Науковий часопис Українського державного університету імені Михайла Драгоманова. Серія 14. Теорія і методика мистецької освіти
The periodical printed publication "Scientific Journal of the Mykhailo Dragomanov Ukrainian State University. Series 14. Theory and Methods of Art Education" publishes original peer-reviewed articles, author's research, scientific, methodological, and practical developments. Founded in 2004 ("Scientific Journal of the M.P. Dragomanov Ukrainian State University. Series 14. Theory and Methods of Art Education"). Thematic profile of the publication: art education; art pedagogy. Academic status of the collection: professional printed periodical – CATEGORY "B" – pedagogical sciences, specialty 014 Secondary education (by subject specialization) (ISCED-F 2013: 0114 Teacher training with subject specialization) – Order of the Ministry of Education and Science of Ukraine dated 10.10.2022 No. 894 (Appendix 2) as amended on 12.20.2023 No. 1543 (Appendix 8). Recommended for publishing the results of dissertations for the degrees of Doctor of Sciences, Candidate of Sciences, Doctor of Philosophy. Publication frequency: twice a year, numbering is continuous, consecutive. Media ID R30-01418 / Decision No. 932 of 28.09.2023, appendix R-2023-00932.pdf (National Council of Ukraine on Television and Radio Broadcasting). Publisher and founder's website: Dragomanov Ukrainian State University Publishing House journals (udu.edu.ua). EDRPOU code 44807628. Media entity in the Research Organization Registry | Research Organization Registry – https://ror.org/00batt813. Open access journal: supported for the purpose of global knowledge exchange, provided that the source data of each author's article is indicated.
NEOCLASSICAL THINKING IN SOLO VIOLIN SONATAS BY GUSTAV KŘIVINKA AND JAN NOVÁK
The article examines the specific features of neoclassical thinking in the genre of the solo violin sonata in twentieth-century Czech music, based on the works of Gustav Křivinka and Jan Novák. The relevance of the study lies in the need for a systematic understanding of the transformation of historical genre and stylistic models within twentieth-century instrumental music, where neoclassicism emerges as one of the leading artistic strategies. In this context, the solo violin sonata acquires particular significance as a genre that combines the tradition of polyphonic thinking with modern means of musical expression. The aim of the article is to identify the specific manifestations of neoclassical principles in the solo violin sonatas of the aforementioned composers. The methodological framework is based on analytical, structural-functional, and comparative approaches, which make it possible to reveal the features of genre and formal organization, musical language, and principles of thematic development. The analysis demonstrates that in Gustav Křivinka’s solo violin sonata, neoclassical thinking is realized through a profound transformation of traditional models, particularly through the combination of polyphonic developmental principles with atonality and flexible metric organization. In contrast, Jan Novák’s Sonata solis fidibus represents a different type of neoclassical approach, based on the preservation of the structural clarity of historical forms while renewing them through contemporary musical language, including complex rhythmic organization and modal-chromatic combinations. It is established that the reference to Baroque and Classical traditions in both cases functions not as stylization, but as an active principle of musical organization. In these works, neoclassicism operates as a means of integrating historical experience into a new artistic context, resulting in multidirectional stylistic solutions and an expansion of the expressive potential of the genre. The findings allow the solo violin sonata to be considered an important model for the embodiment of neoclassical thinking in twentieth-century music.
Copyright (c) 2025 Оксана ГРЕТЧИН (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Process-functional analysis of the preparation of future music teachers for the artistic interpretation of musical works
The problem of professional training of future teachers of music is studied in the context of modern humanistic trends in personality-oriented education. The conducted process-functional analysis of the training of future teachers of music for the artistic interpretation of choral works has shown its holistic and complex nature. This made it possible to consider professional training as a dynamic system of interconnected stages, functions and mechanisms that ensure the development of interpretative thinking of future teachers of music - from the analytical understanding of the musical text to the creative realization of the artistic image in choral sounding. The value and information-analytical function of training future teachers of music for the artistic interpretation of choral works as an important factor in improving the quality of musical and choral education and developing the creative individuality of the teacher-musician is highlighted. It was found that the value function in the context of professional training of students belongs to the methodological, system-forming functions. It is the basis for the artistic interpretation of a choral work by means of conducting techniques and plays a key role in this process, since it is aimed at the formation of moral, spiritual and aesthetic values, the development of emotional-figurative and interpretative thinking of students. It was revealed that the use of the information-analytical function ensures the transfer of professional knowledge and skills, the development of intellectual abilities and the formation of students' worldview, the formation of their personal performing vision of a musical work. It is proved that the complex use of the leading functions, namely the value and information-analytical, is aimed at the formation of a creative and independent personality of a teacher of musical art, capable of creative artistic and interpretative activity both in the performing and pedagogical contexts.
value and information-analytical functions
Copyright (c) 2025 Чжен Тунтун (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Reflective-oriented technology for forming transfaith readiness of students of faculties of arts in the process of conducting and choral activities
The problem of forming trans-faculty readiness of students of faculties of arts in the process of conducting and choral activity by means of reflexive-oriented technologies is studied. It was found that one of the leading trends in reforming the education system is its reflexive orientation. Under these conditions, there is a need to introduce reflexive-oriented technologies into the content of professional (conducting and choral) training of students of faculties of arts, aimed at the personal and value development of the individual. An analysis of the works of leading specialists in the field of art pedagogy has shown the need for reflexive saturation of educational disciplines in the content of higher art education. This is due to the need of modern society for creatively independent, critically thinking specialists who are able to systematize and generalize the existing theoretical and practical experience gained in the process of learning, who have the skills of self-knowledge, self-reflection, the ability to impartially and objectively assess their capabilities, etc. From these positions, it is determined that the implementation of the reflective activity of a future teacher of musical art in the process of conducting and choral training occurs through the form of artistic interaction with art: artistic and pedagogical interaction that arises in the process of studying musical and choral works, and artistic and performing interaction that arises in the process of performing activity. It is proven that the reflective-oriented technology in the content of conducting and choral training of students of the faculties of arts is aimed at the formation of conducting and choral skills in the process of artistic interpretation of choral works, orients students to awareness, correction and analysis of conducting techniques through self-control and constant feedback between actions, musical intention and reaction of performers and listeners, stimulates students to self-development and creative self-expression in conducting and choral activities.
