Науковий часопис Українського державного університету імені Михайла Драгоманова. Серія 14. Теорія і методика мистецької освіти
Full description of the journal at: https://sj.udu.edu.ua/index.php/tmae/uk/about
Piano training as a space for the development of artistic and expressivethinking of artistic education students.
In the article, the author theoretically substantiates and reveals the essential potential of piano training as a holistic educational and creative space aimed at the active development of artistic and expressive thinking of art education students in the conditions of modern human-centric educational transformations. The theoretical understanding of the outlined phenomenon is based on the involvement of an integrative methodological framework that combines philosophical-phenomenological, axiological and systemic-activity approaches with specific scientific provisions of art history and psychological and pedagogical science. In such a scientific discourse, the process of learning to play the piano is considered not as a reproductive training of the motor-technical apparatus, but as a multidimensional strategic environment aimed at the formation of an artist-intellectual. The specified model of instrumental training is focused on overcoming mechanical copying in performance, activating the deep reflection of the student and forming his ability to independently decode complex socio-cultural and artistic meanings of the musical text. In the article, the author characterizes the structural and content integrity of artistic-expressive thinking, which unfolds through the interaction of axiological, metaphorical and dialogical components, where each element of the musical fabric is filled with transcendent meanings. Using the example of a wide repertoire range of world and domestic classics, the functional polyphonic nature of this type of thinking is demonstrated, which encompasses the complementarity of communicative, cognitive and cathartic functions, which ensures the transformation of the personality of the performer and the listener. The author pays special attention to the justification of innovative methodological tools, which include methods of artistic-hermeneutic analysis, orchestral modeling of texture, artistic recoding based on inter-artistic analogies, as well as stimulation of improvisational activity and performance variability.
Copyright (c) 2026 Алла Миколаївна Грінченко (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Creative self-realisation of future vocal teachers inthe context of contemporary art education.
This article examines the issue of creative self-actualisation among future vocal teachers in the context of contemporary arts education. It justifies the importance of fostering a creative personality in future specialists, enabling them to engage in productive vocal performance and teaching activities. The essence of the concepts ‘self-fulfilment’, ‘creative self-fulfilment’ and ‘self-actualisation’ is explored, and their significance for the professional development of future vocal teachers is identified. The author presents an interpretation of the essence of the academic definition of ‘creative self-fulfilment of a future vocal teacher’. The paper analyses the characteristics of contemporary arts education, in particular the competence-based, student-centred and creative-activity-based approaches, which provide the conditions for the development of the creative potential of higher education students in Ukraine. A definition of the concept ‘competence’ is provided. Emphasis is placed on the role of vocal pedagogy and concert performance in fostering professional independence, reflectiveness, interpretative skills and the capacity for continuous self-improvement in future vocal teachers. The significance of creative interaction between participants in the educational process (the teacher, the accompanist and the student) and the use of modern educational technologies in solo singing classes is highlighted as important factors in the creative self-realisation of future vocal teachers. The article examines the post-doctoral research of contemporary scholars, which explores the aforementioned factors in the professional development of future music specialists. It has been concluded that the purposeful organization of the educational process at an arts education institution contributes to the realisation of individual creative potential and the development of a student’s own performance and teaching style at the second (Master’s) level of higher education, and ensures their readiness for a successful future professional career. At the end of the article, the authors outline the prospects for further research, which they see as lying in the justification, development and experimental testing of pedagogical conditions, methods and technologies aimed at ensuring the creative self-realisation of future vocal teachers during their professional training at higher arts education institutions in Ukraine.
Copyright (c) 2026 Ірина Степанівна Куліковська, Юлія Валеріївна Мережко, Ірина Валентинівна Семененко (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Pedagogical methods of forming expressivenessand dramaturgy of movement in the aspect of performance technique by José Limón.
The study is devoted to the analysis and systematization of pedagogical methods aimed at developing expressiveness and dramaturgy of movement in performers, based on the fundamental principles of Jose Limon's performing choreographic technique. In contemporary choreographic art, there is a growing need to develop the individual performing style of artists who will acquire both technical performing skills and the ability to fill plastic movement with deep meaning, emotions, and narrative integrity. The study analyzes the principle of weight. Lemon's technique uses gravity not as an obstacle, but as a driving force and expressive element. Fall and Recovery, transition from loss of balance (fall) to its return (recovery). Breathing as the engine of movement. Organic and consistent movement. Methods of working with space and relationships are considered The purpose of the study is to provide a theoretical justification and practical definition of effective pedagogical methods for developing expressiveness and dramaturgy of movement in the context of José Limón's performance technique. The practical significance of the work lies in the fact that its results can be used by choreographers to improve training programs in modern jazz dance, or by performers to deepen their understanding and technical mastery of the expressive means of Limon's technique, with the aim of creating more meaningful and emotionally rich choreographic works. Lemon's technique, known for its emphasis on the use of weight, falling methods, principles of restoring the dancer's breathing and body balance, and the organic connection between physical movement and the artist's inner experience, offers a unique pedagogical toolkit for the formation of professional skills of a choreographer-performer.
expressiveness of choreographic movements
Copyright (c) 2026 Михайло Андрійович Шютів, Оксана Борисівна Хижун, Артур Іванович Качук (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Pedagogical Conditions for the Formation of Artistic Images inMusicians-Performers Based on the Principles of Acting Skill
The article substantiates, systematizes and reveals the pedagogical conditions for the formation of a holistic artistic image in musicians-performers by involving universal principles of stage and acting skills in the process of professional training. It is proven that traditional academic teaching methods often focus on technical perfection, leaving out of consideration the deep psychological, semantic and emotional analysis of a musical work, which is key to creating a convincing artistic image. The study is based on an interdisciplinary synthesis of the theory of musical performance, pedagogy, as well as the general principles of theatrical action and stage psychophysics, adapting such basic acting categories as “supertask”, “action in circumstances”, “magic “if”” and “stage attention” to solve specific performance tasks. The article reveals the essence and subordinates to a single logic a complex of teaching methods, among which a special place is occupied by the method of "performance etude" – the perception of the work as a dramatic event, the method of "physical action" – the motivation of each gesture and movement of the apparatus and the method of "internal monologue" – the conscious structuring of the stage feeling. The proposed pedagogical conditions act as a holistic synergistic system that allows transferring the performing activity of students from the level of reproduction of musical text to the level of conscious artistic creativity and dialogue. As a result of the implementation of this methodological model, the musician acquires the ability to emotionally saturated, intellectually meaningful communication with the listener, which significantly increases the quality of interpretation, activates psychological memory, strengthens stage presence and stability, turning the performance of works into a full-fledged artistic event
Copyright (c) 2026 Лариса Владиленівна Чинчева, Артур Вікторович Пісковський (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Systems approach in formation of music teacher’s methodologicalcompetence.
