Науковий часопис Українського державного університету імені Михайла Драгоманова. Серія 14. Теорія і методика мистецької освіти
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Pedagogical conditions and methods of forming a culture of creative communication in the process of professional training of a symphony orchestra conductor.
The article examines the pedagogical foundations of forming the culture of creative communication of a future symphony orchestra conductor within the context of contemporary art education. The relevance of the study is substantiated by the increasing importance of the communicative component in the professional training of conductors as artistic leaders of orchestral ensembles. The concept of the conductor’s creative communication culture is specified as an integrative professional quality combining interpretative, communicative, emotional-value, non-verbal expressive and reflective components. Contemporary Ukrainian and European scientific approaches to professional musical communication, artistic interaction and conducting pedagogy are analyzed. The main pedagogical foundations for developing the culture of creative communication of future symphony orchestra conductors are identified: integration of the emotional and value component into the professional training of a future conductor; phased formation of non-verbal professional communication; implementation of reflective practices and digital tools for professional activity analysis. Modern methods of developing creative communication culture are outlined, including artistic communicative dialogue, problem-based creative tasks, video reflection, collective discussion and interdisciplinary integration. It is proved that purposeful implementation of these pedagogical foundations contributes to the development of professional communicative culture of future conductors, their ability for creative leadership, artistic interaction and effective organization of orchestral performance.
Copyright (c) 2025 Андрій Ігорович Аркуша (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
Self-Regulation Techniques in the Content of Professional Training of Future Music and Choreography Teachers for Performance Activities.
The article examines self-regulation techniques in the context of the performance activities of future music and choreography teachers. The specifics of the professional training of future music and choreography teachers are analyzed, which involves the integration of musical-performance, musical-plastic, pedagogical, and artistic-communicative aspects. The main features of the performance activity of a music and choreography teacher are outlined: polystructurality, psychophysiological involvement, creative activity and initiative, communicative orientation, creative-interpretative character, and reflexivity. It is determined that the specificity of performance activity is manifested in the fact that, under conditions of stage performance or pedagogical interaction with students, significant influence on the teacher’s personality is exerted by factors of excitement, emotional tension, and stress, which can both stimulate and destabilize the performance process. Under these conditions, the necessity of integrating effective self-regulation techniques into the content of training future music and choreography teachers is substantiated; these techniques comprehensively combine achievements of music pedagogy, psychology of creativity, art therapy, and neuropsychology. It has been established that the readiness of future music and choreography teachers for self-regulation of performance activity holistically encompasses bodily condition, emotional-volitional sphere, thinking, reflection, and the ability for creative interpretation. From these positions, the functional grouping of selfregulation techniques (psychophysiological, cognitive-analytical, emotional-volitional, activity-reflective, and creative-regulatory) has been clarified and carried out; these techniques combine psycho-emotional, technical, artistic-interpretative, communicative, and stage aspects of performance activity. Such an approach makes it possible to consider self-regulation not as an auxiliary element, but as a key component of the professional competence of the future teacher-musician and choreographer.
Copyright (c) 2025 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.
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.
Stylistic Analysis of Musical Work in the Content of Professional Training of Students of Artistic Specialties: Theoretical and Methodological Aspects of the Problem
The theoretical and methodological aspects of the problem of stylistic analysis of musical works in the context of professional training of students majoring in arts are investigated. It is revealed that stylistic analysis of musical works is of particular importance as an important means of forming analytical and critical thinking, musical taste, interpretative culture, and professional competence of future specialists in the field of musical art. It is determined that stylistic analysis should become an effective means of forming the professional culture of future music teachers, combining musical performance, teaching methods and pedagogical practice. A review of musicology literature has shown that stylistic analysis is a key tool in the professional training of students of arts specialties, and its methodological principles are constantly being improved thanks to the research of contemporary foreign and Ukrainian musicologists. It has been established that the methodology of stylistic analysis is based on a systematic approach to the study of musical material, which allows students to identify individual and genre features of a work, determine the characteristic features of a composer's style, and establish connections between the artistic concept and the means of its implementation. Using a comparative analysis of Chopin's Prelude in E major No. 9 and Kosenko's «Lullaby» as examples, the methodological significance of stylistic analysis of musical works of different origins and genres is substantiated, which makes it possible to compare the specifics of musical language, expressive means, and pedagogical possibilities of their use in the educational process. It has been proven that it is the methodology of stylistic analysis that should provide students with a comprehensive understanding of a musical work, considering its artistic, stylistic, harmonic, melodic, rhythmic, and textural features, preparing future specialists for conscious performance, interpretation and musical-pedagogical activities.