Copyright (c) 2025 ЛІ НА (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Motivational and value construct of the formation of vocal and technical skills of students of art faculties
The problem of the motivational and value construct of the formation of vocal and technical skills of students of faculties of arts is studied. It is revealed that the formation of vocal and technical skills should be based not only on the development of technical aspects of singing, but also on the students' awareness of the spiritual and aesthetic, emotional and value and cultural essence of vocal art. It is determined that without a proper motivational and value basis, the process of vocal training of students of faculties of arts acquires a formal and reproductive character. From these positions, it is substantiated that it is the motivational and value approach that allows integrating professional knowledge, skills and abilities with personal values, contributing to the formation of a holistic creative personality of a singer who strives for professional self-expression in vocal work. A criterion-indicator characteristic of the motivational and value component of vocal and technical skills of students of the faculties of arts was carried out. The criterion of the specified component was determined by the degree of formation of the humanistic position of students to the implementation of active educational and cognitive activity. The indicators of this criterion were chosen: the manifestation of interest in vocal and pedagogical activity and the desire for professional self-expression in vocal work. It was found that the manifestation of interest in vocal and pedagogical activity can appear in two main planes: singing and teaching, while value levers act as vectors of students' self-expression in vocal work, giving it meaningful content and determining a unique interpretation by students of the dominants of singing and pedagogical activity. t has been proven that the effective formation of vocal and technical skills of students of faculties of arts is possible under the conditions of purposeful development of their motivation for creative activity, the formation of stable professional values, which confirms the significance of the motivational and value component of vocal training of students of faculties of arts.
Copyright (c) 2025 Ван Чжибінь (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Revival of little-known names of figures of Ukrainian musical cultureas one of the methods of raising the national consciousness of artistic youth
The topic of the text is – the revival of little-known names of figures of Ukrainian musical culture as one of the methods of raising national consciousness among artistic youth. The challenges of our time show that without understanding of our own national culture we will not be able to raise full-fledged citizens. Teaching young Ukrainian musicians on the best examples of world music, teachers should at the same time give them knowledge about the achievements of Ukrainian composers, performers, teachers relying on the historical context and train them to explore the work of little-known artists. This article examines the life and creative path of a representative of the professional Ukrainian violin school in Galicia, Ivan Levytskyi, a choirmaster, composer, violinist-performer, and author of several manuals on the history of music, harmony and violin teacher. He worked at the Musical M. Lysenko Institute in Lvyv. His compositions for violin and piano published at different times are presented and analyzed, as well as his unknown work, which was found in the library's archive, and which is being prepared for publication yet. In general, Levytskyi's activities were aimed at the development of Ukrainian musical culture. It is important to revive the names of such personalities because this is how we teach young musicians to respect their native culture. At the same time, young people acquire the skills of research work in the field of art history.
Copyright (c) 2022 https://creativecommons.org/licenses/by-nc-sa/4.0
Formation of vocal performance competence of future teachers of musical art, as a significantcomponent of new format specialists’ training
The article highlights the current problem of modern art pedagogy – the formation of vocal performance competence of future teachers of musical art, as a significant component of the training of specialists of the new format. Different scientific views on the specifics and components of vocal performance were considered and, accordingly, a number of significant factors of competence formation in the chosen direction of training specialists of the new format were identified. Today, there is an increased demand of society for obtaining higher education, and therefore, the main task of all national education systems, in particular higher education in Ukraine, is to provide educational services to all who seek it, without exception. Acquiring competences by a person who seeks to develop and self-assert will help to prove oneself more effectively in the professional sphere. Important components of professional competence include: social (a person's ability to build strategies for interaction with people); informational (the ability to analyze, process and transmit information directly and with the help of modern information technologies) and presentational (the ability to successfully present (represent) the results of one's professional activity). Groups of professional competences have been identified personal, professional-pedagogical and functional professional competences. The interpretation of musical and performing competence is analyzed; the author's models of competence formation of specialists in the art sphere were analyzed. The key factors of vocal performance competence of future teachers of musical art were singled out; the scientific search for the definition of the interpretation of vocal-performance competence made it possible to single out the following components of the structure of the formation of vocal-performance competence of future music teachers: motivational-directed; knowledge and innovation; executive and creative.
Methodological principles of shaping emotional and stylistic perceptionof romanticism composers’ piano music
In this article the authors’ vision of the formation of an emotionally stylistic feeling by pianists of romantic music is presented. The purpose of the work is to reveal the essence of the concept of emotional and style feeling as a psychological category, its content characteristics and peculiarities of methodical approaches and performance reproduction of piano works by pianists of romanticism composers in the methodological paradigm. Provided own understanding of this concept for presentation by pianists of personified models of their emotional and style feeling romanticism composers’ music. Achievement of the set goal is determined by the main scientific positions to understand the theoretical and practical significance of the chosen category. Scientific and theoretical disclosure of relevant psychological processes is defined as methodological principles providing a stylistic concept of romanticism and presentation of certain stylistic features of romantic music. The scientific novelty of the presents work consists in defining the essence of the main concept, what is individual and unique emotional each pianist response to an musical informational and stylistic message. It is encoded in the piano works of Romanticism composers’, which he presents in his own reproduction of them with the disclosure of the features of the emotional feeling of the characteristic means of their musical expressiveness. The main scientific and theoretical positions are defined in the conclusion, the theoretical meaning of the category emotional and stylistic feeling of piano music by Romantic composes and priority features of its functioning on the proposed main scientific and theoretical foundations. Theoretical and practical perspectives of consideration of the selected problem may occur in further research by scientists, understanding and scientific-theoretical substation of their emotional and stylistic feeling of musical works of different stylistic directions and providing new ways of their creative reproduction by various musicians.
