368 Cognitive Determination of Musical Thinking and Musical Self- concept of Students and Musicians: Comparative Diagnostics, Aspects of Modeling and Forecasting Iryna Mazur1, Tеtіana Нrinchenko2, Olena Teplova2, Liudmyla Onofrichuk2, Olena Priadko3 1Khmelnytsky Humanitarian and Pedagogical Academy, Ukraine 2Vinnytsya Mykhailo Kotsiubynskyi State Pedagogical University, Ukraine 3Kamianets-Podіlskyi National Ivan Ohiienko University, Ukraine Submitted: 2022-10-12. Revised: 2022-11-04. Accepted: 2022-12-06 Abstract The article’s purpose is to define the cognitive determination of musical thinking and musical self-concept of students and musicians, considering the cognitive style of the individual, ana- lytical-holistic thinking, and individual psychological abilities. The study applies the diagnostic technique for the cognitive style of individuality (T. Dudnikova, O. Volkova), analysis-holism scale (Choi, Koo, and Choi), Cattell test (16PF - C), musical thinking questionnaire developed by authors (I. Mazur, T. Нrinchenko, O. Teplova, L. Onofrichuk, O. Priadko). The study presents the first approbation of the musical thinking questionnaire developed by the authors, the integral indicator of which is measured on the following scales: emotional response to music, emotional- intonational (melodic) ear, harmonic ear for music, perceptual ear for music, musical-rhythmic sense, musical memory, performing emotionality, musical-creative imagination – insight into the essence of the musical image, musical-creative imagination – interpretation of the musical image, sense of the whole – sense of tempo-rhythm, sense of the whole – a sense of shape, sense of the whole – sense of style, sense of the whole – the sense of the logical development of the piece of music, cognitive activity, self-regulation, ability to work. The authors empirically determine that the musical thinking of students is based on advanced abilities in terms of the sense of the whole – the sense of shape, emotional response to music, and the sense of the logical development of the piece of music. Dominants in musicians’ musical thinking are the emotional response to music, musical-creative imagination – insight into the essence of the musical image, and high cognitive activity. Keywords: musical thinking, musical self-concept, cognitive styles, analytical-holistic thinking How to Cite: Mazur, I., Нrinchenko, T., Teplova, O., Onofrichuk, L., & Priadko, O. (2022). Cognitive Determination of Musical Thinking and Musical Self-concept of Students and Musicians: Comparative Diagnostics, Aspects of Modeling and Forecasting. Harmonia: Journal of Arts Research and Education, 22(2), 368-380 Harmonia: Journal of Arts Research and Education 22 (2) (2022), 368-380 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v22i2.39518 the behavior of students and musicians with regard to musical practice (Schmidt, 2005; Spychiger et al., 2009; West, 2013). The study unifies the musical thinking of a musician-instrumentalist in musicologi- INTRODUCTION Modern studies consider the prob- lem of musical thinking as a socio-cogni- tive factor in regulating and determining Corresponding author: E-mail: iryna_mazur@sci-academy.cc p-ISSN 2541-1683|e-ISSN 2541-2426 Iryna Mazur et al., Cognitive Determination of Musical Thinking and Musical Self-concept 369 cal and musical-teaching aspects (Suvorov & Nazar, 2017). The study emphasizes the necessity to stimulate and develop stu- dents’ cognitive capabilities by metaphori- zing the content of the object of cognition and forming musical-aesthetical compe- tence as a particular intuitive form of cur- rent knowledge (Hrynchuk & Burska, 2008). Active musical thinking is essential for implementing a performer’s creative ideas when working on a piece of music and embodying ideas on the concert stage (Zymoglyad, 2019). Musical thinking is traditionally con- sidered “a holistic, structured process, uni- fied in its motivational, emotional, cogni- tive, and operational- and activity-related components. It contributes to the educatio- nal process optimization, the activation of students’ mental activity, their movement towards creative self-improvement in the course of education and upbringing” (Pikhtar, 2007). Accordingly, musical thin- king should be considered an integral part of general thinking, reflecting and cogni- zing reality in specific musical represen- tations. It is a known fact that musical information elements form the content of musical thinking and do not determine the main purpose of its activities but its func- tioning (Kremeshna, 2012). Accordingly, it is possible to solve the problem of musical thinking modeling based on cognitive, personality, and acti- vity-centered approaches. The cognitive- centered approach defines cognitive styles as characteristic self-consistent modes of functioning (Witkin et al., 1971). Accor- ding to the personality-centered