The urgency of the problem is due to the contradiction between the need of forming music teacher’s methodological competence and the insufficient development of theoretical foundations and methodological support in this area of higher pedagogical education. The article defines the essence and substantiated necessity of involving a systematic approach to the formation of methodological competence of future teachers of musical art in the process of their musical and performing training. The methodological basis of the study is a systemstructural approach to educational practice and a method of conceptual modelling of the methodological competence phenomenon. One of the components of the constructed model of methodological competence of a future specialist in the field of music education is defined as an systemic understanding of the teacher's methodological activity. This provision determines the need to involve a general theoretical understanding of the system in the field of pedagogical knowledge. The role of L. von Bertalanffy and other scientists in the development of a systems approach in the education theory and practice is noted. The involvement of systems approach in music teacher’s methodological education is based on four fundamental principles of systems theory: universality, structurality, hierarchy and emergence. On the example of the specific method of piano pedagogy (a musical work performance on a silent keyboard), aspects of a multi-level system-structural analysis of the musical education method are demonstrated. It is revealed that the main systems quality of any method of musical education is its effectiveness, the ability to exert an appropriate influence on the student. It is noted that the involvement of a systems approach to the tasks of forming methodological competence of future music teachers provides the basis for the integration of pedagogical, musicological, cultural and psychological knowledge. Conclusion: in the formation practice of music teacher’s methodological competence, the leading role belongs to the systems approach. Its necessity lies first of all in the interpretation of this competence as a system integrity.
Copyright (c) 2026 Сергій Васильович Шип, Ван Сін (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Synergic Approach as the Basis of the Methodology for Forming PerformanceReliability of Instrumental Musicians
The article provides a theoretical justification and disclosure of the essence of the methodology for forming performance reliability of instrumental musicians based on the use of the synergistic approach as an integrative and nonlinear methodological platform of modern art education. It is proven that in the conditions of dynamic transformations of the socio-cultural space, traditional linear-reductionist educational paradigms are unable to ensure the stage stability of the performer, since the mechanical accumulation of isolated skills collapses in a situation of public performance under the pressure of stage stress. The author substantiates the expediency of interpreting performance reliability as a complex, open, dynamic system that functions on the principles of self-organization and integrates psycho-emotional, intellectual-auditory and motor-technical components. Within the framework of the proposed approach, the moment of the performer's appearance on stage is considered as a critical point of bifurcation, overcoming which ensures the transition of the psychoemotional sphere into a state of stable dominance, which directs the destructive energy of stress into a constructive vector of creative inspiration. The author pays special attention to the disclosure of the practical tools of the nonlinear teaching methodology, which involves passing through the natural stages of destroying destructive stereotypes and modeling extreme conditions of the real stage within the rehearsal process. The author proves that the introduction of a synergistic approach to art education lays new methodological foundations that allow achieving a unique effect, when the general concert readiness of a musician becomes qualitatively higher than a simple set of his individual technical or psychological skills.
Copyright (c) 2026 Володимир Федорович Черкасов (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Tools for pedagogical diagnostics of the artistic and figurative thesaurus of futurebachelors of musical art.
The article is devoted to the development of methodological tools for the pedagogical diagnostics of the level of formation of the artistic-figurative thesaurus in future bachelors of musical art during their piano training. The artistic-figurative thesaurus is viewed as an individual resource of artistic-figurative representations based on terminological, artistic-linguistic, semiotic, and emotional-aesthetic literacy. This resource forms the foundation of the verbal and associative-metaphorical vocabulary required when working on the performance interpretation of piano works. The article aims to theoretically substantiate and develop tools for the pedagogical diagnostics of the artistic-figurative thesaurus of future bachelors of musical art, which is formed on the basis of piano musical heritage. The criteria and indicators for evaluating the components and constructs of the artistic-figurative thesaurus are presented as diagnostic tools. The study substantiates the feasibility of applying the following criteria and indicators: The cognitive-textual criterion, with indicators including: the degree of mastery of musical-textual literacy; the artistic-contextual understanding of the means of musical expression (which evaluates the artistic-worldview potential of the musical thesaurus). The figurative-representational criterion, with indicators including: the degree of formation of emotional experience; the presence of skills for verbal explanation of an artistic image based on emotional-aesthetic perception. The performance-interpretative criterion, with indicators including: the quality of the performance reproduction of a verbalized figurative construct; the level of ability to interpret an artistic image according to the multicultural context within the performance process. Methods of pedagogical diagnostics and a classification of the formation levels of the artistic-figurative thesaurus of future bachelors of musical art are presented.
Copyright (c) 2026 Фен Шичао (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Formation of Performance Culture of Future Music Teachers in the Class of WoodwindInstruments.
The article examines the problem of forming the performance culture of future music teachers in the process of instrumental training on woodwind instruments. Special attention is paid to the understanding of performance culture as a complex integrative phenomenon that encompasses technical, artistic-aesthetic, interpretive and pedagogical components of the professional training of a future specialist. The peculiarities of instrumental training on the flute, clarinet, oboe, bassoon and saxophone, which necessitate the development of specific performance skills related to breathing, sound production, articulation, intonation accuracy and timbre expressiveness, are considered. The work defines a system of principles on which the process of forming the performance culture of future music teachers is based. Special attention is paid to pedagogical conditions necessary for the effective formation of performance culture. Such conditions include the creation of a specialized artistic and educational environment, the gradual formation of performing skills, the use of innovative pedagogical technologies, systematic pedagogical support, the development of reflective and analytical abilities of students, as well as their involvement in stage and ensemble practice. The importance of concert activity, participation in competitions, festivals and collective music-making as important factors in the development of artistry, performing responsibility, stage stability and professional self-realization is emphasized. The study proves that the formation of performing culture of future music teachers is a holistic, stage-by-stage and multi-component process, the effectiveness of which is ensured by the complex interaction of technical, artistic, interpretative and pedagogical components of professional training.
pedagogical conditions for the formation of performance culture
Copyright (c) 2026 Іван Ярославович Пташник (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Festival and competition movement in the cultural and artistic space: genesis andmodernity.