Pedagogical conditions for the formation of the ability of master students of musical artto creative self-realization in practical activities
The article reveals the specifics of the implementation of pedagogical conditions for the formation of the ability of master students of musical art to creative self-realization in practical activities. The significance of the introduction of pedagogical conditions for the successful implementation of productive activity is considered. Pedagogical conditions for the formation of the ability of master's students of musical art to creative self-realization in the process of vocal and choral training are defined, namely: creation of an educational and creative developing artistic environment; provision of tutor support for vocal and choral activities of master's students of musical art aimed at achieving readiness for self-realization; combination of theoretical and practical experience of students of the faculties of arts for the organization of an optimal information environment. The purpose of the publication is the theoretical substantiation of pedagogical conditions, methods and means of creative self-realization of masters of musical art in vocal and choral activities. The formation of the ability of music teachers for creative self-realization is a conscious process and a meaningful result of the disclosure of creative potential, actualization of the abilities and possibilities of the individual in the pursuit of self-identification in professional activity. One of the effective tools is the purposeful formation of the ability of students of art faculties of higher musical and pedagogical educational institutions to creative self-realization. The formation of the ability for creative self-realization becomes even more relevant when it comes to the personality of the future teacher. Creative self-realization and a sign of self-improvement can contribute to the emergence of motivated specialists in art education, as well as ensure the success of the future music teacher's entry into the world of dialogic pedagogical activity.
formation of the ability to creative selfrealization
Contemporary Ukrainian piano music as a component of the pedagogical repertoire(on the example of the Podillia composers’ works)
Forming a piano repertoire by music teachers in postgraduate education includes pieces by Ukrainian composers. The use of piano music of the 20th century, as well as the latest samples, is of particular importance. In this context, the study of modern Ukrainian piano music becomes relevant. This is necessary from the point of view of revealing the potential of the music and its use in the educational process in music pedagogy. The article reveals artistic and pedagogical potential of the piano music from Podillya composers as H. Kurkov and O. Rieztsov. For this purpose, a comprehensive analysis of the piano cycles "Katrusia’s notebook" by H. Kurkov and "Giraffe-prankster" and "Paper boat" by O. Rieztsov were carried out. The stylistic features of their music, didactic and educational tasks, which are facilitated by working on the works of these composers in the piano class, are determined. Thus, "Katrusia's notebook" helps students to get acquainted with the typical features and means of expression of primary genres; adjusting their hearing to perceive modern harmonic sounds and complicated rhythms. It develops their sense of tone while mastering different strokes and different strength of sonority and forms a rehearsal technique. Studying the works of O. Rieztsov, in addition to the formation and development of various technical skills, can significantly expand the musical horizons and associative thinking of a young pianist. Composer’s methodical comments which accompany all the pieces, not only explain the meaning of the music itself, but also help the teacher in selecting techniques for the formation of certain performing skills.
Competence-personal component of the formation of the creative potential of arts faculty students inthe context of professional training
The article highlights the problem of forming the creative potential of students of arts faculties in the process of preparing for future pedagogical activity in the context of rethinking the nature of its focus on the development of a creative personality in the conditions of reforming education from the standpoint of competence approach. The importance of the competence-personal component of the formation of the creative potential of students – future teachers of art disciplines – in the process of professional training based on the specified priority scientific approaches has been actualized. As a result of the research of scientific and methodical literature and the analysis of practical experience, the reliance on the principles of humanization of the educational process, the integrative orientation of teaching, and the involvement of participants in the educational process in the use of modern multimedia technologies have been determined and substantiated. The application of the principle of humanization of the educational process involves the interaction of learning subjects in the process of active artistic activity in the conditions of an emotionally colored, relaxed atmosphere. Relying on the principle of integrative orientation of education ensures generalization, systematization and effective application of knowledge in new life situations. The principle of involving participants of the educational process in the use of modern multimedia technologies is based on the opportunities provided by them for obtaining and presenting a creative product as a result of active independent cognitive work. The importance of determining the methodological principles of the formation of the creative potential of the individual in the context of the professional training of students of the faculties of arts is emphasized.
Readiness of vocalist students for stage activities in the context of psychological stress theory
The article substantiates the content of the concept of "readiness of vocal students for stage activities". The dependence of this phenomenon on the influence of short-term and long-term stressors is considered. The components of psychological stress (informational and emotional) and the specifics of their impact on the success of public interpretation of musical works by student vocalists are analyzed. The origin of motivational types of excitement of the student vocalists during stage activities is clarified. The dependence of the effectiveness of reproduction of the creative skills of vocal students and their performance skills on the intensity of stressors is described. The psychological mechanisms of regulating the intensity of informational and emotional stress are highlighted. It has been proven that the readiness of student vocalists for stage activities depends not only on the quality of preparation of the concert program and the quality of technical equipment, but also on their psychological readiness to interpret musical works in public. It needs to identify promising directions for the search for effective forms and methods of forming the readiness of student vocalists for stage activities is emphasized. There is a need for an in-depth study of the dependence of this process on stressors. There is a need to study the nature of the emergence of varieties of stage fright of students in vocal performing work. Of course, the presented information does not reveal all aspects of the specifics of the impact of stressors on the success of public interpretation of musical works.
readiness of vocal students for stage activities
Artistic and reflective skills of Masters of Musical art: meaning and pedagogical instruments
The article reveals the psychological and pedagogical basis of artistic reflection in the context of solving both professional and social tasks of pedagogy of art of the younger generation. Contribute to the comprehension of the effectiveness of educational, as well as further professional artistic activity, making it possible to constantly improve it. The author emphasizes the importance of the transformative potential of artistic reflection skills for improving the quality of piano performance and the overall professional competence of future teachers of musical art. The article outlines the role of psychological and pedagogical training as one of the most effective forms of pedagogical tools for the formation of skills of artistic reflection, which is based on the increased intensity of the educational process, combined with a practical orientation. The author reveals the content of the psychological and pedagogical training of the skills of artistic reflection, the tasks of which are based on the need to work out the ability of students to independently find the artistic and reflexive aspect during the flow process of piano training; the ability to synthesize operational and technological methods, methods and techniques of piano training with methods of artistic interpretation piano work; the ability to analyze the positive and negative phenomena of one's own public performance and produce fundamentally new solutions in order to increase the effectiveness of one's own piano performance; reflexive ability to self-observation and self-report during pedagogical practice in secondary education institutions.