approach, cognitive styles are interpreted as personal traits (Gregorc, 1979). Finally, the activity- centered approach treats cognitive styles as a mediator of various forms and activities based on the dynamic and flexible concep- tualization of the latter (Kolokolov, 2021; Dunn & Dunn, 1978; Renzulli & Smith, 1978; Schmeck, 1983). In their studies, Koptseva and Lozinskaya (2012) consider musical thinking as a cognitive activity for the intellectual operation of semantically advanced blocks in relation to musical ma- terial. The musical-artistic image and sign specificity of the piece of music assumes importance in this context. Notably, mu- sical thinking has the following phenome- nological functions: 1) epistemological, 2) ontological, 3) methodological, 4) commu- nicative, 5) axiological, and 6) worldview. The epistemological function of mu- sical thinking involves exercising new ways for organizing spatiotemporal rela- tions in the form of a musical-artistic ima- ge, alogical, irrational grounds of culture in the broad sense of the word. At the le- vel of philosophical generalizations, musi- cal thinking builds a connection between the active variability of human existence, abstract concepts, and laws describing this existence, referring us to the concept of “the bosom of culture” and revealing the inner essence of social processes. Finally, the ontological function of musical thin- king views it as a reflection of the general harmony of the Universe and the expres- sion of human content in a given sensual musical and artistic form. The methodological function of mu- sical thinking collides with prognostic and heuristic functions and relies on all previo- us experience in composing musical mate- rial. The communicative function of musi- cal thinking implies the play of a particular semantic system, language and the ability to “decipher” the sign structure into uni- versal meanings embedded in the piece of music. At the same time, musical thinking is the central mechanism that helps to un- derstand the meaning of the piece of music and read it in the context of history, social reality, artistic culture, and public opinion. The phenomenon of musical communicati- on acts as a form of renewal of sociocultu- ral experience and transformation of con- sciousness and values of the individual. Consequently, musical thinking presents the mechanism of the communicative pro- cess being a means of communication, cognition, and creative development of the individual (Bulatova, 2016). Since the historical evolution of mu- sical instrumentation has close ties with the creative processes that occur in the Harmonia: Journal of Arts Research and Education 22 (2) (2022): 368-380370 composition, performing arts, musicology, education, and the definition of professio- nal communities, the axiological function of musical thinking involves mechanisms for the creation, preservation, and disse- mination of cultural values (Kong, 2021; Velykodna et al., 2022). The worldview function of musical thinking maintains the ancient idea of music as the ideal of the Universe, a form of a higher order of hu- man life (Koptseva & Zhukovsky, 2008). Musical thinking manifests at the level of composition, improvisation, performan- ce, listening, writing, and analysis of pie- ces of music (Burnard, 2012; Kokotsaki & Newton, 2015). In their previous studies, the authors of this article describe musical thinking as an analytical and cognitive ac- tivity in the system of perception-analysis- interpretation of music and the artistic and creative process in performing cognition. The main form of musical thinking implies musical and auditory representations and their intonational aspect. Musical thinking as an integral per- sonal innovation suggests the existence of a musical self-concept, which L. Mawang, E. Kigen, and S. Mutweleli (2019) view as a structured system of connections between music and the self-concept. Accordingly, musical self-concept is under review as an awareness of musical competence based on the interpretation of one’s own expe- rience. It is worth noting that the musical self-concept generalizes the system of be- liefs about the musical abilities and poten- tial of the individual (Hallam, 2010; Morin et al., 2016) formed within the educational process. Given the issue under the study, the authors of this article appeal to the approa- ch by C. Bennett and K. Sena Moore (2022) regarding the training of music teachers based on the ideas of norm-disrupting lear- ning. This approach can act as a leading paradigm for the development of musical thinking since it problematizes and tran- scends previously known philosophies, pedagogical techniques, etc. The heuristic value of this approach is associated with its analytical and meta-analytical focus in relation to the development of new musi- cal competencies. The study aims to define the cogniti- ve determination of