The article highlights the essence of the festival-competition movement as a cultural phenomenon and a phenomenon of art education. The stages of the formation and development of art competitions and festivals from ancient ritual holidays and street competitions to large-scale socio-cultural events are considered. The functional features of the festival and competition movement in the modern cultural and artistic space are determined. The importance of implementing educational, cognitive, presentational, identification, cultural, communicative, mobilizational, recreational and relaxation functions is proven. Educational function involves the assimilation of socio-cultural values and norms, allows you to gain social experience; cognitive function provides familiarization with new pages of artistic culture and art, with new technologies for revealing artistic images, etc.; presentation function provides opportunities for revealing talents; allows participants to declare themselves, present their creative achievements, repertoire, etc.; identification function is realized when the participant feels part of the culture of his people, national identity; communicative function is expressed in the interaction of participants, artists; promotes the exchange of experience; ensures the creation of a wide field of artistic communication; cultural-creative function consists in stimulating cultural development, forming motivation to create new cultural programs, projects, etc.; the mobilization function involves the development of concentration skills, focus; the formation of strong-willed qualities, artistry, etc.; the recreational and relaxation functions are associated with festivity, the restoration of vital energy in cultural and artistic activities. Today, the festival and competition movement is an important component of the cultural and artistic space. It is a complex socio-cultural phenomenon that combines review competitions and festive artistic events, the main goal of which is the popularization of culture, creativity, exchange of experience, cultural communication.
Copyright (c) 2026 Людмила Іванівна Паньків (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Polyartistry as an Ontological Principle of the Synesthetic Comprehension of anArtwork.
Polyartism as an ontological principle of synesthetic understanding of an artistic work. Annotation. The article substantiates the theoretical and methodological foundations and practical aspects of the polyartistic approach, which is considered as the ontological principle of synesthetic comprehension of an artistic work by a person. It involves deciphering and living the artistic text through the interchangeability of auditory, visual and kinesthetic meanings. The relevance of the study is determined by the contradiction between the integrative nature of modern art and the fragmented nature of the autonomous teaching of disciplines to students of art and pedagogical education. It is proved that the ontological status of polyartistic interaction is based on the genetic unity of auditory, visual and kinesthetic dimensions of art, where synesthesia acts as a cognitive mechanism of intermodal meaning transfer. It is proved that the ontological status of polyartistic interaction is based on the genetic unity of auditory, visual and kinesthetic dimensions of art, where synesthesia acts as a cognitive mechanism of intermodal meaning transfer. The three-dimensional structure of the understanding of an artistic image is detailed: the theoretical-analytical dimension within the limits of artistic culture, the praxeologicalcreative dimension in the plane of choreographic modeling of sound, and the integrative-methodical dimension in the space of the translation of a holistic artistic experience. In practical terms, this strategy is implemented through a system of interconnected artistic and game methods. An end-to-end matrix of integrative interaction of adjacent interdisciplinary educational components is presented, which illustrates the mechanism of formation of integral artistic thinking and the ability to inter-artistic interpretation of the phenomenon at the border of the fields of knowledge "Education" and "Culture and Art".
Copyright (c) 2026 Людмила Василівна Степанова (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Methodological Aspects of TeachingArts Disciplines in a Foreign Language in Higher Education (A Case Study of “Choral Studies and ChoralArranging”
The research substantiates the necessity of modernizing the methodical training of future art specialists in the conditions of globalization of the educational space. Attention is focused on the role of the course "Choral studies and choral arrangement" as a basic component of the professional development of a music teacher, which synthesizes theoretical knowledge and practical vocal, conducting and choral skills. It has been proven that modern market requirements lead to the need to develop promising models of training for higher education applicants, which combine professional training with foreign language communication. It was determined that the integration of the English-language component into the teaching of art disciplines is the key to overcoming communication barriers and successful self-realization of specialists in the international professional environment. Both the professional and personal vector of development of future specialists directly depends on this. Possibilities of teaching the course "Choir studies and choral arrangement" in English have been revealed. Staged work on basic concepts and their definitions in Ukrainian and English is presented, the amount of theoretical material necessary for full mastery of the course in English is determined. It is emphasized that assimilation of theoretical material is possible only under the condition of assimilation of knowledge from the main profiling disciplines of the specialty. A complex of educational and methodological materials for the disciplines of the choral cycle is proposed, in particular, a step-by-step teaching method for the course "Choral Studies and Choral Arrangement" for students of art majors in English. In particular, a part of the glossary is presented, which covers key terms from the courses "Choral Studies and Choral Arrangement", adapted for bilingual use. The proposed addition is aimed at developing communication skills in a multicultural environment on the basis of dialogue.
Copyright (c) 2026 Ірина Сергіївна Сідорова, Діана Володимирівна Стребкова, Ілона Володимирівна Науменко (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
The Phenomenon of Anatolii Kondiuk’s Creative Activity in the Context of theDevelopment of Choreographic Art in Vinnytsia Region
The article presents a comprehensive analysis of the creative and pedagogical activity of a Ukrainian choreographer as an important factor in the development of the regional artistic space of Vinnytsia region. Particular attention is paid to the formation and evolution of folk-stage choreography in Podillia during the second half of the twentieth and the beginning of the twenty-first century. The study highlights the role of choreographic art in preserving national cultural traditions, strengthening regional artistic identity, and developing the professional system of dance education in Ukraine. The research examines the choreographer’s contribution to the establishment of artistic collectives, the development of stage productions, and the formation of a professional educational environment for future choreographers. The significance of choreographic pedagogy in shaping students’ artistic worldview, creative individuality, stage culture, and professional competencies is substantiated. The article emphasizes that the artist’s pedagogical approach combined high professional standards with attention to the personal and creative development of students, which contributed to the emergence of a new generation of dancers and teachers in the region. Considerable attention is devoted to the activity of the Academic Song and Dance Ensemble “Podillia,” whose artistic growth and transformation into an academic ensemble became possible due to purposeful creative leadership, renewal of repertoire policy, and synthesis of traditional folk choreography with modern stage forms. The study analyzes the choreographic productions created for the ensemble and outlines their artistic, educational, and cultural significance. The productions are characterized by emotional expressiveness, dramaturgical integrity, and reliance on Ukrainian folklore traditions interpreted through contemporary scenic aesthetics. The article also examines the role of children’s choreographic studios and professional educational institutions in the formation of a continuous system of choreographic training in Vinnytsia region. It is established that the artist’s activity significantly influenced the development of regional choreographic education, the professionalization of dance art, and the expansion of the cultural space of Podillia. The study concludes that the phenomenon of the choreographer’s creative activity lies in the harmonious combination of artistic creativity, pedagogical practice, organizational work, and cultural mission. His contribution to the preservation and modernization of Ukrainian folk-stage dance is regarded as an important component of the national cultural heritage and contemporary choreographic art.
