Characteristics of Music Teachers’ Professional Identity

Kirnarskaya Dina Konstantinovna ORCID: 0000-0003-1059-5776 Doctor of Art History Head of the Department of Music History; Gnessin Russian Academy of Music; Vice-Rector for Public Relations; Gnessin Russian Academy of Music 38 Povarskaya str., Moscow, 121069, Russia/ 1 d.kirnarskaya@gnesin-academy.ru Other publications by this author     Sizova Elena Ravil'evna ORCID: 0009-0009-3791-7158 Doctor of Pedagogy Professor; Department of History, Theory of Music and Composition; South Ural State Institute of Arts named after P.I. Tchaikovsky; Rector; South Ural State Institute of Arts named after P.I. Tchaikovsky 454091, Russia, Chelyabinsk region, Chelyabinsk, Plekhanova str., 41, office 100 elsizova@mail.ru Other publications by this author

Taskaeva Anna Vyacheslavovna ORCID: 0000-0002-4398-2644 Doctor of Philology Professor; Department of Foreign Languages; South Ural State Institute of Arts named after P.I. Tchaikovsky Professor; Department of Oriental and Romano-Germanic Languages; Chelyabinsk State University Chief Researcher; South Ural State Institute of Arts named after P.I. Tchaikovsky 41 Plekhanova str., office 301, Chelyabinsk region, 454091, Russia taskaeva_anna@bk.ru Other publications by this author

первая версия статьи на русском языке опубликована здесь: DOI 10.7256/2454-0625.2025.11.76958

Introduction. The theoretical foundations of the study of the professional identity of a teacher-musician

One of the leading elements of personal development, social realization and self-improvement of a person is the professional sphere. It forms the main form of activity, which is devoted to a significant part of life. For most people, the profession provides an opportunity to meet a wide range of needs, unleash their abilities, establish themselves as individuals, and achieve a certain social status.

The key psychological construct reflecting the degree of integration of a personality into the professional environment is professional identity. It is "one of the most significant characteristics of any person", "an integral component of the majority of adults' ideas about themselves", "a multidimensional and integrative psychological phenomenon that provides a person with integrity, identity and certainty" ^{[1, pp. 73, 74]}. Answering the question "Who are you?", a person first of all gives his name and profession, which emphasizes its fundamental role in self-determination.

The modern concept of professional identity dates back to the development of the theories of identity by E. Erickson and J. Marcia ^{[2, 3]}. Identity is defined by E. Erickson as "the most important characteristic of the integrity, independence and maturity of a personality. Identity is the identity of oneself" ^{[4, p. 9]}. Moreover, "the main tenets of modern research on professional identity somehow appeal to the work of J. R.R. Tolkien. Marcia, who built his concept around the idea of an identity crisis" ^{[5, p. 109]}. J. Marcia identified four identity statuses, which are determined by the presence or absence of a crisis (a period of active search) and commitment ^[3]:

Achieved identity (Identity Achievement): The person has gone through a period of active search and research (crisis) and has formed stable commitments (choice of profession, values, etc.).

Moratorium: A person is in the process of an active crisis, searching for himself, trying on different roles, but has not yet made a firm choice.

Predetermined identity (Foreclosure): The person made the commitment without a prior period of searching and crisis. This is often a choice imposed or uncritically learned from parents or authority figures. L.B. Schneider uses the term "premature identity" and explains that it "occurs when a person has not made independent life choices at all, identity is not realized, rather it is a variant of an imposed identity" ^{[6, p. 66]}.

Identity Diffusion: A person has not experienced a crisis (or experienced it ineffectively) and has not made any lasting commitments. It is characterized by apathy, lack of clear goals. L.B. Schneider also uses the term "blurred identity" and defines it as "an identity status in which there are no solid goals, values, beliefs and attempts to actively form them" ^{[6, p. 66]}.

The key vectors in Marcia's model are "crisis" and "commitment." These processes are central to the formation of professional identity. Professional choice, mastery, and entry into the professional community are all associated with periods of search, doubt (crisis), and subsequent decision–making about loyalty to the profession, its norms, and values (commitment). Thus, the statuses of J. Marcia are not just a psychological typology, but a reflection of universal processes that are fully manifested in the professional sphere. That is why this model serves as a theoretical basis for our research.