musical thinking and musical self-concept of students and mu- sicians, considering the cognitive style of the individual, analytical-holistic thinking, and individual psychological abilities. This study implies defining the models and hie- rarchy of components of musical thinking and the musical self-concept of students and musicians. METHOD The methodology of this study is based on the fact that the content of mu- sical thinking is reflected in the following concepts: perception and determination of the meaning of the piece of music, percep- tion and comprehension of the integrity of the musical process (musical and audito- ry representations and interpretations of acoustic impressions); information con- tent; emotional and semantic image of the piece of music; interpersonal metacogniti- on; individual intonation selection of the second level (intonation storage media); melodic idiom; rhythm; practical mental efforts; process and multilevel; individual creative orientation (originality of impro- visation, melodic, rhythmic, harmonious, and stylistic priorities); reflective manage- ment and reflective modeling (activation of the properties of extensiveness, flexibili- ty, originality, tonal and rhythmic images, and syntax). The authors of this article conducted the study of the determination of musical thinking of students and musicians on the basis of Khmelnytsky Humanitarian and Pedagogical Academy, Vinnytsya Myk- hailo Kotsiubynskyi State Pedagogical University, and Kamianets-Podіlskyi Na- tional Ivan Ohiienko University. The study implied the formation of two groups, na- mely, “Students” (n 86) and “Musicians” (n 75). The study involved the following techniques: The diagnostic technique for the cog- nitive style of individuality (T. Dudniko- Iryna Mazur et al., Cognitive Determination of Musical Thinking and Musical Self-concept 371 va, O. Volkova) provided the empirical determination of the distribution of the following cognitive styles: poly depen- dence, poly independence, a narrow equi- valence range, a broad equivalence range, flexibility of cognitive control, inflexibility of cognitive control, impulsivity, reflecti- vity, specific conceptualization, abstract conceptualization, tolerance to unrealistic experience, intolerance to unrealistic expe- rience. Analysis-holism scale (Choi, Koo and Choi, Analytic-holistic scale). The aut- hors of this article used it to measure the analysis-holism of worldviews as one of the ways of interacting with the environ- ment in terms of individual functional components. These functional components include a focus of attention, causal attri- bution, perception of changes, and toleran- ce to contradictions and correspond to the following sub-scales: Subscale 1. The focus of attention. This parameter describes the tendency of a person to rely on the context, which ab- sorbs them, analyzing various phenomena and social situations (holistic pole). It also distinguishes the tendency of a person to ignore the context and consider each phenomenon as independent and unrela- ted to others (analytical pole). Subscale 2. Causal attribution. This scale determines the features of understan- ding the causes of actions and phenomena. The characteristic of the holistic pole is a tendency to look for causes of events and phenomena in the environment. The ana- lytical pole tends to attribute the causes of events to a person’s internal disposition or the internal components of the phenome- non. Subscale 3. Tolerance to contradic- tions. The characteristic of the holistic pole is the synthesis of contradictions into a single non-contradictory whole; thus, two contradictory points of view are perceived as something whole and capable of uniting into a unified whole in one way or another. It is typical for the analytical pole to under- stand contradictions from the standpoint of formal logic, i.e., when there are two contradictory judgments, one is always true, and the other is false. Subscale 4. Perception of changes. The parameter describes the tendency to perceive events or phenomena as constant in time or changing linearly and unidirec- tionally (analytical pole) or non-linear and cyclical (holistic pole). Cattell test (16PF - C) helped to as- sess the psychological abilities of the indi- vidual and individual-personal relations, summarized in the following groups: 1. Group of communicative abilities: A – friendliness, H – courage, E – domi- nance, L – suspicion, N – diplomacy, Q2 – self-dependence. 2. Group of intellectual abilities: B - intel- lectuality, M – dreaminess, N - diplo- macy, Q1 - innovativeness. 3. Group of emotional abilities: C - emo- tional resilience, F – serenity, H - cou- rage to social contacts, I - emotional sensitivity, O – anxiety, Q4 – tension. 