students are closely interconnected and interact with each other. At certain stages of the development of music pedagogy, the focus was on justifying form as a sequence of teacher actions for students to master educational material.

Classification, or the distribution into categories (classes), helps to identify common grounds when it is necessary to choose the most essential and interesting information from a vast amount of data.

Interesting developments in «cooperative pedagogy» from teachers have brought about significant changes in the organization of lessons. Elements have been introduced that integrate problems, paradoxes, novelty of known facts, and many others, confidently displacing boredom and formalism from music education. A modern lesson, especially in music art as an author's work, should be characterized by systematicity and integrity, a unified logic of joint activity of the teacher and students, subordinated to common goals and didactic tasks that define the content of musical educational material, the choice of methods, and means of teaching. Only under these didactic conditions does the process of students' cognitive activity become developmental.

Let's turn to the modern classification of lessons developed with the application of nonstandard methods and forms of their conduct, proposed by Professor S. Kulnevich and extrapolated by us to the field of music education, taking into account the specifics of the music art lesson - the lesson of integrated art (Сисоєва, 1997: 39).

lessons with modified organizational methods: lecture lesson, concert lesson, paradox lesson, knowledge (ideas) defense, ensemble lesson, meeting lesson, flipped lesson;

lessons relying on imagination: fairy tale lesson, lesson of musical creativity (composition lesson, invention lesson, creative report lesson, comprehensive creative report lesson), exposition lesson, lesson of a fantastic project, mono-lesson - a story about the creator of art (benefit lesson, portrait lesson), surprise lesson, magical lesson, lesson of flipped learning;

lessons that imitate any type of activity or work: excursion lesson, online excursion (online visits to concert halls, theaters, philharmonics, etc.), walk lesson, lounge lesson, journey lesson, expedition lesson, project defense lesson;

lessons that involve the transformation of standard organizational methods: paired questioning, express questioning, assessment defense, consultation lesson, practical lesson, seminar lesson, reader's form defense, tele-lesson, lesson-interview, student conference, etc.

From ancient times, vocal art has been considered the primary form of teaching musical art. Even now, choral or solo singing is a crucial part of realizing the potential of musical art in schools. The duty of teachers in middle school music lessons is to teach every student to sing well (Олексюк, 2019: 35).

Singing, as a special form of singing together, is one of the earliest emotional relationships between students. A student feels these relationships with the mother and the surrounding environment from the very beginning of life; singing, harmonizing with others, communication, understanding each other better because they live in common emotions, in a good state. This form has a spiritual connection that is very important in human communication.

Singing has a special intonation musical language. Cultural music history, ethnic folk traditions, folk music pedagogy testifies that singing is often compared to a native language as communicative communication. This is important from the perspective of national education, national outlook, self-awareness, as well as the educational potential of national culture.

Singing as an emotional and semantic connection is more universal than verbal language: singing as an intonational language overcomes language barriers. It is not only a means of national and cultural communication but also international communication.

Singing as a form of teaching musical art creates the best conditions for empathy, love, and finally, understanding of moral spirit and national mentality. Folk songs are an excellent tool for national education and have great educational potential. Therefore, singing in middle school always receives a lot of attention (Хуа Вей, 2016: 125).

The ability of students to sing varies, but almost every student has a desire to sing. These differences in students' musical potential are determined by many factors.

Firstly, differences in genetic codes. Some inherit a singing voice and «musical ear», so singing is not a problem for them. Others say they «have no voice» (or worse, «no hearing»). These are fundamentally incorrect statements. Every student can sing; every student has a musical ear. However, the difficulties of singing lie in the fact that many students have insufficient mobility of the nervous system (lack of lability), musical intonation vocabulary, musical imagination, internal hearing, and a lack of musical thinking.

From a pedagogical point of view, «musical» listening, musical thinking, musical perception, emotional, gentle, and friendly music help improve the vocal apparatus, and the voice becomes more flexible, harmonious, and expressive.