It should be noted that at the level of empirical identity research, "general problems of self-identification and specific areas are explored: social, personal, gender, professional, ethnic (national), religious identity, etc. ^{[4, p. 9]}, while the main attention is usually paid to "private aspects of the identification process" ^{[7, p. 7]}. In our study, we focus on the issue of professional identity in relation to a narrow group of professional educators in the field of musical art. This professional group is of particular interest because it synthesizes two powerful identification components: pedagogical (aimed at the development of the other) and artistic and creative (requiring self-realization and interpretation). As K.S. Degtereva notes, musical teachers are distinguished by "a special cultural style of professional activity, communication and relationships" ^{[8, p. 145]}.

We consider professional identity as a part of social identity, that is, "a personal construct that reflects a person's inner solidarity with social, group ideals and standards" ^{[4, p. 16]} and rely on the definition of professional identity as "a psychological category that refers to the awareness of one's belonging to a certain profession and a certain professional community." and also as "the result of the processes of professional self-determination, personalization and self-organization, manifested in self-awareness as a representative of a certain profession and professional community" ^{[6, pp. 48, 49]}.

A socio-professional group is characterized by the following features: "joint professional activity, which involves uniting representatives of a given profession on the basis of common tasks and goals of activity; joint "space-time" existence, which creates prerequisites for professional communication between people; division of functions between members of a given professional organization, which leads to coordination of actions, the establishment of professional communications exchange of information" ^{[9, p. 72]}. For an empirical study of these structural characteristics, it is necessary to transfer them to the level of specific, observable markers. The approach of L.B. Schneider can serve as such a tool, which identifies professionally differentiating features – specific, observable markers of belonging to a professional community. These include:

- knowledge of certain terminology;

- the use of a certain professional vocabulary;

- values and norms;

- professional myths;

- ideas about his alma mater, about his teachers and professional predecessors;

- professionally important qualities of a specialist;

- professional skills and abilities;

- professional signs ^{[6, pp. 50-51]}.

Problem statement and research methodology

We assume that the professional identity of a teacher-musician is constructed and manifested precisely through the system of the above-mentioned professionally differentiating features. A specialized questionnaire was developed to verify this assumption and identify the specific features of this professional group.

The questionnaire was developed based on the concept of L.B. Schneider and is aimed at identifying the features of each of the features identified by her in the context of music pedagogy. The purpose of the survey is to identify the features of the professional identity of teachers in the field of musical art.

QUESTIONNAIRE FOR MUSIC TEACHERS

I. General information

1. Your age: ______

2. Your teaching experience (years): ______

3. Your main place of work (secondary school, secondary school, college, university, etc.): ______

4. Your specialization / tool: ______

II. Professional terminology and vocabulary

5. Please list 5-7 words or terms that are most often heard in your lessons and without which your work is unthinkable.

6. Are there any words or expressions that only you and your fellow musicians can understand? Give some examples of such "professional jargonisms" and explain their meaning.

III. Values, norms, and professional myths

7. What, in your opinion, is the main value in the work of a music teacher?

8. What do you consider unacceptable, "professional betrayal" in working with a student?

9. Are there common stories, legends or myths in the music teaching environment that are passed down from generation to generation? (For example, about outstanding teachers, brilliant students, curious cases, etc.)

IV. Alma mater and professional predecessors

10. What role did the educational institution (alma mater) where you got your degree play in your professional development?

11. Did you have a Teacher (with a capital letter) who had a decisive influence on you? What exactly have you learned from him and are you trying to pass on to your students?

12. Which of the living or deceased music teachers from your region (city, region) Would you call him a "legend" or a "professional hero" and why?

V. Professionally important qualities and skills

13. What are the main qualities a successful music teacher should possess? Name 3-5 qualities.

14. What qualities should his ideal student have?

15. Please describe a key skill in your work. What do you do best as a professional?

16. What is the most difficult part of your job and requires the most effort from you?

VI. Professional rituals and identification markers

17. Are there any special signs or rituals in your professional environment before important events (concerts, exams, competitions)?