Features of the formation of readiness of future teachers of music to lead collective music making of schoolchildren: essence and specificity
The article highlights the specifics and essential aspects of the process of forming the readiness of future music teachers to lead collective music making of schoolchildren. Based on the analysis and generalization of the above sources, students' readiness to lead collective music making is defined as an integrative professional and personal quality that reflects the ability, motivational attitude, and practical ability of a future teacher to organize, direct, and creatively coordinate the process of students' joint music making. Readiness combines a complex of knowledge, abilities, skills, professional competencies, emotional and value attitudes, and reflective qualities that ensure effective artistic and pedagogical leadership of a children's musical group. The specifics of forming students' readiness to lead collective music-making among schoolchildren are determined by the nature of art education and the peculiarities of collective music-making as a form of creative activity. The essence of the readiness of future music teachers to lead the collective music-making of schoolchildren lies in the integrative unity of professional knowledge, musical-performing and organizationalcommunicative skills, emotional-value attitude and creative activity, which ensure the teacher's ability to holistically, consciously and effectively organize, direct and develop the process of students' collective musicmaking as a means of their artistic, aesthetic and personal development.
readiness to manage collective music making of schoolchildren
essence and specificity of training to manage collective music making
Principles of disclosing the content of future musical art teachers’ vocal training in higher art education institutions
The article is devoted to the definition and substantiation of generalized pedagogical principles of the content of future musical art teachers’ vocal training and special-professional principles in higher art education institutions in certain educational conditions; the expediency of their implementation in the process of vocal training is substantiated. The application of the methodological orientation of vocal training is presented, which reveals the need for subjects of education for appropriate literacy, awareness of modern sound production techniques and teaching methods. Pedagogical principles and musical-professional provisions are revealed, which during vocal training are aimed at achieving high-quality vocal training of future musical art teachers, their interest in singing and acquisition of deep knowledge and practical competences of singing activity. Improving of the future musical art teachers’ vocal training is revealed taking into account the historical prerequisites for the formation and development of vocal training in Ukraine; they are specified in the essence and content of its structural components. The applied principles effectively influence the expected result under appropriate educational conditions, substantiated and revealed essential characteristics of the directions of the corresponding influence on the content of future musical art teachers’ vocal training. Generalized principles of organizing the content of vocal training are presented: scientificity, awareness, personification, integration of artistic and technical components and methodological orientation of training, which positively affect the achievement of the expected result in the chosen specialty in the conditions of vocal training of students in higher education institutions. An important indicator of a principle-based approach to revealing the content of vocal training of future specialists is the introduction of scientific approaches into this system. The specificity of the professional work of a musical art teacher determines the specifics of this training, the acquisition of important professional competences, among which vocalists distinguish the following: competent production of vocal breathing, clear articulation and diction, the use of adequate techniques of singing sound production, maintaining the purity of musical intonation, demonstrating their own unique performing manner, mastering techniques for preserving the vocal apparatus of singers of any age, etc. The essence of the fundamental provisions in didactics is determined by cause-and-effect relationships, the initial laws of the organization and content of training, including vocal training of future musical art teachers, adherence to the necessary methods, which ensures the effectiveness of problem solving.