Copyright (c) 2026 Євгенія Сергіївна Пахольчак (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
The Formation of Piano Performance in thePodil Region
The article is devoted to the history of Ukrainian culture, an important component of which is the piano performance of the Podolsk region. It is noted that its development was influenced by historical conditions, geographical location and political circumstances. It was revealed that at the end of the 19th and beginning of the 20th centuries, a national conservatory, a symphony orchestra, a philharmonic society, professional musical societies and unions functioned in Kamianets-Podilskyi. Pianists A. Kotsipinsky, V. Zaremba, V. Zentarsky, M. Zavadsky, T. Hanytskyi were actively engaged in composing and teaching. In Vinnytsia, the development of piano performance is associated with the opening of music classes, studios, schools, and a piano factory in the early 19th century. The most famous composers and piano teachers were I. Kozlovsky and T. Bezugliy. All of them received their education from leading European teachers (R. Zentarsky – student of J. Elsner, V. Zentarsky – student of S. Moniuszko, I. Kozlovsky – student of J. Field, T. Hanytsky – student of J. Dont). Their contribution to the development of piano art in the Podolsk region was noted. R. Zentarsky and V. Zentarsky – created a piano repertoire for home and salon music making and teaching; A. Kotsipinsky – founder of piano teaching and concert performance; V. Zaremba – founder of a new genre of piano fantasy on the theme of Ukrainian folk songs; M. Zavadsky – created original composer samples (dumky, shumky, chabarashky); I. Kozlovsky – founder of the Vinnytsia music school; T. Bezugliy; founder of piano professionalism, author of the first works on Shevchenko themes in Ukrainian piano music. The importance of using the works of these composers in the practice of training teachers of music art is emphasized.
Copyright (c) 2026 Наталія Георгіївна Мозгальова, Олена Євгенівна Верещагіна-Білявська (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Characteristics of the integrative focus of higher music education in Great Britain
The article examines various aspects of higher music education in the UK in the context of an integrative orientation. They are manifested in the combination of educational systems and the integrated teaching of special subjects. Studying higher education in the UK, the author emphasizes its tendency to strengthen the social function, which is important for the development of English society. In this context, music education in the UK is considered within the socio-cultural environment and involves understanding music as a component of general culture. The article notes that professional music education is at a high level of development and is oriented towards the highest world standards. Its feature is that all universities of the country are united by a common state program and at the same time have a high level of autonomy in determining courses, programs and teaching methods. Based on the analysis of scientific literature, the author includes the Royal Academy of Music, the Royal College of Music, and the British and Irish Modern Music Institute among the best higher music educational institutions. The formation of professionals in these musical institutions is carried out on the basis of combining musical art with modern technologies, opening up new horizons for musicians-performers, composers and other figures of musical art. The integrative orientation of higher musical education in the UK becomes obvious and indicates the complexity in the implementation of various types of musical activity – performance of musical works, composition, improvisation, evaluation, listening and pedagogical applicatio
Copyright (c) 2026 Наталія Миколаївна Згурська (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Creativity of Ukrainian National Culture as a Response to Today'sChallenges
The article highlights the creativity of Ukrainian national culture as an instrument of the Ukrainian people's resilience in times of trial, points out the ability of any national culture to promote the development of individual creativity, provided that national culture becomes the basis of a philosophy of life and is thoroughly studied in educational institutions at all levels. It also briefly outlines the problem of Ukrainians, defined as "what difference" (or refusal to choose) as a consequence of colonial and totalitarian trauma caused by repressions and famines-genocides. The names of the sixties (thanks to whom our national culture was preserved) and contemporary artists are named, who in their work are guided by the affirmation of their identity due to upbringing on national culture and national self-consciousness. Some types of Ukrainian national-spiritual achievements and consumer cultural heritage are considered. This was done to demonstrate how one or another type of national heritage can influence the consciousness of a young person and awaken them to creative thinking through a thorough knowledge of their national culture. The phenomenon of Ukrainian folk toys is separately considered as an example of a creative phenomenon of Ukrainian consumer culture, as well as paremias (Ukrainian proverbs and sayings), which were usually used in everyday communication and conveyed lived experience and were used in folk pedagogy. The article provides an example of an updated theatrical production of Hoffmann's "The Nutcracker" as a rethinking of the colonial musical heritage by involving Ukrainian creative youth, showing how this heritage can be reinterpreted and our national repertoire developed, enabling Ukrainian diplomacy to represent our culture in the world. The conclusions state that creativity is the driving force of national culture, thanks to which it (national culture) is transformed and enriched with new forms
Copyright (c) 2026 Алла Анатоліївна Кульбаба, Галина Віталіївна Савченко (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Specifics of Training Conductors forBandura Ensembles in the Context of Contemporary Music Education.
The article presents a comprehensive analysis of the specific features of professional training for conductors of bandura ensembles as a distinctive type of vocal-instrumental collective. It is substantiated that the training of a conductor in this genre requires the integration of instrumental performance, vocal-choral, ensemble, pedagogical, and organizational-communicative competencies. The study reveals that a bandura ensemble represents a unique artistic group that combines the characteristics of both a choral ensemble and orchestral performance. It is demonstrated that bandura performance has historically evolved as a synthetic genre in which singing and instrumental accompaniment exist in inseparable unity, and this feature determines the specificity of the conductor’s work. It has been established that a conductor of a bandura ensemble must possess not only conducting technique but also skills in working with vocal ensembles, a thorough understanding of bandura performance practices, knowledge of balancing vocal and instrumental textures, and proficiency in organizing the rehearsal process under conditions of performers’ multifunctional activities. Particular attention is paid to the phenomenon of simultaneous singing and playing the bandura, which creates increased psychophysiological demands on performers and requires conductors to apply specific approaches to ensemble formation, temporhythmic organization, and coordination of the creative process. The article also examines contemporary trends in professional music education associated with increasing demands on conducting mastery, the expansion of repertoire diversity, and the necessity of interdisciplinary training for future leaders of artistic ensembles. It is proven that practical work with an ensemble plays a crucial role in the professional preparation of future conductors of bandura ensembles, as it contributes to the development of professional experience and an individual artistic style.