VII. Final question

18. Please finish the phrase: "Being a music teacher means..."

Research progress and results

The survey took place between September and November 2025. A total of 52 musicians and teachers from the South Ural Tchaikovsky State Institute of Arts took part in the survey. The average age of the survey participants was 41 years. The age range is from 21 to 77 years old. The average teaching experience of the respondents is 18.5 years, with a range from 1 year to 58 years: 19% are young professionals (up to 5 years old), 40% are experienced teachers (6-20 years old) and 40% are masters (over 20 years old). College teachers predominate in their place of work (46%), followed by university teachers (33%) and secondary school teachers (15%), while 6% of respondents combine work at different levels of education. The respondents' specialization: 35% of respondents are pianists (piano), 23% are conductors, 13% are vocalists, 8% are theorists/musicologists, 6% are string and folk instrument performers, 4% are wind instrument performers.

Thus, the core of the representatives of the music community who participated in the survey is formed by experienced college teachers with 15-25 years of experience, which confirms the representativeness of the sample for the study of professional identity.

Professional terminology and vocabulary

Based on the answers provided to question No. 5, "Please list 5-7 words or terms that are most often heard in your lessons and without which your work is unthinkable," the most frequent terms were found, such as phrase/phrasing (27 mentions), intonation/intonation (22), sound/ sound production/sound science (18), rhythm/ metrorhythm/ pulsation (11), apparatus (10), breathing (9), dynamics (7), form (7), support (6), stroke(6), harmony (6), tempo (5), auftact (5), image (5), ensemble (4). Quantitative analysis confirms that the possession of a specific vocabulary is a powerful marker of belonging to a professional community.

In addition, there are several key thematic groups of terms that form the professional vocabulary of a music teacher: Sound and sound quality (sound, sound production, sound science, intonation, intonation, structure, timbre, sound quality, sound message, "sound to the audience"); performance technique (apparatus (gaming, conducting, singing), support, breathing, staging, freedom of hands, movement, embouchure, position); musical expression and phrasing (phrase, phrasing, climax, agogy, dynamics, nuance, artistic image, meaning, drama); rhythm and tempo (rhythm, metrorhythm, pulsation, tempo ("don't set the tempo"); musical form and theory of music (form, harmony, fret, tonality, cadence, modulation, score, texture, accolade); ensemble and conducting skills (ensemble, conducting, conducting apparatus, gesture, auftact, manual technique).

The answers of the respondents illustrate the theoretical postulate of L.B. Schneider about "possession of a certain terminology" as a key professional differentiating feature. The vocabulary of a music teacher is a complex, multilevel system that is inseparable from his daily activities. It is important to note that the set of terms varies depending on the specialization of the teacher. However, despite the specialization, there is a stable terminological core common to most music educators. It includes: "sound", "intonation", "phrase", "rhythm", "apparatus".

Analysis of the answers to question No. 6: "Are there any words or expressions that only you and your fellow musicians can understand? Give some examples of such "professional jargonisms" and explain their meaning." Demonstrates a rich and diverse layer of professional slang, which serves as a powerful identification marker. The entire array of jargonisms can be divided into several thematic groups according to their function and scope of use.

1. Criticism and evaluation of the quality of performance. The largest group, consisting of expressions that allow you to quickly, succinctly and figuratively point out an error or flaw.

"Dirty", "playing past the cash register", "messing up", "kicking", "giving a cock", "detonation" – playing or singing out of tune, inaccurately.

"Square-nest", "playing cold", "dry", "shapeless", "bare notes", "condovo" – playing without expressiveness, feeling phrases, emotions.

"Woodpecker", "don't knock" – unmusical, rough playing on an instrument.

"Tree", "down jacket", "dukhovik", "narodnik", "puzoches" are slang names of musicians by instrument groups, often with a touch of disdain or irony.

"Pink pedal", "dirty pedal" – about the inept use of the pedal on the piano, creating "dirt" in the sound.

"Feed the goose", "make the goose" – for brass players: make a mistake, make the wrong sound.

2. Specific technical specifications and operating points. These jargonisms are used for quick communication during the rehearsal process.

The "sanitary minimum" is almost pure intonation (an ironic assessment of an acceptable, but not ideal result).

"Relax the device" is a universal command for removing the muscle clamp.

"Hold it with your stomach", "sing on the support" – vocalists: use breathing support.

"Don't fly into your head" – vocalists: do not use only the "head" resonator.