Active engagement with music, its composition, reproduction in various forms of performance, and the modeling of intonation-sound processes can be considered, in essence, as a group of practical methods and skills that constitute a dialectical unity with the method of auditory visualization. «Observing music, wrote the prominent musicologist B. Asafiev, primarily leads to the sharpening of auditory impressions ... and, therefore, to the enrichment of our life experience and our knowledge of the world through hearing ... but it is necessary to evoke in the listener the instinct of the performer. It is necessary for as many people as possible, even to the smallest extent, to actively participate in the perception and creation of music. Only then, when such a person feels the material with which music operates from the inside, will he feel it externally throughout the music» (Грекова, 2014: 37). The same regularity applies to the perception of instrumental music by students. Perception is most effective when it involves not only auditory but also visual and motor-sensory activity.

According to N. Grodzenskaya, singing is an «active and very important method for developing the perception of music» (Риндак, 2001: 29). In this regard, among the actions through which a student can reflect the music understood and perceived by them, vocalization holds a special place, as well as plastic intonation, musical notation, graphic notation. All of these help to empathize with the music, better understand the composer's intentions, and memorize it more firmly and quickly. For many years, music perception was equated with listening to music. Choir singing, playing musical instruments, and other active and priority forms of musical activity became essential. The main focus was on developing the skills and abilities to engage in these forms of musical activity (Грекова, 2014: 49).

There are various forms of teaching musical activity, including group, individual, collective creative, and performance activities. These methods, means, and forms allow for the activation of the process of exploring the potential of musical art, creating more opportunities for its realization in middle school lessons, and addressing cognitive tasks that realize the creative potential of students, providing conditions for the full development of their personalities.

At the current stage of society's existence, the aspect of revealing creative potential is becoming more and more important. It is known that schoolchildren vividly demonstrate a creative element; they are exceptionally inventive in conveying intonations, imitating, easily perceiving the figurative content of fairy tales, stories, songs, and musical pieces. They possess natural activity, a belief in their creative capabilities.

In the musical creativity of students, the synthesis of emotional sensitivity and thinking, abstract and concrete, logic and intuition, creative imagination, activity, and the ability to make decisions quickly plays a leading role. Students' creativity is associated with independent actions, the ability to operate with their known musical auditory perceptions, knowledge, skills, and apply them in new conditions and various types of musical activities.

The educational significance of children's musical creativity is highly appreciated by educators. The prominent musicologist of the present, B. Yavorsky, believed that the educational value of musical creativity as a significant musical potential of students is primarily manifested in the process itself because it allows the teacher to observe the course of their musical thinking (Олійник, 2003: 26).

B. Asafiev wrote that musical creativity contributes to a deeper mastery of musical material and the development of musicality in students. Usually, the musical level of secondary school students is quite uneven. Some students can already listen to music without distraction, sing various songs cleanly and expressively; others do not even understand what it means to deliberately listen to music or imagine singing correctly. Some students learn music at home, while others do so in children's school institutions. Therefore, they already have common ideas about musical literacy, some students already love music, while others are indifferent to it, growing up in unfavorable conditions (parents and others disdain classical or folk music) (Івершинь, 2019).

The work on musical and artistic images in school is based on the study of the intonation nature of lyrical, epic, and dramatic musical images, on the identification of relationships between different figurative spheres in musical art, on the development techniques of musical images. A musical image is considered a living, generalized idea of reality, expressed in sounds, as the embodiment of the composer's creative ideas and certain life content in folk, spiritual, classical, and modern music (Сисоєва, 1997: 49).

The purpose of studying a musical image is to realize the potential of musical art in the education of students in the form of a thoughtful, creative interpretation of musical images in various types of musical activities. Following the principle of contrast in the material of educational topics, lyrical, dramatic, epic, comic (humorous and satirical), and tragic images are compared.

A musical image, embodied in intonation form, reveals the life and moral-aesthetic content, not just the theme (title) of a musical work. As students become familiar with various musical images, they continue to develop skills in perceiving the intonations of a musical work, tracing their development in the musical piece, and engaging life and artistic associations. Musical perception is one of the most important forms of a student's musical activity, which is rooted in aesthetic cognition of the surrounding reality (Воєводін, 2007: 38).