Copyright (c) 2026 Андрій Миколайович Козачок, Олександр Васильович Олексієнко, Артем Олександрович Олексієнко (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Innovative Digital Tools in the Professional Training of Future Teachers of Musicand Choreographic Arts.
The article is devoted to the consideration of one of the urgent problems of higher education pedagogy, which is related to the introduction of digital tools into the system of training future teachers of musical and choreographic art. It is emphasized that in the conditions of rapid digitalization of modern society, teachers of musical and choreographic art, as well as students of relevant specialties, must not only possess theoretical knowledge of digital tools, but also be able to apply them in practice. The purpose of the article is to study the possibilities of integrating innovative digital tools into the professional training of future teachers of musical and choreographic art. The research of modern scientists who studied the issues of digital means as tools for professional training of future teachers is analyzed. The use of digital tools in the context of distance learning is considered. A wide range of modern digital resources necessary for the integration of not only group but also individual classes into the educational process is disclosed. Modern leading programs for writing musical material, its editing, sound recording, cloud storage and programs for distance learning are described. In particular, mixed methods (synchronous classes) and gamification options were analyzed. The features of the programs «Sibelius» and «Finale», «Ableton Live», «Logic Pro», and the capabilities of artificial intelligence were also considered. The introduction of the listed innovative tools into the process of professional training of future teachers of musical and choreographic art contributes to the formation of digital literacy among higher education students, which is necessary for further successful professional activity, increases motivation for learning, and also expands the practical tools, preparing future teachers of musical and choreographic art for the challenges of modern art education.
Copyright (c) 2026 Антон Дмитрович Гнатенко (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Specifics of musical and practical training of applicants forthe second (master's) level of higher education from the perspective of the theory of creativity
The article examines the methodical principles and pedagogical conditions for the formation of creative qualities of applicants for the second (master's) level of higher education during industrial internships (specialty "Musical Art"). The authors analyze the categories of "practice", "practical activity" and "practical training". In them the teacher-musician is the main subject of interaction with objective reality in the field of artistic creativity. The authors substantiate strategic approaches to the musical and practical training of students, propose principles of practical training for work in the artistic and educational sphere. Future teacher-musicians in the process of production practices master the basics of artistic and pedagogical skill, improve scientific and research skills, form an individual artistic style, gain experience communication in artistic collective, develop skills interaction with a listening audience. Researchers identify creativity as an important personal quality of a teacher, his ability to creative actions in new conditions or in variable educational situations. The following creative qualities are analyzed: the ability to generate ideas; flexibility of thinking, originality of creative searches, non-standard form and content of the creative product; ability to quick thinking actions (analysis, synthesis. comparison). The article reveals the features of the formation of creative qualities of master's students as future teachers-musicians in production practices (research, performing, scientific and pedagogical). Based on the analysis of the goal, tasks and content of master's practices, the following signs of artistic and pedagogical creativity are recommended: transformative style of thinking; developed intellectual abilities; problematic understanding of the artistic or educational situation; creative fantasy, developed imagination and motivating motives; ability to self-management and communication with others; high level of general and performing culture
musical and creative potential of the individual
Copyright (c) 2026 Тетяна Олександрівна Бодрова, Людмила Павлівна Степанова (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Methodological andperformance analysis of school music repertory works as a component of the professional training of an artteacher
The article deals with the methodological and performance analysis of works of the school musical repertoire as an integrative component of the professional training of future art teachers. The relevance of the problem of formation of higher education students' ability to holistically comprehend a musical work, its artistic and figurative content, performance features and pedagogical potential is substantiated. The essence of methodical-performance analysis as a complex process combining music-theoretical, performance, methodical and pedagogical aspects of the professional activity of the future art teacher is defined. The main functions of methodical and performance analysis in the context of music-pedagogical activity are disclosed, in particular cognitive, interpretive, practical, communicative and reflective, which ensure the conscious perception of musical material, the development of artistic thinking and the ability to creatively interpret musical works. Attention is focused on its role in the formation of professional competences of future art teachers, including musical-analytical, performing, methodical, pedagogical and communicative competences. Special attention is paid to the use of modern children's musical repertoire as an important factor in activating the educational and cognitive activities of students, increasing their motivation to study and developing musical and creative abilities. The specifics of the selection of educational material, taking into account the age, psychological and individual characteristics of students, as well as its compliance with modern artistic, aesthetic and pedagogical requirements, were analyzed. The importance of combining traditional and modern approaches to working with musical material in the process of professional training of future specialists is emphasized. The possibilities of implementing methodical and executive analysis in the educational process through practice-oriented forms of work, in particular project activities and creative competitions, are outlined. The significance of the integration of theoretical knowledge, performance practice and pedagogical experience for increasing the effectiveness of professional training of future art teachers, the development of their creative independence and readiness in the modern educational environment is emphasized.
Copyright (c) 2026 Людмила Павлівна Василевська-Скупа, Анетта Іванівна Омельченко, Наталія Євгенівна Кравцова (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
The Ukrainian Bandura: Typology and Regional Features
The article examines the Ukrainian bandura as a dynamic constructive and performing system whose development cannot be reduced to the instrument’s name, external shape, or regional designation. The relevance of the study is determined by the need to clarify bandura typology within the interaction of the traditional kobzar milieu, the academic stage, music education, factory production, and individual instrument making. Based on the works of M. Lysenko, H. Khotkevych, A. Humeniuk, I. Zinkiv, M. Khai, V. Kushpet, S. Lastovych-Chulivskyi, I. Skliar, A. Omelchenko, V. Mishalow, V. Dutchak, L. Cherkaskyi, L. Kyianovska, R. Hrynkiv and other authors, the article defines the main criteria for distinguishing bandura types: body construction, shape and position of the neck, number and function of bass strings and prystrunky, radial or parallel string layout, tuning, diatonic or chromatic organization, retuning devices and transposers, playing position, distribution of functions between the hands, sound production, repertoire, pedagogical practice and social environment. Special attention is paid to the relationship between the kobza, the old-world bandura, and the academic bandura, as well as to the Kyiv, Kharkiv, Poltava, Chernihiv, Lviv, and diaspora lines. The study shows that chromaticization, retuning mechanisms, factory-made models, and individualized concert instruments transformed not only the technical resources of the bandura but also teaching methods, posture, fingering, texture, timbral ideals, and repertoire priorities. Emphasis is placed on the Lviv school of Vasyl Herasymenko, his constructive experiments, Kharkiv-type models, and contribution to the professionalization of bandura art in Western Ukraine. The article argues that bandura typology should be interpreted in historicalconstructive, performing, and music-pedagogical dimensions, since only this approach connects the history of the instrument with the analysis of performance, education, repertoire and modern constructive solutions. This approach avoids reduction and treats the bandura as an open system of tradition, education, and innovation.