"Play adlibitum" – play more freely, in terms of tempo and expressiveness.

"2 to 2" – indicates the place in the score ("2 bars to the second digit").

3. Names of phenomena, objects and people. Slang that gives names to common phenomena in the professional environment.

"Absolutnik", "listener" – a person with absolute hearing.

A "music artist" is a musician who plays only by notes and is not capable of improvisation.

"Turnip" is a rehearsal.

"Potato" is a long note (most often a whole one).

"Chain", "bundles" – a sequence of chords, rhythmic unison.

"Hack" is a side job.

"Plywood" is a soundtrack.

4. Figurative and metaphorical expressions. This part of professional jargon is directly related to the artistic component of the profession.

"The orchestra has collapsed", "the form has crumbled" – the loss of ensemble integrity and unity of form.

"Warming the soul" – we sing / play beautifully, with feeling.

The "empty–headed fifth" is a striking sound characteristic of the interval.

"Spin a skate" – in jazz: make a complex vocal improvisation.

"File a solo" is to play an energetic, virtuoso solo.

Note that the jargon is clearly divided by specialization: there are terms for performers on wind instruments ("brass", "kick"), vocalists ("give a rooster", "head resonators"), conductors ("self-guided auftact"), performers on folk instruments ("puzoches", "boot"), jazzmen ("skate", "groove"), etc.

The jargon of musicians is constantly updated with new words and expressions, "simplifying communication between specialists in the musical field, as well as helping them to express their thoughts more vividly and expressively" ^{[10, p. 531]}. The presence of a developed, lively and constantly updated professional jargon fully confirms the thesis about the use of a certain professional vocabulary as a key marker of belonging to a community. Knowing this slang is a "password" that defines "one's own." The division into "friends" (who understand slang) and "strangers" strengthens the boundaries of the professional community.

Values, norms, and professional myths

Analysis of the answers to question No. 7: "What, in your opinion, is the main value in the work of a music teacher?" It allows us to identify a clear hierarchy of teachers' values in the field of musical art. We agree with V.A. Tsvyk, who emphasizes that "professional and moral views in the consciousness of a person are included in the "image of the profession" and are formed in parallel with general ideas about the world of the profession; even during acquaintance with the future profession, a person gets acquainted with its inherent professional and moral guidelines" ^{[11, p. 69]}. Let's highlight the main groups of values.

1. Education and personal development of the student as a priority. This is the most powerful and frequently mentioned group of values. A teacher-musician sees himself not just as a teacher of an instrument, but as an educator, which is represented in phrases such as personal education, spiritual development, a harmonious personality, decency, a cultured person, a "humane face." Here are some examples from the answers: "To raise a musical musician and a humane Person"; "First of all, you need to be a person, and then a musician"; "Education of spiritually developed people"; "Education of a harmonious personality", "The highest value is not in the preparation of laureates (this is a pleasant bonus), but in helping young musicians to understand and be professionals in this wonderful music world."

2. Love of music and maintaining interest. The goal of the teacher is not just to teach, but to ignite, to instill a stable love for art, which will grow into an inner need, which is verbalized in the following combinations: to instill a love for music, not to discourage the desire to study, to surprise in the classroom, to arouse interest so that "I still want to sit down at the instrument", "when playing the instrument gives he enjoys it."

3. The formation of independence and professionalism. The value is seen in "raising" a student to be a thinking musician, not just a performer, to teach them to think and analyze, and to foster independence. Here are examples from the answers: "to give a start in life", "to do without a teacher", "to educate a professional", "to teach to think, analyze; "education of individual handwriting, independence"; "to educate a thinking musician".

4. Personal contact, giving and legacy. Teachers highly value feedback and long-term, deep relationships with students, seeing this as the meaning of their work, which is represented by phrases such as student response, gratitude, leaving "an unshakable good memory," "playing a role in the student's life," becoming "an extension of their teacher in the best sense." Examples from the answers: "The students' dedication, their response, and sincere gratitude when, years later, they are interested in how I am doing and thank me for my hard work and patience"; "When, years later, I see how much my students have grown professionally."