4. Group of regulatory abilities: Q3 – self- discipline, G - moral normativity. Musical thinking questionnaire de- veloped by authors (I. Mazur, T. Hrinchen- ko, O. Teplova, L. Onofrichuk, O. Priadko). In accordance with the questionnaire, the authors determined the following factors of musical thinking of the subjects: emo- tional response to music, emotional-into- national (melodic) ear, harmonic ear for music, perceptual ear for music, musical- rhythmic sense, musical memory, perfor- ming emotionality, musical-creative ima- gination – interpretation of the musical image, sense of the whole – sense of tem- po-rhythm, sense of the whole – a sense of shape, sense of the whole – sense of style, sense of the whole – the sense of the logical development of the piece of music, cogniti- ve activity, self-regulation, ability to work, musical thinking – integral indicator. The authors applied mathematical and statistical methods, including STATIS- TICA (SPSS-28), to ensure the reliability of the main provisions and conclusions. These methods involve analysis of varian- ce and multiple regression modeling. The basis of this study involves the basic prin- Harmonia: Journal of Arts Research and Education 22 (2) (2022): 368-380372 ciples of the metacognitive and metatheo- retical paradigm, the principles of genetic modeling (Maksymenko, 2017), and sys- tem-structural approaches (Rodina, 2017). Based on these provisions, the study pro- vided for the analysis-holism of musical thinking concepts and their psychological modeling. RESULT AND DISCUSSION Results According to the diagnostic techni- que for the cognitive style of individuality (T. Dudnikova, O. Volkova), the authors established differences in the development of cognitive styles as mental referents of musical thinking (Figure 1, Table 1). The study group of students mainly tends to the cognitive activity of poly independen- ce type, while poly dependence is more in- herent for musicians (F=28.770, p=<0.001). The narrowness of thinking activity is a characteristic of students, while musicians have a broad equivalence range of mental equivalents (F= 6.131, p=0.002). The study group of students predominantly equali- zes details in cognitive activity, while mu- sicians focus on relevant details (F= 25.373, p=<0.001). Consequently, students mostly tend to scan, while musicians focus on sig- nificant aspects in cognitive activity (F= 72.534, p=<.001). According to the analysis-holism scale (Choi, Koo and Choi), the authors determined (Figure 2, Table 2) that a higher level of focus (F=16.765, p=<0.001) significantly differentiated students com- pared to musicians. Students also have a higher tolerance to contradictions that ari- se in the process of cognitive activity (F= 43.462, p=<0.001) and are more flexible when it comes to the perception of changes (F=12.824, p=<0.001). Analytical thinking is a characteristic of the studied group of students, while holistic thinking is inhe- rent in the musicians (F=49.653, p=<0.001). Figure 1. Distribution of cognitive styles of students and musicians Figure 2. Distribution of analysis-holism of students and musicians In the next step, the authors deter- mined the personal profiles of the studied groups according to the Cattell test (16PF - C) (Figure 3, Table 3). Table 1. Comparative analysis of the activity of cognitive styles of students and musicians Cognitive styles Levine test for equality of vari- ances F р Poly independence – poly dependence 28.770 <.001 Inflexible – flexible cognitive control .389 .534 Narrowness – broadness of the equivalence range 6.131 .002 Tolerance – intolerance to unrealistic experience .042 .837 Equalization – aggravation 25.373 <.001 Focusing – scanning 72.534 <.001 Iryna Mazur et al., Cognitive Determination of Musical Thinking and Musical Self-concept 373 Figure 3. Distribution of personal and charac- terological properties of students and musi- cians It is possible to state that emotio- nal stability is a primary characteristic of the musicians studied, while emotional instability (F= 42.038, p=<0.001) is more inherent in students. The studied group of students tends more toward sereni- ty, and anxiety is predominantly natural for musicians (F= 43.462, p=<0.001). Such personal property as awareness is inhe- rent in musicians, while students possess a greater ignorance (F= 34.940, p=<0.001). Consequently, sensitivity is more natu- ral for students, and musicians tend to be resilient (F=31.575, p=<0.001). Notab- ly, students are more practical compared to musicians (F=93.059, p=<0.001). At the same time, self-dependence predominant- ly characterizes musicians, and students tend to conformality (F= 27.149, p=<0.001), which probably explains their high tension Table 2. Comparative analysis of analysis-holism of students and musicians Levine test for equality of variances F р AHS – Focus of attention 16.765 <.001 AHS – Causal attribution .112 .739 AHS – Tolerance to contradictions 43.462 <.001 AHS – Perception of changes 12.824 <.001 AHS – Total index of analysis-holism 49.653 <.001 Table 3. Comparative analysis of personal and characterological properties of students and musicians Levine test for equality of variances F р PF_A - Friendliness - Aloofness .793 .375 PF_B - Broad thinking – Narrow thinking .917 .340 PF_C - Emotional resilience - Emotional sensitivity. 