Copyright (c) 2026 Володимир Володимирович Войт (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Instrumental, vocal-choral and orchestral performance as an interdisciplinaryspace for the formation of professional competences of students of arts faculties
The article substantiates the psychological and pedagogical foundations for the formation of the professional competences of students of arts faculties by means of instrumental, vocal-choral and orchestral performance, considered as an integral interdisciplinary space of the professional training of a future musicianteacher. The essence of the concept of the professional competence of a student of an arts faculty is clarified as an integrated personal characteristic that combines artistic-performing, music-theoretical and psychologicalpedagogical knowledge, abilities and skills, value orientations, and the capacity to create an artistically convincing interpretive image by means of musical-performing activity. The place of performing competence within the structure of professional competence is determined, and its connection with the artistic-creative, cognitive-technological, operational-technical, communicativeensemble, motivational-value and reflective-evaluative components is revealed. The main types of musicalperforming activity used in professional training are characterized: solo instrumental performance, vocal and vocal-choral performance, conducting-choral activity, ensemble and orchestral music-making. The psychological and pedagogical conditions for the effective formation of professional competences are substantiated. It is established that instrumental, vocal-choral and orchestral performance fulfils not only an artistic-expressive but also an integrative-developmental function, ensuring the interdisciplinary synthesis of music-theoretical, historical-stylistic and methodological training, the development of musical thinking, performing will and the ability for collective artistic interaction. The generalization of the research results made it possible to outline promising directions for improving the professional training of students of arts faculties on the basis of the interdisciplinary integration of the types of musical-performing activity.
Copyright (c) 2026 Василь Федоришин (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Formation of Professional Competences of Future Film and Television CameraOperators (Cinematographers) by Means of Digital Technologies
Summary. The article substantiates the psychological and pedagogical foundations for the formation of professional competences of future film and television camera operators (cinematographers) by means of digital technologies in the context of the digital transformation of the screen industry and arts education. The essence of the concept of a cinematographer’s professional competence is clarified as an integrated characteristic of a screen-arts specialist that combines artistic-creative and technical-technological knowledge, abilities, and skills of camera craft, value orientations, and the capacity to create an expressive screen image by means of modern digital shooting equipment. The place of digital competence within the structure of a cinematographer’s professional competence is determined, and its connection with the artisticcreative, cognitive-technological, operational-activity, motivational-value, and reflective components is revealed. The main groups of digital technologies used in the training of camera operators are characterized: digital shooting equipment and optics, technologies of non-linear editing, color correction and color grading, virtual production (LED walls, game engines, camera tracking), computer graphics and visual effects, as well as electronic educational platforms and artificial intelligence technologies. The psychological and pedagogical conditions for the effective formation of the professional competences of future operators by means of digital technologies are substantiated. It is established that digital technologies perform not only an instrumental but also an artistic-developmental function, ensuring the individualization of learning, the development of visual and cinematographic thinking, and increased creative motivation. The synthesis of the research results made it possible to outline promising directions for the improvement of the professional training of film and television camera operators in the context of digitalization.
future film and television camera operators
Copyright (c) 2026 Сергій Григорович Борденюк (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
The Use of Information and CommunicationTechnologies in the Professional Training of Specialists in Artistic Specialties
The problem of self-education of specialists in artistic specialties is revealed in the context of philosophical, psychological, pedagogical research. Today, the information society cannot imagine its life without the Internet with its social communication and information resources. This explains the need to use elearning in the professional training of future specialists. One of the innovations in the educational process, in the context of the implementation of e-learning, is the use of ICT, in particular cloud technologies. As our research and our own experience of implementing cloud technologies in the educational process shows, it is appropriate in the professional training of future specialists in artistic specialties. The goal of self-education of specialists in artistic specialties is to achieve a high level of personal and professional development, as well as maximum approximation to the creative ideal. Today, their professional training is focused on continuous self-improvement, development of the ability to self-education, the ability to predict the results of their own professional activities and find effective ways to solve professional tasks using information and communication technologies. It has been proven that cloud technologies make it possible to distribute content on the Internet, that is, they contribute to the placement of their own text messages, photos, drawings and music files. The accessibility, openness, interactivity of cloud technology tools leads to collective use and communication both in online and offline modes, mutual use of text, multimedia and video resources by all participants in the educational process, which makes the process of self-education of specialists in artistic specialties meaningful, practice-oriented and contributes to the improvement of their professional competence
information and communication technologies
Copyright (c) 2026 Т.П. Зузяк, С.С. Кізім, В.В. Соловей (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Development of the creative personality of a future music teacher in the process of instrumental and performing training
The article emphasizes the important role of instrumental and performing training in the structure of the educational process of higher education institutions and its significant influence on the formation of the creative individuality of a future teacher of music. The relevance of implementing a cultural approach in the system of professional training of music teachers is highlighted. Particular attention is paid to the need to possess a high level of performing skills, a developed aesthetic taste, and deep knowledge of various types of art. Having analyzed the psychological and pedagogical literature, the author formulates the concept of «development of the creative personality of a future teacher of musical art in the process of instrumental and performing training» as a harmonious combination of individuality, creative motivation, abilities and skills. Based on the theoretical understanding of the problem and the study of pedagogical practice, a number of pedagogical conditions have been identified that contribute to the effective development of the creative potential of a future music teacher. Such conditions include: stimulating the desire for creative self-realization in performing activities; implementing an individualized approach into the educational process; integrating creative methods into the system of performing training; developing a reflective attitude towards one’s own activities and forming creative thinking of students.
professional training of future teachers of musical art
Copyright (c) 2025 Віктор Миколайович Лабунець (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Digital Educational Resources as a Means of Intensifying the Cognitive Development of Future Music Teachers
The article is devoted to the study of the possibilities of using digital educational resources as a means of intensifying the cognitive development of future music teachers in the context of the transformation of the modern educational space. The relevance of the issue is determined by the active implementation of digital technologies in higher education and the need to train specialists capable of effectively using innovative tools in professional music-pedagogical practice. The article reveals the essence of digital educational resources and characterizes their main types and functional capabilities in the context of professional training of future music teachers. Special attention is paid to the analysis of the impact of digital educational resources on the cognitive development of students, particularly musical thinking, attention, memory, imagination, as well as analytical and creative abilities. It is substantiated that the use of multimedia tools, interactive platforms, music software, virtual learning environments, and online services contributes to the activation of students’ cognitive activity, increases their learning motivation, and develops skills of independent search, analysis, and interpretation of information. It is determined that digital technologies ensure broader access to educational materials, create conditions for individualization of the learning process, and improve the effectiveness of mastering professionally oriented knowledge. It is established that the integration of digital educational resources into the system of art education contributes to the formation of digital competence of future music teachers, the development of their creative activity, and their readiness to apply modern technologies in professional practice. It is emphasized that the use of digital tools in the educational process ensures the intensification of individual cognitive development, improves the quality of training of future music teachers, and meets the current requirements of the digital society. It is concluded that there is a need for further improvement of methods for using digital educational resources in higher art education institutions in order to enhance the effectiveness of professional training of future specialists.