The respondents' answers clearly demonstrate that values and norms are the core of a musician teacher's professional identity. The analysis shows that the identity of the "teacher" (educator, mentor) is primary and dominant in relation to the identity of the "musician" (virtuoso performer). The main goal is to raise a personality through music, not just to teach a craft. The value is not the preparation of the laureate (a "pleasant bonus"), but a "start in life", an "inviolable memory", and the student's desire to continue studying music. This indicates the high social responsibility and maturity of the representatives of the professional community. We also note that the responses show a tendency to contrast true values (love of art, spirituality) with external, market-based criteria for success. Among the respondents' responses, the only one was found to speak about "educating a specialist who is able to earn well."

Analysis of the answers to question No. 8: "What do you consider unacceptable, "professional betrayal" in working with a student? defines the boundaries of unacceptable, destructive behavior, which is perceived by the community as a betrayal of the student, profession and himself.

1. Violation of ethics and disrespect for the student's personality. "Professional betrayal" is considered any act that humiliates human dignity, which is verbalized in such words and phrases as insulting, humiliating, ridiculing, becoming personal, rudeness, disrespect, belittling abilities. Here are some examples from the answers.: "Raise your voice and humiliate"; "Ridicule others behind their backs"; "Devalue his work, efforts, experiences."

2. Indifference and indifference. A conscious refusal to fulfill a professional duty, which consists in a loss of interest in the student, his progress and problems and is manifested in ignoring his needs, unwillingness to invest in his development and a formal attitude towards teaching duties. Typical examples from the answers: "Indifference!!!!!!"; "Do not help, do not promote"; "If you have a high desire to study, do not pay professional attention to the student"; "Leave the student alone for complete self-education."

3. The destruction of motivation and interest in music. The most serious consequence of unprofessional behavior, which is the exact opposite of the main value (to instill a love of music). This is the "killing" of creativity, manifested in such actions as killing interest, discouraging desire, turning away from music, ridiculing creative initiative. The following statements of the respondents are vivid examples: "To turn away from music, to kill the love for it"; "The main thing is not to destroy the desire to learn"; "To kill the desire to create".

4. Incompetence and dishonesty. We are talking about the unwillingness to work efficiently, which is reflected in such formulations as incompetence, hiding the real capabilities of the student, interfering with his development, not teaching the basics. Examples from the questionnaires: "Deliberately interfere with the student's further professional development"; "Incorrectly identify the type of voice"; "Allow incorrect text to be played".

5. Violation of professional solidarity and subordination. Betrayal towards colleagues and the professional community as a whole, expressed in such actions as discussing the incompetence of other teachers, competing with a student, and not caring. Let's illustrate with examples: "Discussing the incompetence or level of other teachers"; "Competing with a student and interfering with his progress"; "Neglecting students (drunkenness, lack of work discipline)".

The answers demonstrate that professional standards are clearly defined and imperative. These norms act as a protective mechanism that protects the main value of the profession: the personality of the student and his love of music.

Note that there is a direct and obvious connection between the answers to the question about values (question 7) and the unacceptable (question 8). If the value is to "instill love," then betrayal is to "kill love." If the value is to "educate a personality," then betrayal is to "destroy a personality." This proves the integrity and internal consistency of the value-normative system of the professional community.

Analysis of the answers to question 9 "Are there common stories or myths in the music teaching environment that are passed down from generation to generation?" It shows that, unlike other aspects of professional identity, professional myths are presented rather fragmentarily in the minds of respondents. Nevertheless, even a few examples allow us to make some observations. The most frequent were not so much "stories" as persistent stereotypes and prejudices about musicians of different specialties. Here are some examples:

About brass performers: "all brass players drink alcohol," "are prone to alcohol abuse," "scoundrels, sloppies." It is noteworthy that the respondents immediately give a rational explanation of this myth, linking it with a technical necessity (the use of alcohol to protect tools from frost).

About the vocalists: "the laziest and most undisciplined musicians", "the singers lack intelligence and brains".

About pop performers: the perception of pop music as "the easiest to learn."

In the questionnaires, references were found to classical music tales known far beyond the teaching community, but still popular within it, for example, the legend of Paganini: the story of how he played a concerto on one string because envious people sawed off the rest ("Before the concert at Nicolo Paganini, detractors sawed off three strings and he played a concert on one").