42.038 <.001 PF_E - Independence – Desire to please .690 .408 PF_F - Serenity – Anxiety 55.352 <.001 PF_G - Awareness - Ignorance 34.940 <.001 PF_H - Courage – Timidness .371 .544. PF_I - Sensitivity – Resilience 31.575 <.001 PF_L - Suspicion - Credulity 1.990 .161 PF_M - Bohemian - Practical 93.059 <.001 PF_N - Sophistication – Simplicity .690 .408 PF_O - Inclination to feel guilty - calm self-confidence 6.520 .012. PF_Q1 - Radicalism - Conservatism 1.081 .301 PF_Q2 – Self-dependence – Conformality. 27.149 <.001 PF_Q3 - self-discipline .946 .333 PF_Q4 - Tension 18.999 <.001 Harmonia: Journal of Arts Research and Education 22 (2) (2022): 368-380374 (F=18.999, p=<0.001). The musical thinking questionnai- re developed by the authors (I. Mazur, T. Hrinchenko, O. Teplova, L. Onofrichuk, O. Priadko) makes it possible to note that musicians are distinct in their high level of skills (5-6 points) and development of mu- sical thinking components as a whole. At the same time, students have an average level of the development of musical thin- king components with a tendency to high in individual indicators (2.5-5 points). The results are presented in Figure 4 and Table 4. Thus, the authors established the following factors of musical thinking of musicians studied were significant- ly higher compared to students: emotio- nal-intonational (melodic) ear (t=-2.730, p=<.001), harmonic ear for music (t=- 9.947, p=<.001), musical-rhythmic sense (t=-10.653, p=<.001), musical memory (t= -14.235, p=<.001), performing emotiona- lity (t=-4.613, p=<.001), musical-creative imagination – insight into the essence of the musical image (t= -13.339, p=<.001), musical-creative imagination – interpre- tation of the musical image (t= -18.110, p=<.001), sense of the whole – sense of tempo-rhythm (t= -10.286, p=<.001), sense of the whole - sense of shape (t= -10.779, p=<.001), sense of the whole - sense of sty- le (t= -10.557, p=<.001), sense of the who- le – sense of the logical development of the piece of music (t= -11.764, p=<.001), cognitive activity (t=-6.466, p=<.001), self- regulation (t=-18.757, p=<.001), ability to work (t=-13.361, p=<.001), and an integral indicator of musical thinking (t= -44.062, p=<.001). The results of multiple linear mode- ling (SPSS-28) made it possible to empiri- cally determine the predictors of musical thinking, musical self-concept, and their leading components. Thus, the authors identified the following determinants of musical thinking of students of music spe- cialties (Figure 5, Figure 6) and musicians (Figure 7, Figure 8). Figure 4. Distribution of musical thinking components and its integral indicator in stu- dents and musicians Figure 5. Model for the determination of musical thinking and musical self-concept of students The determined model shows that students’ musical thinking is conditioned by the sense of form (0.976), an adequate emotional response to music (0.944), and the sense of the whole, namely, the sense of the logical development of the piece of music (0.912). The following components of musical thinking also become impor- tant: perceptual ear for music (0.901), per- forming emotionality (0.892), the balan- ce of emotional resilience and sensitivity (0.676), broad thinking (0.663), musical self-regulation (0.619), sense of the whole in music, namely, sense of tempo-rhythm (0.573) and personal radical nature (0.542). Iryna Mazur et al., Cognitive Determination of Musical Thinking and Musical Self-concept 375 Table 4. Comparative analysis of musical thinking components and its integral indicator in students and musicians t-criterion t degree of freedom Significance Average difference Root-mean- square deviation One- sided p Dou- ble- sided p Mus - Emotional re- sponse to music -2.730 103 .004. .007 -.505102 .185008 Mus - Emotional-intona- tional (melodic) ear -4.801 103 <.001 <.001 -.747449 .155692 Mus - Harmonic ear for music -9.947 103 <.001 <.001 -1.471939 .147977 Mus - Perceptual ear for music -2.570 103 .006 .012. -.400510 .155838 Mus – Musical-rhythmic sense -10.653 103 <.001 <.001 -1.653061 .155177 Mus – Music memory -14.235 103 <.001 <.001 -2.076531 .145871 Mus – Performing emo- tionality -4.613 103 <.001 <.001 -1.025510 .222310 Mus - Musical-creative imagination – insight into the essence of the musical image -13.339 103 <.001 <.001 -2.028061 .152045 Mus - Musical-creative imagination – interpre- tation of the musical image -18.110 103 <.001 <.001 -2.701531 .149176 Mus – Sense of the whole – sense of tempo- rhythm -10.286 103 <.001 <.001 -1.392857 .135413 Mus - Sense of the whole – sense of shape -10.779 103 <.001 <.001 -2.094388 .194295 Mus - Sense of the whole – sense of style -10.557 103 <.001 <.001 -1.882653 .178331 Mus - Sense of the whole – sense of the logical de- velopment of the piece of music -11.764 103 <.001 <.001 -1.913265 .162632 Mus – Cognitive activity -6.466 103 <.001 <.001 -1.168367 .180696 Mus – Self-regulation -18.757 103 <.001 <.001 -2.844388 .151646 Mus – Ability to work -13.361 103 <.001 <.001 -2.117347 .158476 Muse – Musical thinking Thinking – integral indicator -44.062 103 <.001 <.001 -1.626435 .036913 Harmonia: Journal of Arts Research and Education 22 (2) (2022): 368-380376 Figure 6. Hierarchy of musical thinking com- ponents and musical self-concept of students The obtained model shows that mu- sic-oriented and music-conditioned senso- ry-perceptual innovations play a crucial role in the structure of students’ musical thinking, including the sense of the whole – the sense of shape (1.235), the emotional response to music (0.875), and the sense of the logical development of the piece of music (0.711). Figure 7. Model for the determination of musical thinking and musical self-concept of musicians In order to determine musicians’ mu- sical thinking, it is necessary to pay atten- tion to its components that ensure a high level of development and level of profes- sional skill. These components are as fol- lows: emotional response to music (0.957), musical-creative imagination – insight into the essence of the musical image (0.944), cognitive activity (0.924), musical self-re- gulation (0.901), sense of the whole – sense of style (0.875), performing emotionality (0.864), tension (0.766), sense of the whole – sense of tempo-rhythm (0.643), ability to work (0.641), and friendliness (0.542). Figure 8. Hierarchy of musical thinking com- ponents and musical self-concept of musicians Notably, the crucial components of the hierarchy of musical thinking load the musicians have should include emotional response to music (0.934), musical-creative imagination – insight into the essence of the musical image (0.755), and cognitive activity (0.734). Discussion The analysis of the obtained results on the cognitive styles of the studied groups indicates the features of musicians’ thinking activity are the dominance of the whole, insufficient differentiation of parts, the inability to overcome the context, the indivisibility of individual signs from the background in the process of solving the thinking problem. These results comple- ment the results of research on the under- standing of cognitive perception in music by D. Deutsch, A. Gabrielsson, J. Sloboda, et al. (2015). At the same time, students of music specialties show the ability to resist the influence of conflicting background signs while perceiving audiovisual forms and connections. The students also pos- sess the ability to perceive the whole and isolate stimuli from the context. The abo- ve indicates musicians need to clarify the symbolic component of audiovisual music (Sloboda, 1985). A broad equivalence range is a pre- dominant characteristic of musicians’ thinking, which testifies to their ability to form several groups of large volumes from Iryna Mazur et al., Cognitive Determination of Musical Thinking and Musical Self-concept 377 many objects. On the contrary, a narrow equivalence range is more inherent in stu- dents, which characterizes them as able to distinguish many groups with small volu- mes (Holodnaya, 2004). As for the studied students, a cognitive process of preserving the material in memory naturally implies simplifying it, losing details, and falling out of particular fragments. At the same time, musicians highlight and emphasize specific details of the material. Also, mu- sicians can focus on the central details of information without getting distracted by obstacles that interfere with the task. No- tably, the focus of attention of students is low; they cannot highlight important and secondary details or systematically analy- ze the material. The authors have noticed the tenden- cy of students to rely on the context, which absorbs them, analyzing various pheno- mena and social situations and conside- ring each phenomenon as independent and unrelated to others (analytical pole). It is worth noting that the musical thinking and musical self-concept of students as a system are based on advanced abilities in terms of the sense of the whole – the sense of shape, emotional response to music, and the sense of the logical development of the piece of music. The foundations for these characteristics are the concepts of musical argumentation and interpretation (Slobo- da, 2004). Accordingly, the authors have estab- lished that dominants in the musical thin- king of musicians are the ability to emo- tional response to music, musical-creative imagination – insight into the essence of the musical image, and high cognitive acti- vity, which corresponds with the research by