Methodological Foundarions of Developing Musicality in Primary Scholoolchildren
The article substantiates the methodological foundations of developing musicality in primary schoolchildren within the process of piano education, emphasizing the importance of this phenomenon for the overall artistic and personal growth of children. Musicality is considered not only as a set of musical abilities but also as an integral personal quality that ensures the emotional, intellectual, and creative involvement of the learner in music. Particular attention is paid to the theoretical justification and practical application of three leading methodological approaches – the activity-based, learner-centered, and hedonic approaches. Their potential in the process of piano training is revealed, as well as the interrelation of these approaches and their possibilities for integration into a unified pedagogical system. The activity-based approach is shown to provide conditions for the development of skills through purposeful musical activity, forming the basis of independence and self-expression in performance. The learner-centered approach emphasizes the individual characteristics, needs, and interests of each pupil, allowing for the personalization of music education and the creation of a favorable learning environment. The hedonic approach, in turn, highlights the emotional and aesthetic component of musical activity, ensuring the development of interest in music, pleasure from artistic interaction, and the formation of value-based orientations. It is proved that the integration of these approaches makes it possible to overcome the limitations of each taken separately and contributes to a more holistic influence on the development of musicality in primary schoolchildren. Such integration creates pedagogical conditions that stimulate the independence of pupils, deepen their interest in music, and foster their ability to interpret artistic images. The study argues that a systemically organized pedagogical process, based on the synthesis of the above-mentioned approaches, ensures the effective development of musicality as a complex personal quality and provides the necessary prerequisites for further artistic and creative growth of the younger generation.
Peculiarities of endurance development in primary school children in choreography lessons
In the article, the authors consider the features of the development of endurance in younger schoolchildren in choreography lessons. International standards and domestic educational policy require society to raise a harmoniously developed child, among other things, where great importance is attached to physical development. In the context of researching effective and attractive methods of physical education of younger schoolchildren, choreography classes attract special attention of researchers. Choreographic art, integrating elements of rhythm, gymnastic exercises and dance movements, acts not only as a means of developing key physical qualities, such as coordination of movements, flexibility of joints and plasticity of the body, but also demonstrates significant potential in the context of the formation of general and special endurance of younger schoolchildren. Based on the analysis of the theoretical and methodological foundations of physical education, the article substantiates the effectiveness of the use of choreography for the development of various types of endurance in children of primary school age. In particular, the results of the study are presented, confirming the positive impact of systematic choreography classes on the indicators of aerobic and anaerobic endurance of students. The authors systematize existing approaches to defining the concept of "endurance" and reveal the mechanisms of its development in the context of choreographic loads. Particular attention is paid to the development of practical recommendations for integrating endurance exercises into the rehearsal process, taking into account the age and physiological characteristics of younger schoolchildren. In the article, the authors provide a detailed concept of "endurance", methods of educating physical qualities, and therefore endurance, and also provide practical recommendations for building a rehearsal process in the context of developing endurance
«The Christmas notebook» piano cycle by Mykhailo Synytsin: genre and style context
The article analyzes the piano cycle «Christmas Notebook» by M. Synytsin in a genre-style context. The structural, melodic, and harmonic features of the cycle are determined. It is noted that the musical art of the ХХІ century is characterized by genre-style transformations, the search for new means of musical expression. In this context, «Christmas Notebook» by M. Synytsin is a vivid example of understanding the holiday through the prism of an individual composer’s style. It is determined that the stylistic tendencies of Ukrainian piano art were studied by N. Dovgalenko, A. Kalashnikova, L. Kiyanovska, O. Ligus, R. Stelmashchuk, 3. Yuzyuk, and others. The works of A. Kalenichenko, I. Kokhanyk, O. Ligus, S. Shyp, and others are devoted to the study of genre and style. Methodological aspects of piano art were studied by N. Kashkadamova, I. Novosyadla, Yu. Portny, and others. The purpose of the article is to characterize the piano cycle «Christmas Notebook» by M. Synytsin, focusing on the features of the genre and style context. The collection of piano pieces reflects various events related to the holiday of Christmas in historical space and time – «The Star of Bethlehem», «Shepherds with the Lamb», «Three Glorious Kings», «The Old Year is Passing, the New Year is Coming» (celebrated on Basil’s Day), «Elder Simeon» (a symbolic meeting of the Old and New Testaments) and «Generous Evening» (a traditional New Year’s greeting at the end of the Holidays). The cycle begins with the piece «The Star of Bethlehem» – an image of a wonderfully shining heavenly light announcing the birth of the Savior. Its extreme sections, connected with the theme of the star, create a certain meaningful arch, in the middle of which a festive carol sounds solemnly in a bell-like tone. The next piece, «Shepherds with a Lamb» also has a poetic epigraph from the carol of the same name: «Shepherds with a lamb, before that child, kneel down, praising the Tsar-God». The «Christmas Notebook» is concluded with a jazz arrangement of «Generous Evening»! In form, these are almost classical variations. The theme of generosity appears in a low register in the second measure, as an establishment of rhythmic balance by chanting after a syncopation in the previous measure. M. Sinitsyn creatively rethinks traditional Ukrainian ritual songs of the winter cycle in a modern arrangement and interpretation. At the same time, the author preserves their traditional motifs.