Copyright (c) 2025 Юрій Вікторович Шпильовий (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
The use of artificial intelligence models in the training process of future music teachers
The article substantiates the conceptual foundations for preparing future music teachers to apply artificial intelligence (AI) technologies. The research aims to bridge the existing gap between the technological accessibility of such systems and the lack of a didactic framework for their effective implementation in arts education. The evolution of integrating innovations into the educational process is structured through three paradigmatic models: the management of cognitive activity (AI as a knowledge transmitter), partnership interaction (the algorithm as a facilitator), and learner leadership. It is demonstrated that the latter model serves as a strategic benchmark, as it transforms digital tools into instruments of creative augmentation and maximizes the creative potential of future professionals. The study highlights that the strategic advantages of AI implementation include profound personalization of learning, the development of «smart campuses», and the optimization of distance education. Simultaneously, a key barrier is analyzed: the majority of modern educational applications are primarily geared toward basic cognitive levels (memorization, testing). The paper characterizes models of AI application and, to foster critical thinking and professional creativity, substantiates the necessity of transitioning to more sophisticated systems, such as simulation modeling, virtual reality, and gamification. It is concluded that the comprehensive integration of these technologies necessitates updating educational programs, resolving ethical and legal issues (particularly concerning academic integrity during the generation of musical content), and developing specialized platforms through close synergy between IT specialists and music professionals.
Copyright (c) 2025 Оксана Володимирівна Дульська (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Kuznetsova. Pedagogical conditions for forming the artistic image of performing musicians through acting principles
The article substantiates the pedagogical conditions for the formation of a holistic artistic image in performing musicians by integrating universal principles of stage and acting skills into the process of professional training, offering a transformative perspective on musical pedagogy. Traditional methods often focus on technical perfection, ignoring the deep psychological and emotional analysis of a musical work, which is key to creating a convincing artistic image. The research is based on a synthesis of the theory of musical performance, pedagogy, and general principles of theatrical action and stage psychophysics, adapting such acting categories as "stage goal", "action in circumstances" and "stage attention" to solve specific performance tasks, thereby bridging the gap between technical execution and authentic emotional expression. The proposed approach allows transferring performance activity from the level of reproduction of musical text to the level of artistic creativity. As a result of training, the musician acquires the ability for emotionally rich, conscious communication with the listener, which significantly increases the quality of interpretation and stage presence, making the performance not just a demonstration of skills, but a full- fledged artistic event that resonates deeply with the audience's aesthetic expectations. The authors have identified and detailed three key pedagogical conditions: the use of the "performance etude" method for the dramatic elaboration of the work; the involvement of "physical action" to combine internal intention with the motor apparatus; and the formation of "internal monologue" skills to structure the stage feeling, which collectively contribute to the professional sustainability of the performer. The proposed approach allows you to transfer performing activity from the level of reproduction of musical text to the level of conscious artistic creativity, ensuring that every nuance of the score is infused with personal artistic meaning. As a result of training, the musician acquires the ability for emotionally rich communication with the listener, which increases the quality of stage presence and makes the performance a full-fledged artistic event, strengthening the competitiveness of the modern performer in the global cultural landscape.
Copyright (c) 2025 Лариса Владиленівна Чинчева, Ольга Володимирівна Кузнєцова (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Interdisciplinary Studies on European Traditions in the History of Ukrainian Higher Musical Arts Education Based on the ’Theory of Pianism’ by Viktor Iwanowskyi (1880-1943)
The purpose of the publication. This research into the heritage of Viktor Henrikhovych Iwanowskyi (1880-1943; ISO9: Ivanovskyi) opens some forgotten pages of higher musical education within the theoretical works of the 1920-1940s. Among the lesser-known pianists, composers, and music historians in Kyiv, the figure of Prof. Viktor Iwanowskyi attracts special attention. This versatile theorist of piano performing art and musicologist worked in Ukraine from 1925 until the tragic year of 1943. His activities in Kyiv began after years of independent professional work abroad. He devoted the last eighteen years of his life to Ukrainian music culture, working across three closely intertwined institutions: the Kyiv Conservatory, the Kyiv Musical College, and the Mykola Lysenko Music and Drama Institute (the Theatric University). Professor V. Iwanowskyi was engaged in scientific research on arts and music-historical studies on pianistic methodic. He also taught piano, chamber ensemble, theoretical analysis, history of music (musicology), polyphony, and music composition. He established the course on the history of piano performing art and theory of pianism, authoring the book "Pianism Theory' (the Theory of Pianism) in 1927. His work was published with the subtitle "A Study of the Scientific Foundations for Piano Teaching Methodology". Paradoxically, while the musician is allocated a rather modest place in the history of Kyiv's musical life, the core feature of his views — his vision for the universitization of music art education — was adopted by his colleagues. These ideas were reflected in their professional activities and developed further, continuing the Ukrainian legacy of Mykola Lysenko (1842-1912), the founder of the Music and Drama School in Kyiv, rooted in the Leipzig-tradition of Conservatoire of his time. This circle included such prominent professors as Felix Blumenfeld, and Heinrich Neihaus (Neuhaus), Borys Liatoshynskyi (Lyatoshynsky) and Les Kurbas, who worked at the Mykola Lysenko Music and Drama Institute during different periods. This approach advanced the idea of the "Leipzig-tradition", combining the Conservatoire concept with University principles of Higher music school (Hochschule). Currently, it is very little known from the sources about his activities in Kyiv. Consequently, there remains an incomplete overview of Prof. Viktor Iwanowskyi's scientific and practice research legacy. The thematic breadth of his work is impressive, encompassing methodological articles, memoirs, and his critical responses to the works of other professors at the Mykola Lysenko Music and Drama Institute (the University of Theatre). In his book << Pianism Theory >>, Viktor Iwanowskyi explored the << synthesizing tendencies >> and multi-vector nature within the pianistic art of the Kyiv pianistic tradition, contextualizing it within the history of Ukrainian higher education in music art. He envisioned the continuation of European pianistic traditions through the perspectives of specific Kyiv pianist-pedagogues at the previously mentioned educational music institutions. The author of significant works dedicated to