Diagnostic methods measuring of musical and rhythmic skills of studentswithin the ascertaining stage of the experiment at the arts faculties
The article reveals the specifics of the use of diagnostic methods for measuring the formation of musical and rhythmic skills of students at the arts faculties within the research and experimental work. The purpose of the article is to reveal the content of diagnostic methods of forming musical and rhythmic skills of future teachers of choreography art. The current development of art and pedagogical education is connected with the qualitative renewal of the higher education system in general. Of particular importance is the problem of training a teacher capable of implementing innovative methods. Therefore, the problem of forming musical and rhythmic skills of future teachers of choreography art looks extremely important for the researcher. It is necessary to effectively use musical and rhythmic exercises that help to successfully form a sense of metrorhythm of the performer with various differentiated operations of motor apparatus. The diagnostic methodology included checking the formation of musical and rhythmic skills of future teachers of choreography art according to the criteria and indicators of the cognitive-motivational, cognitive-initiative and result-activity components. The presented diagnosis of skills of students at the ascertaining stage of research and experimental work took place according to the developed component structure, made it possible to highlight the real formation of this specified phenomenon. Wide use of these diagnostic techniques allows students to more easily overcome certain musical and rhythmic difficulties they face in practical work with schoolchildren. In the process of acquiring the necessary practical skills, future teachers of choreography will feel more confident in their professional work in the future.
ascertaining stage of research and experimental work
Motivation of future music teacher to educationaland performing activities: content structure
The article reveals the component-block structure of the future teachers of musical art motivation to the training-performance activity, which is defined as an open, flexible dynamic system of needs-boost, filter-meaning and activity-target blocks. According to the outlined structural blocks classified the functions of the phenomenon under study. It is appropriate to investigate the content of the motivation of students of musical and pedagogical institutions for educational and performing activities. This phenomenon based on the understanding of important within the target vector of personal motivational orientation. On the other hand, the understanding of the motivation of future music teachers for educational and performing work should be carried out from the standpoint of understanding the stage process. At the same time, cognitive and artistic-aesthetic needs are realized; at the same time, this process continues due to the transformation of the specified needs into the corresponding intention regarding the implementation of educational activities. The successful course of this contributes to the further formation of the appropriate attitude to the understanding of own activity, and all this proves the readiness of students for independent educational and performance work. It was found that the motive and directive and organizing functions correspond to the impulse block, the sense forming, stimulating and behavioral-controlling functions ensure functioning of the filter-meaning block, regulatory-directing and explanatory-structuring functions correspond to the activity-target block. Based on the study of interaction functions the criteria of formation of motivational, filtering and semantic, and activitatively-targeted blocks are specified, and the interaction and interrelation of these structural blocks are shown. The definitions of motivational units "level of ambition" and "personal orientation" of a future music art teacher have been formulated.
motivation to educational and performing activity
Pedagogical conditions of arts information combination associativefor the students-instrumentalist at the arts faculties
The article highlights the features improvement of instrumental training of students of art faculties by means of associative combination of artistic information. The need for development is substantiated imaginative thinking of students, expansion of their artistic and associative circle which can become one of the means improvement of instrumental training of future teachers. Involvement of methods of activation figurative and associative thinking and development of associative ideas involves, first of all, formation of future teachers-musicians instrumental and executive competence based on the acquisition of knowledge and not only skill in the field of musical performance, but also musicology, art pedagogy, modern scientific and methodological achievements. Pedagogical conditions are defined improvement of the instrumental process training of students of arts faculties by means of associative combination artistic information. Application of the specified conditions promotes comprehensive creative and intellectual development of future specialists, implements them creatively potential in instrumental and performing activities. In order to organize versatile independent work, it is necessary for students to see the positive results of their work. The studying process takes place consciously if the artistic material is understood. Study material must be carefully selected for independent study. The dosage of educational material in accordance with the capabilities of students has a positive value.
associative combination of artistic information
Methodical aspects of the development of musical and listener ideas of studentswithin piano play training
The article deals with methodological aspects of the development of musical and listener perceptions of students specialized on music art. Based on the analysis of scientific literature, the essence and structure of musical and listener perceptions of students in the process of piano studying are determined. It has been established that musical and auditory representations develop in real musical activity aimed at learning and embodying musical images. Such images are created in the process of emotional and aesthetic experience and thinking, as well as with the participation of inner hearing and motor actions. These three components are interconnected and contribute to the development and formation of musical and auditory perceptions. This complex emphasizes the importance of maximum development of students’ independent thinking. The basis of the representations is auditory activity, which provides coordination, provides an assessment of the performance according to artistic and technical parameters. It is noted that the connection between inner hearing and motility becomes important for the formation of musical and auditory perceptions. At the same time, motor actions depend on the psychophysical state and specific functional features of various chains of the auditory-motor apparatus. Taking into account the analyzed theoretical provisions in the process of piano training, the following pedagogical conditions are defined: 1/ during training, include in the repertoire emotionally attractive and aesthetically expressive musical works from using their full or partial illustration; 2/ implement artistic and creative tasks of various directions throughout the entire period of musical education; 3/ taking into account different types of musical activities. The methods of training help students to effectively develop their own musical and listener ideas, so that they get the necessary skills and abilities in the field of performing activities, are considered.