Structural and functional model of the phased formation of artistic and creative experience of future choreography teachers
The article considers the problem of preparing future choreography teachers for professional choreographic activities and for the formation of their artistic and creative experience as a holistic, complex, continuous and phased process. A structural and functional model of the phased formation of the artistic and creative experience of future choreography teachers in the process of professional training has been developed, and its mutually coordinated components have been described. The structure of the formation of the artistic and creative experience of future choreography teachers is also substantiated as a set of interrelated components: motivational, emotional, cognitive and reflective, which complement the theory of artistic and pedagogical education
phased formation of artistic and creative experience
Levels of development of musical and performing communicative skills of students of higher artistic education
The article reveals the levels of formation of musical and performing communicativeness of higher education students, namely: professional (high), sufficient (average), initial (low) according to structural components (motivational-informational, spiritual-personal, reflective-constructive, empathic-heuristic, artistic-creative). The professional level is characterized by personal initiative, independence and activity in the process of instrumental training, personally selecting and offering certain works for the educational and pedagogical repertoire, as well as demonstrating the ability to independently design, construct and model an interpretative concept, defending one's own ideas and decisions before the teacher. The sufficient level includes students of the faculties of arts who situationally express certain wishes in the process of instrumental training, which relate, in particular, to the educational and pedagogical repertoire, interpretive work, etc., while not showing personal activity in the field of defending the freedom of their own desires. The initial level is characterized by the situational nature of expressing certain wishes in the process of instrumental training, which relate, in particular, to the educational and pedagogical repertoire, interpretative work, etc., while not showing personal activity in the field of defending the freedom of one's own desires. However, if any independent decision is made, and the consequences of this decision are negative, then for students of this level both emotional and rational non-perception of the specified negative consequences is characteristic. All levels of formation of musical and performing communicability are given qualitative and quantitative characteristics.
Peculiarities of teenagers’ creative-stage activities in the Ukrainian folk music ensemble
The article characterizes the peculiarities of creative-stage activities of teenagers, members of musical teams of the out-of-school education institutions, through staging of Ukrainian folk music, reproduction of the elements of theatricalization of folk performance, stage reflection of Ukrainian song folklore in the process of teenagers’ performing stage activities and some pedagogical principles of its organization. The relevant directions of mastering musical skills of playing a musical instrument, acquiring vocal techniques of sound production in combination with elements of theatricalization, as an integral part of creative-stage performance process are presented. The pedagogical principles of organizing the educational process are revealed, which consist in the need to master basic vocal, musical-instrumental and stage skills of the teenage education applicants of the out-of-school education institutions, their interest in musical-theatrical ensemble performance and acquisition of skills to involve elements of acting in the performance process. The peculiarities of teenagers’ creative-stage activities in the Ukrainian folk music ensemble are manifested in their activity and versatile manifestation of performing activity. It is characterized not only by skillful playing and vocal skills, but also by artistic manifestations in the process of performing folk music with the involvement of theatrical elements, which makes the performance product more interesting and colorful for the audience and multifaceted for the ensemble members themselves. This requires mastering an expanded range of skills in the field of performance, acting and theatricalization with the involvement of stage movements, artistic speech, facial expressions, gestures. An important element in this process is natural presentation of the musical-theatrical action through the performer’s individual vision of the musical and stage image, revealing it with the means of musical and acting expressiveness. The artistic presentation highlights special abilities aimed at directly conveying the interpretative project to listeners and viewers, through the demonstration of performance abilities as a specific type of artistic talent, which provides the “secondary” mediated creativity of teenagers in the Ukrainian folk music ensemble.