A separate group consists of superstitions and omens. This group includes a whole range of mythologized practices related to concert and exam activities, such as "Getting good at rehearsals means playing well at a concert," "You need to pull a ticket with your left hand closing your eyes," "You can't eat before a performance," "Don't wash your hair before a concert – you'll forget the words."

We emphasize that despite the direct question, a significant number of respondents answered "I do not know", "I find it difficult to answer" or "I have not met". This indicates that there is no pronounced layer of professional mythology in the modern musical and pedagogical environment. Most often, the responses did not include heroic stories, but professional stereotypes and prejudices (about brass players, vocalists). Individual stories are used as didactic tools to motivate students and illustrate important professional qualities of musicians.

Alma mater and professional predecessors

Respondents' answers to question 10 "What role did the educational institution (alma mater) where you got your degree play in your professional development?" They demonstrate the exceptional importance of the educational institution in shaping the professional identity of musicians. The overwhelming majority of respondents describe the role of the alma mater as crucial, fundamental and fateful. An educational institution is perceived not just as a stage of education, but as an institution that determined the entire subsequent life and professional path, which is verbalized in phrases such as "Played a decisive role", "The most important and important role", "It determined the fate and all further professional life", "In fact, education in the educational institution decided my fate."

The alma mater is considered as a source of basic professional knowledge, skills and abilities. Typical examples from the answers: "This is the base. This is a school that was visible throughout my studies and in my work"; "The Music College provided high-quality professional training"; "Professional skills were formed in the educational institution"; "Basic. This is the base."

Many answers directly link the importance of an educational institution to specific personalities – teachers who acted as mentors and had a personal impact. Here are some examples: "Amazing personalities played a greater role in my professional development – these are my teachers!"; "Perhaps, a key role in the formation of my personality, consciousness, and important professional qualities. Here I found the most important teacher and mentor for me"; "The professionalism of my teacher was an example for me"; "The most important thing is not the educational institution, but the personality of the teacher."

The above examples echo the respondents' answers to question 11, "Did you have a Teacher (with a capital letter) who had a decisive influence on you? What exactly have you learned from him and are you trying to pass on to your students?" The analysis of the answers confirms that the teacher is a central figure in the professional development of a teacher-musician. An important feature is that many respondents indicate not one, but several teachers at different stages of their journey ("Yes, and several", "all four Teachers: school, college, university, assistant course"). This indicates the cumulative nature of professional development, where each teacher makes a unique contribution to the formation of a future specialist. Specific professional knowledge, technical school and methodology are acquired from the teacher. It is important that the teacher also conveys a system of life and professional values that become an internal guideline for the student. Respondents emphasize that they have managed to learn from teachers such qualities as "responsibility", "hard work", "dedication", "honesty", "punctuality", "fairness", "respect for students", "love and passion for music", "patience", "the ability to give it's time for the student to become", "faith in the creative possibilities" of the student, "sincerely love what you do".

Analysis of the answers to question 12. "Which of the living or deceased music teachers in your region (city, region) Would you call him a "legend" or a "professional hero" and why?" it reveals the established local pantheon of professional heroes. In total, 67 names of musical teachers were mentioned in the responses, of which the largest number of mentions were received by such teachers as Irina Georgievna Dymova (10 mentions), Valery Vasilyevich Mikhalchenko (7), Adik Askarovich Abdurakhmanov (6), Boris Mikhailovich Belitsky (6). The criteria for glorification are: the role of the founder ("Vasily Pyachev Grigorievich is the founder of the brass department"; "Abdurakhmanov Adik Askarovich is the founder of the Classical Chamber Orchestra, the founder of the symphony orchestra of the Chelyabinsk region"), asceticism ("Heinemann Alexander Alexandrovich is an enthusiast and a fan of his craft"; "Pankova Natalia Georgievna – life for art"), the creation of his own school ("Mozheevsky Evgeny Ivanovich he raised a large number of trumpeters"; "Yakimenko Tatiana Georgievna... she raised a galaxy of strong clarinetists"; "Kochetova Olga Vladimirovna... she has educated more than one generation of musicians"), the development of unique techniques ("Valery Nikolaevich Utkin is the author of the L–brass system methodology; "Irina Georgievna Dymova has created her own teaching system") and reference personal qualities ("Diana Genrikhovna Musatova is the standard of intelligence, femininity, wisdom"; "Anton Bugaev!.. He never raises his voice... He lives by music and unites people").