Structural analysis of future piano teachers’ methodological culture
The article examines the concept of culture in sociological, psychological and pedagogical aspects. Professional-pedagogical culture was identified as a separate element of pedagogical activity, which is considered as a complex integral generalized quality of the personality of a professional teacher, as a condition and prerequisite for effective pedagogical activity, as a generalized indicator of a teacher’s professional competence and as a goal of his professional self-improvement. The concept of "methodical culture" is a subspecies of professional and pedagogical culture, since the latter characterizes the culture of pedagogical activity as a whole, in the unity of all its functions, and methodical culture is connected with the methodical context of professional activity, with the implementation of methodical tasks. It has been established that the professional performance qualities of a piano teacher are based on a combination of many components: development of performance skills, work on culture and performance technique, development of theoretical knowledge. It is noted that performance training is one of the main aspects of the education of art students in institutions of higher education; accordingly, the concept of "methodical culture of a piano teacher" is a category that characterizes the professional qualities of a specialist taking into account the specifics of his professional activity. It is noted that the methodical and practical content of individual classes in the piano class should be formed on the basis of a personally oriented approach, taking into account individual psycho-physiological features, leading motivations, level of performance training, developed abilities, qualities, knowledge, abilities, skills, motivation for educational and cognitive and creative and research activity, degree of manifestation of independence, will and creative initiative in the process of solving problematic tasks. The definition of the concept of methodical culture of a piano teacher is formulated. The structure of the methodical culture of the future piano teacher is considered in the unity of four components: motivational-informational, operational-technological, reflective-evaluative and corrective-communicative.
Online distance education of future music teachers: modern challenges
The article is devoted to an important problem today - the organization and implementation of music education in online conditions. The phenomena of "media technology", "computer technology" in a pedagogical retrospective are considered. The main types and varieties of media technologies are highlighted and their features are characterized. Distinguishing features and capabilities of modern computer and media technologies are studied. It is noted that for the organization of a high-quality distance learning process of music, it is not the computer or media technology itself that is important, but the extent to which its use ensures the achievement of educational goals and objectives. The main vectors of learning with the help of computer and media technologies, which are dynamically developing in the Ukrainian educational space, are outlined: active use of services and educational portals in the practice of teaching children, pupils, students, adults; use of digital (electronic) libraries; formation of technological and media literacy; distance learning in educational institutions of all levels; discussions in classes (groups) by hash-tags; using the computer as a tool for listening, creating and arranging music; application of the technical capabilities of the computer and gadgets (camera, video camera, voice recorder, player, multimedia editor) as a tool for creating educational media content. The positive experience of using free online platforms, services, applications, auxiliary programs, multimedia editors for creating educational content for teaching music is presented. Types of interactive, musical-creative tasks for the development of musical abilities, musical thinking, and improvement of vocal and technical-performance skills of future music teachers are outlined. It is noted that the era of information technologies in which we live forces us to be actively involved in the training of creative innovative teachers who are able not only to skillfully use the accumulated pedagogical experience, but also to actively and creatively enrich it with new knowledge and values, by introducing into the process of teaching music innovative computer and media technologies.
Specifics of training teachers of musical art and choreography for genre and style analysis
The article reveals a theoretical and methodological approach to the issue of genre and style analysis. One of the key moments of the modern stage of society's development is the reform of the higher education system. This requires new approaches, forms and methods of learning. The professional training of a music teacher requires mastery of pedagogical and musical skills. The expediency of forming the skills of genre and style analysis of students of musical and pedagogical institutions of higher education is determined by professional activity. The lesson of musical art involves introducing students to highly artistic musical samples. The teacher must have the skills to analyze a musical work. An important aspect of a teacher's professional erudition understands the peculiarities of the composer's authorial identification. In our opinion, it is expedient to consider means of expression in music through the prism of genre and style, which will contribute to creating a full-fledged idea for students about the work of the composer in general and about the musical work in particular. Therefore, the problem of genre-style analysis of an artistic work is actualized in the process of professional training of future music teachers. Musicological approaches to issues of genre and style are highlighted, and their complex nature is shown. It is emphasized that the understanding of defined categories is extremely detrimental to the professional training of future music teachers. First of all, it is connected with their performing activities, namely with their authorial reading of musical compositions, which requires the definition of genre-stylistic guidelines and their understanding through the prism of expressive means. Secondly, with pedagogical activity, there is still the formation of analytical skills in students. It is emphasized that the purpose of the genre-style analysis is to understand the features of the genre and style to which the composer's work belongs, to determine the typical features of his work, and the means of expression of the work. A plan of genre-style analysis based on the example of Seventh Chamber Symphony by Ye. Stankovych is proposed.
вчителі музичного мистецтва і хореографії
Axiologising of choreography-pedagogical education as a modern requirement
The article examines the conceptual principles of axiologising choreography-pedagogical education in modern conditions. In professional training, axiological competence represents a system of general cultural, artistic and professional values and determines the attitude to the surrounding world, to art and one's activity, to oneself as a person and a professional. It is shown that value-integration orientations characterize the ability of a future specialist to emotionally react to artistic works studied in choreography classes. The importance of such skills in students leads to a deeper perception of works of art and their direct impact on artistic-aesthetic and artistic-pedagogical development. It is noted that in choreographic art, knowledge always acquires an axiological character, because it is associated with ideas about the significance of choreographic art for the formation of the national selfawareness of schoolchildren, their harmonious spiritual and physical development. This approach to this problem requires the use of axiological orientation in the educational process, the introduction into the system of professional pedagogical training of basic aesthetic concepts and moral categories that characterize the system of universal and national values. It is proved that the axiologisation of the choreographic-pedagogical competence of the teacher of choreographic disciplines consists of a complex of cognitive, orientation and operational components. Each of them is based on positive value orientations, which ensure an adequate and comprehensive understanding of works of choreographic art and their translation into the educational process. In the activity of a teacher of choreographic disciplines, axiological competence acquires a leading importance, since the very understanding of choreographic art begins, first of all, with the interpretation of his works, with the ability of an individual to perceive them emotionally and intellectually through the prism of an aesthetic ideal.