P. Juslin (2019). Such conclusions are of particular interest in connection with the studies by E. Winner (2018). According to these studies, people feel emotions due to music and can distinguish the emotions they feel in music from those triggered by music. It is necessary to attribute the balance of the following continuums to the perso- nal properties that determine the musical self-concept of students: “emotional re- silience - emotional sensitivity,” “broad thinking – narrow thinking,” and “radica- lism – conservatism.” Notably, these conti- nuums play a crucial role in the formation of the adaptive capacity of thinking (Lyt- vynenko et al., 2020). At the same time, the significant personal properties that deter- mine the musical self-concept of musicians are personal tension and the balance of such a continuum as “friendliness - aloo- fness.” These characteristics play a signifi- cant role in the formation of musical self- concept (Spychiger, 2017), musical identity (Elliott & Silverman, 2017), and the subjec- tive well-being of musicians (Kong, 2021). Their connection with the integral indica- tor of musical thinking reveals the content of the musical self-concept of students (Nagorna, 2018). The obtained results demonstrate the prospects for the formation of the follo- wing practical mental actions reflected in the process of musical thinking: the ability to determine the purpose of the musical phenomenon, the ability to find or crea- tively build tactics of relations arising in the process of interaction with subjects; the ability to produce a value-methodical strategy; the ability to assess the relevance, reliability, strength of the developed stra- tegy and tactics of the relationship of the integral process of the musical phenome- non. CONCLUSION The authors consider musical thin- king as a socio-cognitive factor in regu- lating and determining the behavior of students and musicians with regard to musical practice on the grounds of cogni- tive-centered, personality-centered, and activity-centered approaches. The musical self-concept of a musician mediates musi- cal thinking as an integral personal inno- vation. It generalizes the system of beliefs about the musical abilities and potential of the individual formed within the educatio- nal process. The study presents the musical thin- Harmonia: Journal of Arts Research and Education 22 (2) (2022): 368-380378 king questionnaire developed by the aut- hors, the integral indicator of which is me- asured on the following scales: emotional response to music, emotional-intonational (melodic) ear, harmonic ear for music, per- ceptual ear for music, musical-rhythmic sense, musical memory, performing emo- tionality, musical-creative imagination – insight into the essence of the musical image, musical-creative imagination – in- terpretation of the musical image, sense of the whole – sense of tempo-rhythm, sense of the whole – a sense of shape, sense of the whole – sense of style, sense of the whole – the sense of the logical development of the piece of music, cognitive activity, self- regulation, ability to work. The authors empirically determi- ne that the musical thinking of students is based on advanced abilities in terms of the sense of the whole – the sense of sha- pe, emotional response to music, and the sense of the logical development of the piece of music. It is necessary to attribute the balance of the following continuums to the personal properties that determine the musical self-concept of students: “emo- tional resilience - emotional sensitivity,” “broad thinking – narrow thinking,” and “radicalism – conservatism.” Accordingly, the authors have established that domi- nants in the musical thinking of musicians are the ability to emotional response to music, musical-creative imagination – in- sight into the essence of the musical image, and high cognitive activity. At the same time, the significant personal properties that determine the musical self-concept of musicians are personal tension and the ba- lance of such a continuum as “friendliness - aloofness.” The prospects of the study are to de- velop a program for psychological optimi- zation of the balance of such continuums as “emotional resilience - emotional sensitivi- ty,” “broad thinking – narrow thinking,” “radicalism – conservatism,” the ability to differentiate parts, overcome the context, and separate signs from the background in the process of solving the musical task. REFERENCES Bennett, C., & Sena Moore, K. (2022). Norm-disruptive learning and music teacher competency development: A thematic synthesis. International Jour- nal of Music Education. Retrieved from https://journals.sagepub.com/doi/ full/10.1177/02557614221093699#_ i34 Bill, M. (2019). The Routledge companion to music, mind and well-being. Jour- nal of Music Therapy, 56(4), 403-405. Bulatova, L.O. (2016). 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