It is important to emphasize that the responses include regional heroes, whose fame and influence may not extend beyond the region or the South Ural region.

Professionally important qualities and skills

The analysis of the answers to this group of questions allows us to create a holistic portrait of a teacher-musician through the prism of his qualities, requirements for the student, key competencies and main professional difficulties.

In the answers to question 13, "What are the main qualities a successful music teacher should have? Name 3-5 qualities." A triad dominates: patience (the most common word), love (for profession, music, and children), and professionalism. A teacher should be not just a technical specialist, but also a subtle psychologist: "Understand that if something does not work out, then change tactics in the approach, and not break down." Flexibility, empathy, and the ability to motivate are considered important: "The ability to see the strongest in a student, the ability to wait," "The ability to "infect" with music." At the same time, the need for will, discipline and stress tolerance is emphasized, which indicates an understanding of the complexity and tension of the profession. So, the core of professional qualities are patience, skill and love.

In the answers to question 14, "What qualities should his ideal student possess?" the image of the ideal student centers around inner motivation and diligence. The key expectations of teachers are "the desire to study," "diligence," "discipline," and "efficiency." At the same time, many people note the importance not so much of innate talent as of personal qualities: "an open, thirsty soul," "humanity," "curiosity." Some respondents realistically point out that "there are no perfect students."

Answering question 15, "Please describe a key skill in your work. What do you do best as a professional?" teachers, on the one hand, emphasize the importance of the technical base of the profession.: "The ability to put your hand up", "Teach singing breathing and a high position", "Teach you to understand the performed work correctly", and on the other hand, the ability to work with artistic content: "Creating an artistic image", "The ability to create an "image" of a work in the imagination of a student". Many emphasize the psychological and pedagogical aspect: "To teach a child to think," "To find an approach to the learner."

Answers to question 16: "What is the most difficult thing in your work and requires the most effort from you?" They are clearly divided into two groups. The first and most voluminous is related to psychological and motivational challenges: "Working with children who do not want to study", "Making the student think", "Fighting the student's laziness", "Getting interested", "Tolerating laziness, persuading to work". The second group of problems is the administrative and bureaucratic burden: "Paperwork", "Preparation of reports", "Maintaining and filling out a journal". Teachers note that this activity takes energy away from the main work. Also among the difficulties is the need for constant psychological self–regulation ("Don't get emotionally involved and stay restrained") and dealing with modern challenges ("It's getting harder for modern children to assimilate material every year").

Thus, the professional identity of a teacher-musician consists of three main roles. Firstly, it is a craftsman who has a solid school and technique, without which high-quality education is impossible. Secondly, it is an interpretive artist capable of creating and transmitting artistic images, working with the meanings and emotional content of music. Thirdly, it is a motivational psychologist, whose task is not just to transfer knowledge, but personal interaction with the student, maintaining his interest and responsibility for his development.

Professional rituals and identification markers

An analysis of the answers to question 17, "Are there special signs or rituals in your professional environment before important events (concerts, exams, competitions)?" shows that they are an integral, although not always formally recognized, part of the professional culture of musical educators. The responses demonstrate a wide range of such practices. First of all, they are aimed at ensuring physical and mental readiness for performance: "Work out well and act out before the performance," "Get enough sleep," "Don't eat much before the performance," "Eat dumplings," "On the eve of the performance, we don't run the program from beginning to end. We're just going through some moments." Many actions serve as an anxiety management tool: "Do not communicate with anyone a few minutes before going on stage," "Mentally replay the entire program," "Avoid communicating with people." There are also signs rooted in superstition and collective folklore: "Sleeping with notes under your pillow," "Putting a five-ruble coin in your shoe," "Do not wash your hair," "Do not get a haircut or shave" on the day of the performance. This also includes the belief in bad omens: "If the notes fall before going on stage, then you don't even have to go there." Interestingly, the professional community of music educators demonstrates an ambivalent attitude towards rituals: some respondents actively use and describe them, while others distance themselves ("No," "I don't know," "I don't know them").