Musical-imaginative artistic thinking is a necessary condition for understanding and perceiving or reproducing the artistic content of a musical work. It is characterized by being based on vivid imagery. Musical artistic images represent intonationally meaningful sound sequences, the content of which includes feelings, emotions, and empathy of a person.

The development of the potential of future music teachers is one of the main music- educational tasks of music education for students. In this regard, the term «musical understanding and perception» in music pedagogy has two meanings. One, more comprehensive, is understood as a natural condition for the potential of various types of musical activities of students in classes, such as choir singing, playing musical instruments, musical-rhythmic movement.

Another meaning of the term musical perception, narrower in scope, refers to listening to musical works: getting acquainted with musical works of different styles and genres, composers, performers. In this context, the two aspects of students' musical development - perception and their own musical creativity - are inseparably linked and mutually complement each other.

The justification for such an approach to the methodology of organizing musical perception is the understanding of the orientation of the potential of musical art not «toward rational study, but toward empathy - in the world of artistic images, a person should live as they live in reality, but realizing the illusion of this world and aesthetically enjoying how skillfully it is created from the material of the real world» (Олійник, 2003: 77).

It is important to cultivate in students the skills and abilities necessary for a comprehensive perception of musical works, develop their musical and creative abilities, as well as stimulate interest and musical-aesthetic taste.

To master various types of musical-performing activities, it is necessary to develop specific skills and abilities in students. Without a developed perception of the potential of musical art, performing activities amount to imitation, reproduction by example, and do not fulfill a developmental function. Musical instrumental or vocal performance requires numerous training actions: repetitions, exercises, a considerable amount of time.

Students' musical creativity arises based on the mastery of specific skills and abilities resulting from extensive learning. In turn, the realization of the potential of musical education is enriched by creative expressions, acquiring a developmental character. Didactic teaching, which includes problem-solving, exploratory musical creative tasks, unleashes the creative and imaginative potential of students, develops artistic thinking, and evokes aesthetic emotions. To realize the potential of musical art, it is important to create playful problem situations, encourage variant independent actions, develop the ability to transfer acquired music-theoretical knowledge into performance practice, and apply them in new conditions in a free variant form. Creative vocal or instrumental improvisations enhance the process of musical learning: problem situations contribute to the consolidation and free application of assimilated music-theoretical material, fostering an interest in creative musical activities. Thus, the development of musical abilities and the foundations of musical culture in students are carried out through all types of musical activities (perception, performance, creativity, music education activities), providing significant opportunities for the potential of future music teachers. However, the ultimate goal of classical music education and musical upbringing is to teach students to listen, love, and understand the art of music, to feel its greatness and beauty (Воєводін, 2007).

Conclusions

The music pedagogical ways to achieving the goal, which involves unfolding the potential of musical art and nurturing a genuine, refined, aesthetically satisfied listener, can only be successful under the condition of a high level of expertise of future teachers and an equal emphasis of music education on such complementary concepts as theory and practice, emotion and reason, direct-emotional and formal-logical aspects. The development of the aesthetic- emotional sphere, aesthetic musical taste, and the sense of beauty entail concrete knowledge about musical art, its potential, and the ability to express and articulate one's impressions through words using relevant music-pedagogical terms. The level of development of each student's musical thinking, as well as each type of human thinking in general, directly depends on the quality of mastering relevant music-pedagogical concepts, their meaningfulness, and depth.

The formation of relevant concepts that contribute to the disclosure of the creative, aesthetic, and educational potential of musical art, their implementation, and subordination to a specific system is the most important task of music pedagogy. To make this process purposeful and transform it into a music pedagogical system, it is necessary to define a necessary and sufficient set of elements for its implementation.

Undoubtedly, the approach to the vast potential of musical art, as intrinsic value, directed towards learning and musical education for the understanding of the art of music, requires greater competence and professionalism from the music teacher. However, only teaching at a high level of professional skill can make music lessons more interesting, profound, meaningful, and enriched with intellectual creative activity, allowing students to fully realize themselves. The goal of music education is to cultivate a knowledgeable, cultured listener who can perceive, understand, and contemplate the high examples of musical art.

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