Methodological basis of the future musical art teachers’ artistic-projective experience formation
The article presents the process and result of a theoretical study on substantiation of the methodological basis of the future musical art teachers’ artistic-projective experience formation. Attention is focused on the fact that research is carried out on the basis of piano training, at the same time, presented methodology can be the basis for the formation of the specified professional quality in the conditions of other types of training. The logic of selection of scientific approaches and pedagogical principles provided for the correspondence of each approach to a certain component of the future musical art teachers’ artisticprojective experience. Pedagogical principles that had a methodological character were chosen according to the constructs included in one or another component, namely: methodological-motivated, artistic-thinking, activity-communicative and creative-self-organizing. The feasibility of using the following scientific approaches is substantiated: competence-intentional, cognitive-reflective, communicative-organizational, creative-consolidation. Each of the selected approaches combines two interrelated scientific directions, which corresponds to the polyparadigmatic research methodology, which is used for interdisciplinary phenomena. The competence-intentional approach made it possible to establish the following methodological principles: focus on the competence context of methodological-technological training of future musical art teachers; mastering the pedagogical potential of performance (piano) training as a resource of professional competitiveness. The cognitive-reflective approach led to the introduction of the principle of activation of the artistic-cognitive sphere in the paradigm of polyartistry and the principle of gradual accumulation of experience of emotional attitude reflection and understanding of artistic images as content-projective dominants. The communicative-organizational approach contributed to the introduction of the principle of accumulation of communication experience in various roles and dispositions and gradual assimilation of communicative technologies in the organization of artistic projects. In accordance with creative-consolidation approach, the principle of gradualness in the acquisition of creative independence in the organization of artistic projects and the principle of gradualness in mastering project technologies on the basis of consolidation of one’s own creative resource were chosen. The concept of “artistically integrated project text” was introduced to the scientific thesaurus.
pedagogical principles of methodological direction
Phenomenon of future vocal teachers’ polyartistic awareness: scientific discourse
The article characterizes the phenomenon of polyartistic awareness of future vocal teachers. On the basis of regulatory documents, in particular State Standard of Basic Secondary Education and updated European Reference Framework of Key Competences for Lifelong Learning, and a significant array of scientific sources, the conceptual-terminological field of research on the phenomenon of polyartistic awareness is outlined. Its logical-semantic structure is substantiated on the basis of a definitive analysis of the categories “artistic”, “polyartistic” and “awareness”. A comparative analysis of a number of relevant dissertation studies related to the problems of musical-professional training is conducted. Investigations of Chinese students within Odesa scientific school are systematized in relation to its individual aspects, when art is integrated into the structure of professional qualities of future musical art and vocal teachers as an experience of artistic-figurative representations, artistic-pedagogical proficiency, artistic-cognitive competence, artistic erudition, artistic-projective skills, etc. Peculiarities of the future vocal teachers’ polyartistic awareness impact with works of various types of art in their synergistic unity on the quality of perception and interpretation of vocal opus, creation of bright artistic images, are highlighted. Comparative analysis of current dissertation researches, related to the problems of musicprofessional training, and systematization of researches of Chinese students within the Odessa scientific school and their classification made it possible to reveal the interference of polyartistic awareness in the training of future vocal teachers. This is the experience of artistic representations, artistic-pedagogical skill, artistic-cognitive competence, artistic education, artistic-project skills and so on. The impact of multi-artistic awareness of future teachers on the quality of perception and interpretation of vocal opus, on the ability to create bright artistic and musical images thanks to the synergistic unity of the figurative sphere of various types of art are characterized. However, methodologicalсопис issues related to the organization of the process of formation of multi-artistic awareness of future vocal teachers require further research, the results of which will be covered in future publications.
Hermeneutics of musical works in the context of the interpretive activity of a teacher of artdisciplines: an acmeological dimension
The topic of the paper is the hermeneutical aspects of musical works in the context of the interpretive activity of a teacher of art disciplines. The article examines the problem of the acmeological dimension of the hermeneutics of art in the context of the interpretative activity of the teacher of art disciplines. The formation of the theoretical and methodological foundations of hermeneutics as a universal theory of understanding is considered in the context of the Western European philosophical tradition. It has been established that hermeneutics, as the most important branch of humanitarian knowledge, the sphere of spiritual and rational human activity, enables the extrapolation of its ideas into the sphere of higher art education. In this regard, the significance of the introduction of hermeneutic teaching and its methodological principles into the field of musical and performing arts, which significantly expands the horizon of the professional activity of the teacher of artistic disciplines, is revealed. It was determined that the hermeneutic approach to the interpretation of a musical work contributes to overcoming the alienation of the spiritual world of the artist's personality from the object of knowledge, which directs him to the valuable aspects of musical performance in order to achieve the acme of professional skill. It is emphasized that under these conditions, the interpretation of a musical work appears as a continuous process of understanding and selfunderstanding, improvement and self-improvement, realization and self-realization on the path of the ascent of the artist's personality to its peak level. It is substantiated that this gives the hermeneutic concept in the content of higher art education an acmeological-centric methodological direction and directs to further scientific research.