the methodology, history, and theory of pianism, he practically left no room for the Soviet ideology of "socrealism", which was dictated as the only acceptable method alongside and simultaneously with the establishment of the of Soviet educational system in music art. This ideological independence of the scientist served as an additional reason for the subsequent oblivion of this musician's name from the Kyiv's history of music. This paper highlights the need for continued study of Viktor Iwanowskyi's activities in Kyiv from 1941 to 1943. The considered works of Viktor Iwanowskyi encourage further attentive study of the 1940s period, a highly difficult period in Ukrainian history. During the Second World War, the Kiew Conservatorium partially continued its operations in the conditions under the occupation of the city by the forces of the Germanic Wehrmacht. The educational process in Ukrainian city was sustained by the faculty and students who were unable to evacuate. Memories from contemporaries regarding this period have been preserved in archival sources under the classification 'Top secret'. The subject of this study demonstrates the necessity to further investigate the role of Viktor Iwanowskyi in the Kyiv history and theory of pianism, particularly in the context of his academic musicological research and development of Ukrainian art methodology. It is of great scholarly interest to learn more about European-Ukrainian culture legacy in education and about communication this person with other musicians abroad. Significant information was found regarding collaborations of Viktor Iwanowskyi in Germanist-Ukrainian interaction in art and musicological studies with Grygoryi Beklemishev (1881-1935), as well as his correspondence with Emiliy Rozenov (1861-1936), and Raoul Pugno (1852-1914). The methodology of the research incorporates the classic research toolkit of the humanities, comparative-holistic studies, and a critical reassessment of the aesthetic analysis of concepts. A biographical approach is employed to extract valuable information from previously unknown archival sources that have not yet been cited or interpreted by other Ukrainian musicologists. Notably, the study introduces and analyzes the previously unpublished Viktor Iwanowskyi's autobiography from these primary archival holdings (1941). Conclusions and prospects. It stimulates research interest in further studying the legacy of this scientist, especially considering the musician's transition into one of the most tragic and complex periods in the course of Ukrainian history. Furthermore, the appendix to this article features a fragment of the aforementioned 1941 autobiography, alongside two photographs sourced from a lifetime anniversary brochure of the Institute where Prof. V. Iwanowskyi worked.
Leipzig-tradition in Kiew Conservatorium
Mykola Lysenko’s Music and Drama Institute
Copyright (c) 2025 Максим Володимирович Забара (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Improving the Musicianship of Students in the Process of Piano Training
The article emphasizes the importance of the educational resilience of art students, which helps them adapt to destabilizing conditions while maintaining their functionality, integrity, and ability to develop. This level of professionalism is considered in the spectrum of personal qualities, among which an important place belongs to musicality, that is, giftedness, which is manifested in various types of musical activity, in particular listening, performing and composing. From these positions, the problem of improving the musicality of students of art majors in the process of piano training is actualized. The views of well-known scientists in the field of psychology regarding musicality as an integrated ability necessary for occupations in various types of musical activity are disclosed. On the basis of their reasoning, the possibility of improving metro-rhythm, time-space and intonation sensitivity as important components of musicality of future music teachers is determined. The concepts of "rhythm", "meter", "time space", "tempo-rhythm", musical and auditory experience, "quality of musical sound" are considered, attention is paid to the formation of different types of phrasing in students depending on the styles and genres of musical works. Attention is drawn to the need to pay special attention to phrasing, finding the appropriate dynamics for each phrase, it is stated that the task of organizing the means and techniques of expressive performance must be solved individually each time. At the same time, attention should be paid to the interaction of articulation, dynamics, agogy, timbre sound, phrasing and pedalization. It was concluded that the quality of intonation and the spirituality of the performance depends on the level of musicality of the students. Its improvement contributes to accurate intonation, expressive articulation, artistic expressiveness of performance, coherence of motor and auditory reactions, therefore it should become an integral part of piano training of future music teachers.
Copyright (c) 2025 Ольга Пилипівна Щолокова (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Combining traditional and innovative teaching technologies to develop students'inner musical ear
In the conditions of the modern educational process in the field of art, the problem of developing inner musical hearing, which is a fundamental psychophysiological basis for the formation of musical competence of a performer, composer, conductor and, in particular, a music teacher, receives special attention. The concept of “inner musical hearing” means the ability to imaginatively, without an external sound stimulus, to perceive and reproduce a melody, harmony, rhythm or an entire musical canvas. This ability is the deep inner language with which a musician “reads” music, thinks with it, creates and interprets it. The development of inner hearing is also a prerequisite for the formation of intonation culture, accurate intonation in vocals, anticipation of musical material in playing an instrument, as well as for analyzing and comprehending musical text in solfeggio and music theory. According to the current “Concept of Art Education of Ukraine” (2021), the development of “musical thinking, auditory culture and creativity through an integrated approach using modern technologies” is among the priorities. Thanks to the widespread introduction of digital and multimedia technologies, the pedagogy of inner hearing has undergone significant transformations. Exclusively traditional methods have been replaced by adaptive, interactive and multimodal means that can significantly intensify the educational process. In this regard, there is a need to review traditional methodological approaches in teaching solfeggio, vocal and piano. This problem is especially relevant in the context of new educational standards, which require students not only to have performing skills, but also a high degree of musical thinking, auditory competence and analytical abilities. The first part of the article examines traditional methods for developing inner musical hearing as one of the key components of musical talent. A brief overview of the leading approaches to the formation of auditory representations in musical pedagogy is provided, in particular the methods of Kirnberger, Dalcroze, Kodai, and Orff. The principles on which these systems are based, their advantages, and pedagogical effectiveness in the context of developing the auditory thinking of a musician and vocalist are analyzed. The second part of the article considers the need not only to enrich the arsenal of pedagogical tools, but also to create a holistic system for developing inner musical hearing based on a combination of classical exercises, modern techniques, and computer-supported learning.
Copyright (c) 2025 Лариса Анатоліївна Теряєва (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0