The answers to the final question 18, "Please finish the phrase: "Being a music teacher means ..." demonstrate a high degree of value-semantic unity of the professional community. The most powerful layer of answers defines a profession through the idea of service, vocation, and dedication. This is expressed in such formulations as "to serve art," "to put your life on the altar of art and pedagogy," "to be ready to give yourself, your emotions, your strength." A profession is understood not as a job, but as a way of life and a higher purpose.

The synthesis of love for music and for people is of great importance. Almost every second answer contains a dichotomy of "loving music and people", "loving music and people", "infinitely loving music and people". This is a direct reflection of the combination of artistic, creative and socio-pedagogical components of the profession. In addition, the answers emphasize the importance of combining professionalism and humanity in the personality of a teacher: "To be a professional and remain a human being!". On the one hand, the highest professionalism is required ("to be a professional", "to be a multifaceted person, as well as a professional in his field"), on the other – exceptional personal qualities: "to be an extraordinary person with a big heart, great patience."

It should also be noted that the teacher-musician sees himself as a mediator between the world of art and the student's personality, a "guide between people and music," someone who "brings culture to children" and "shares the wonderful world of music." His task is not just to teach, but to "instill" a love of art in future generations.

Conclusions

After analyzing the responses of respondents representing the professional community of music educators to the questionnaire based on the concept of L.B. Schneider, which identifies certain professionally differentiating features as specific, observable markers of belonging to the professional community, we came to the following conclusions. First of all, we note that the analysis of terminology used in everyday speech practice by music teachers not only confirms its role as a marker of belonging to a profession, but also reveals the meaningful content of the professional identity of a music teacher, located at the junction of craft, pedagogy and art. Professional jargon is also an important element of the professional culture of a music teacher. It performs key communicative and social functions, vividly demonstrating the community and internal differentiation of the professional group.

The professional identity of a teacher-musician is based on a powerful axiological foundation, where humanistic, educational and enlightening ideals are placed at the forefront. This is a community that sees its highest value not in creating technical performers, but in educating thinking, feeling and spiritually developed individuals through musical art. The combination of three main roles in one profession – a craftsman, an interpretive artist, and a motivational psychologist - makes the profession challenging and multitasking. The main difficulties are not related to mastering the musical material as such, but to working with the student's personality – with his motivation, will and character. It is human relationships, not notes or techniques, that become the main object of application of forces and a source of professional burnout, which determines the high psycho-emotional burden in this profession.

The basis of the professional identity of a teacher-musician is service to the student and the art. Behavior based on dominance, aggression, competition, or indifference is rejected by representatives of the professional community. The concept of "professional betrayal" among music teachers is associated with the actions of the teacher, which damage the student's personality, motivation and professional future. The norms of the community are aimed at creating a safe, respectful and supportive environment, which is a prerequisite for the realization of its highest humanistic values.

Professional myths among music educators are presented fragmentarily and are inferior in importance to other components of identity, such as values, norms, and professional language. At the same time, professional rituals and omens are an important element of the professional culture of musical educators, working to reduce anxiety in conditions of high responsibility and publicity. The presence of these practices confirms L.B. Schneider's thesis about "professional signs" as one of the markers of the professional community.

The alma mater plays the role of a fundamental institute of socialization for the music teacher, which not only provides a profession, but also forms a personality, a system of values and a sense of belonging to the professional community. This is one of the key elements of professional identity formation. The figure of the teacher is a central figure in the professional biography of the teacher-musician. Through it, not only knowledge and skills are transferred, but also the values of the profession. The names of the teachers identified during the survey form a regional pantheon of professional heroes, which serves as an element of professional identity, providing territorial binding, community consolidation and the transmission of values through personalized examples of service to art.

Thus, the results of the study demonstrate the complex, multicomponent structure of the professional identity of music teachers, which is formed at the junction of three key roles: an artisan (a carrier of technology and school), an interpretive artist (working with artistic images) and a motivational psychologist (building personal contact with a student). A powerful axiological foundation of the profession has been identified, dominated by humanistic and educational values, as well as pronounced professional markers: specific terminology, developed professional jargon, reverence for alma maters and teachers, a regional pantheon of "professional heroes" and a set of professional rituals.

The article is published in the version approved by the reviewers (after receiving a positive review recommending the manuscript for publication) with corrections made by the author (after receiving the editor’s comments, if any).
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