Professional training of future music teachers for the aesthetic competencies formationof younger children in primary school
The professional training of future teachers of music involves the formation of aesthetic competences of pupils in primary school, as well as the awakening of their interest in art. Mastering of integrated learning technologies by music teachers will contribute to building their consciousness in a broad direction. The success of implementing these ideas depends on increasing the motivation and pedagogical skills of teachers. The full-fledged practical implementation of the requirements of the New Ukrainian School makes it necessary to develop a number of music-art subject competencies. This requires the development of appropriate interdisciplinary methodological principles. The article reveals the specifics of the professional training of future music teachers for the formation of aesthetic competence of pupils in elementary school, awakening their interest in art, involvement in music and artistic and creative activities; the development of aesthetic tastes, a sense of responsibility for preserving the cultural heritage of society, a holistic worldview; intellectual and spiritual formation of the personality of a junior pupil. It is emphasized that the integrative aspect of art education requires the ability to develop complex knowledge, synthesis of arts, transfer of some ideas, methods and techniques from one science to another, which provides future music teachers with a creative approach to musical and artistic-aesthetics. Interdisciplinary connections in the process of training students of art faculties with the specialty "Musical Art" were analyzed. The results of the training of future music teachers for the complex use of art and creative and interpretive work with pupils in elementary school are highlighted.
Integrative and axiological construct in the practical work of studentswithin professional training them as music teachers
At the current stage of the development of art education, a student of a higher education institution must acquire a system of universal knowledge that will help him successfully adapt to the future job. Mastering professional skills of a future music teacher in relation to the European requirements of a higher school involves expanding the range of types of his professional activity. The structure of this pedagogical complex includes interrelated and interdependent related professions that a music teacher should embody. He must have the qualities of a didactic, methodologist, psychologist, musician-pedagogue and musicianperformer, educator-mentor and others. The purpose of this publication is the theoretical and methodological substantiation of integrative technologies; and highlighting the features of the integration and axiological construct in the structure of training future music teachers to work with students. The article reveals the peculiarities of the integration and axiological construct of training students of arts faculties of pedagogical universities for practical work with students. The complexity and complex nature of professional tasks that must be solved by a modern specialist are shown, covering knowledge and skills from various branches of science for successfully mastering various types of cognitive and creative work with students. It is emphasized that the integration-axiological aspect of art education provides for the ability to comprehensively consolidate knowledge, synthesize it, transfer ideas and methods from one science to another, which provides future music teachers with a creative approach to artistic and musical education. From the standpoint of the interdisciplinary dimension, the transdisciplinary connections in the process of training students of the faculties of arts in the specialty "Musical Art" were analyzed. The results of training future music teachers for creative and interpretative work with students are highlighted.0%2028.pdf
creative and interpretive work with students
Problems of professional training of future masters of music in modern conditions
The article highlights the contradictions that were developed in artistic professional education at the master’s level, determines the possibilities of their solution. It is emphasized that the formation of holistic knowledge in future masters due to the integrative nature professional training and the future professional activity of the teacher. Therefore, the process of formation knowledge, abilities and skills should embrace scientific and theoretical and artistic and performing aspects training of specialists and based on regularities of the development of the art system, the logic of associative thinking and psychological mechanisms of the whole and psychological mechanisms of the whole. Relevance clarified concepts of mastery instrumental learning methods, the essence of which is in the integration of various tasks professional training of a master’s student so that he was always ready to improvement of own knowledge and skills. The importance and necessity is emphasized integration of knowledge, development of polyartistic erudition, professional competences, a targeted strategy of the entire training of master’s students. Attention is drawn to the leading the teacher’s role in content in content and organization of the educational process. Among the leading factors of overcoming the contradictions that have arisen in art education, in our opinion, it is important to consider the following: the implementation of intensive ways of improving the educational process; the expansion of individualized and creative forms of training of master's students; the harmonious and rational coordination of educational and practical activities of future teachers. Overcoming the outlined problems is closely related to improving the qualifications of teachers
Axiological concept of artistic education of students of art faculties
The purpose of this publication is the theoretical and methodological substantiation of the axiological concept of professional training of students of the faculties of arts. It is advisable to consider the problems of modern art education from the angle of the value attitude of students of the faculties of arts to the perception of works of musical art in their axiological essence. The subject-structural analysis of the studied phenomenon determines the specification of the essence and content of the axiological concept of professional training of future music teachers. Solving the problem of effective axiological development of future music teachers is closely related to the degree of development of their professionalism and the effectiveness of performing productive activities of the students. That is why the axiological concept of education acquires a paradigmatic significance in terms of its content, which allows solving urgent tasks in the field of art education. The article reveals the features of the axiological concept of artistic training of future music teachers. The possibilities of wide use of the axiological concept in the educational process of future teachers of musical art have been revealed due to the direction of its content, forms and methods to the formation of high-quality professional preparation for productive activities with students based on the organic system of value orientations. It has been found that the value attitude in the process of mastering art is the basis for preparing an individual for co-creation. The basis of the understanding of this process is the understanding of the value attitude towards works of art as a characteristic feature of the creative activity of an individual, which is the basis of the implementation of subject-object relations in practical activity. It is distinguished that artistic and musical values are the result of spiritual mastery of the personality by works of art, awareness of their content, aesthetic form, implementation of a deep musical and pedagogical analysis of works of art.
Transfession training in higher arts education
Important direction in the modernization of art pedagogy is the solution of the problem of transferable training of specialists in higher education institutions. Structural model presented in the article reveals possible directions of branching of art pedagogical education into performing, pedagogical, educational and sound directing aspects, highlights the basic principles and technological support of transfessionalization of art training of students, criteria and indicators of efficiency of transfusion training. Fundamental importance of functional-motivational, axiological, creative and reflexive factors of learning optimization emphasized. Particular attention paid to the practical direction of education on the basis of parallel implementation of informative and problem-solving teaching methods; to the use of direct interpersonal and electronic remote methods of communication between teachers and students; to the use of self-immersion techniques and at the same time to achieve communicative openness of future specialists. Emphasized that transferable training can be effective in terms of ensuring freedom of choice and at the same time involving students in the implementation of unified educational tasks. Promising directions of development and renewal of art pedagogy are such as research of methodological determinants of art education, problems of universalization of students' educational actions in the field of art, possibilities and prospects of application of distance educational technologies in teaching art disciplines, multicultural landmarks of art education development formation of personality in modern conditions.
Тhe history of the development of flute art.
In the article, the theoretical and practical substantiation of a complex study of the history of the development of flute art is carried out, which determines its relevance for modern artistic and pedagogical practice. The ways of the origin of the flute, its development from ancient times to the present are analyzed. The historical retrospective presents the structural changes of flute instruments, in particular the structural features of the flute of the 18th century and the modernization of the flute in the 19th and 20th centuries: by making numerous changes in the design. The role of J. Kvantz and T. Böhm in the development of flute art is noted. The works of foreign (J. Kvants, J. Tromlitz) and Ukrainian (Y. Kachmarik, I. Yermak, Y. Karpyak, M. .Piertsov) researchers, the composer's contribution to the development of flute art is considered. Special attention is paid to the Ukrainian flute school, the formation of which is connected with the opening of conservatories in large cities (Kyiv, Kharkiv, Odesa, Lviv) and the development of composer practice.
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The evolution of theoretical aspects of the development of historyof clavier art of the XVI-XVII centuries
Every pianist, an outstanding master performer or just a student, feels the influence of those aesthetic, stylistic, pedagogical, methodical principles of various theoretical directions to which his teachers belonged. Their influence is reflected in the process of teaching to play piano, as well as in the created methodical manuals and theoretical treatises. This applies both to ancient medieval generalized treatises on music, and to modern specific methodical recommendations for teaching to play the piano. It is natural that not everything in these theoretical works seems logical for the modern reader, some statements of the masters of the past have an echo of ideas that represent an already passed stage of the development of human thought. Something seems outdated at the modern level of the theory of piano pedagogy, both general and professional. But the best ideas of musicians remain relevant for centuries. We always communicate with outstanding artists of different eras as if we were contemporaries, often even as with our closest friends, we can ask advice on difficult questions and always find answers (!), first of all professional ones, for our speciality. Different points of view of prominent figures make it possible to understand the thing in a historical perspective, which in turn warns us against the most common mistakes of our predecessors. At the end of the Middle Ages and in the era of the early Renaissance, the specificity of teaching clavier was determined by the fact that the main instrument of evolution was the organ that dominated in church music and in everyday life - in the concert halls of palaces, city magistrates, universities, collegiums, lyceums and gymnasiums; later, reduced to a harmonium, entered the small houses of local citizens and village teachers. Almost all clavier music was created for organ, which had the functions of an ensemble, accompanying and solo instrument, and was most suitable for improvisation. Teaching methods are concentrated on the education of organists, during the 16th-18th centuries it takes into account the requirements of musical education of any clavierists, harpsichordists, virginalists, etc. The training of a clavierist was multifaceted: in addition to mastering the specifics of playing the instrument, attention was directed to the education of a versatile musician - a teacher and performer who knows improvisation and composition, skillfully performs and teaches the basics of the craft for an organist-clavierist, for vocal skills (solo singing and choir), for a conductor-concertmaster, ensemble player, choir regent. In these times, the art of organ and clavier performance is divided into ecclesiastical "spiritual" and secular "civil" art, strict canonical and flexible democratic art, they are also separated in the life of society. The needs of life dictated the tasks of musical education: students, in addition to performing skills, had to master the ability to transpose vocal and orchestral works to clavier (organ), make clavier transcriptions; to decorate the accompaniment and to ornament choral works with "possible and beautiful diminutions" (shredded durations) resembling musical laces. The creation of one's own music existed in two forms: written on paper and in the form of improvisations, from small impromptu pieces to large, developed works of long music-making on themes... The stage of a unified organ and clavier pedagogy prevailed until the end of the 17th century. And already in the 18th century organ and harpsihord art were clearly and definitively separated from each other. The organ almost does not leave the church doors, and the clavier (in all its national varieties) acquires the status of the main civilian instrument: the harpsihord on the concert stage and the clavicord in domestic music making. A new stage begins in the history of clavier pedagogy: separated teaching of playing organ and playing clavier. Accordingly, two separate branches of musical-pedagogical skill are developing: separate harpsihord education, which will evolve into piano in the future, and organ education, which has remained in its tradition. However, almost every pianist with a short additional training will successfully play organ, and vice versa, all organists once started learning piano and can play piano pieces. During the XVII-XVII centuries the objectified renaissance clavier art acquires a subjective style, where the personal traits of the performer are individualized, where it becomes important not only "what and for whom" the musician plays, but also which performer performs. The tradition started at that time exists to this day, when the majority of the audience in a concert/theatre hall wants to listen to a specific performance of this one and not another musician (instrumentalist, vocalist, conductor). Piano pedagogy was born relatively recently, but it is already more than 200 years old, when the grand piano, replacing the harpsichord, took its place in musical life: on the concert stage, in pedagogy, home music making, ensemble playing, opera accompaniment, etc. Piano learning methods almost immediately acquired a very high level of professional qualification, which is explained by the previous history of the development of art of playing keyboard, first of all, the harpsichord and the organ, the follower and inheritant of which became the grand piano. Therefore, piano pedagogy can be considered one of the further stages of the long-term evolution of the theory and practice of teaching clavier art. Although the musical repertoire for organ and harpsichord until the 17th century already has separate genre bases (religious-concert large form for organ, dance suites, landscape and portrait miniatures for harpsichord), they constantly interact throughout its existence. In the same way, no matter how different the national creative schools of the Netherlands, Italy, Spain, France, England, and German city-centers are, everywhere polyphonic genres are headed towards the fugue, and the methods of variational development permeate forms, even purely improvisational (first of all for organ), as toccata and fantasy. Improvisation, which is the main essence of organ art, evolves simultaneously not only with the reorientation of genres, but also with the progressive development of individual national piano schools in the direction of their mutual enrichment. But the conflict between the performing needs and the keyboard instrument of limited capabilities grew and required the invention of a new clavier, which at the beginning of the 18th century becomes a piano.
evolutionary processes of music education