pedagogical principles of organizing the educational process
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
Structural Components of Integrative Thinking of a Future Theacher-Musician
The presented article identifies the main structural components of the integrative thinking of future teachers of music in the context of integrity and interconnection. Based on the analysis, it was established that the consideration of the integrative thinking of students of higher art institutions is possible only through the study of personal characteristics. It is the personality that significantly influences the thinking processes and gives them a creative coloring, a unique essence. Having a complex multi-level structure, the personality also determines the cognitive and emotional processes, serves as a factor in organizing all elements into a clear integrated formation. When relying on the statement of the position, The author presents the structure of integrative thinking of a future teacher-musician in the following form: The first component is the personal integrative "I" (central personal formation, awareness of one's own original essence). This component can be presented as a central integrative formation, which shows the performer's own significance, originality, and unique essence. The unique formation reflects worldview positions, elements of value analysis, and a harmonious worldview ; The second component is a holistic pedagogical orientation ( motivation, value formation, professional characteristics ). A holistic pedagogical orientation acts as a system-forming element that ensures the harmonious integration of complex motivational formations ; the third component is globalheuristic (global search activity elements, integrative intellectual thinking processes, integrative knowledge, skills, abilities). The presented component shows a fundamental property of integrative thinking – the exploratory nature of integrative thinking activity; the fourth component is musical-performing (synthetic complex of giftedness: creative; musical-performing abilities). This component reflects the abilities of the individual, which are the fundamental basis of the activity of integrative thinking ; the fifth component is complex-reflective (self-knowledge, self-esteem, strong-willed qualities, holistic self-control). The indicated integrative complex includes self-knowledge, which to a high extent enables reflection, which is necessary in the structure of the phenomenon under study. The article also emphasizes that the structural components of the integrative thinking of a teacher-musician are separated conditionally, for the purpose of careful study and analysis. In real integrative thinking activity, the presented components have a holistic character, allow to cover the object (musical work) holistically, to reveal the content of music both originally and from different positions of variant performance.
structural components of integrative thinking of a future teacher-musician
The role of emotional-intellectual development in the training of future vocalist teachers
The article discusses the importance of emotional intelligence in the professional training of vocal teachers in higher art education institutions. Attention is focused on the concepts of emotional intelligence proposed by such scientists as Daniel Goleman, Robert Sternberg and Howard Gardner, which integrate emotional and cognitive aspects. The article describes methods of developing emotional intelligence, including self-regulation training, communication exercises and role-playing games that prepare future teachers for effective interaction with students. The proposed integrated approach encourages the development of emotional competence and the creation of a supportive learning environment where students can unleash their creativity.
Andriy Humenyuk's stylistic system as a tool for preservingUkrainian choreography in the conditions of globalization
The article explores the significance of Andriy Humenyuk’s stylistic system as a fundamental tool for the preservation and development of Ukrainian choreography in the context of globalization. The study emphasizes the importance of stylistic features as structural elements that define folk-stage choreography and determine the trajectories of its evolution. Special attention is paid to the richness of regional traditions and the diversity of stylistic approaches that have shaped Ukrainian choreographic culture over centuries, creating a multifaceted artistic phenomenon. The article analyzes Humenyuk’s scholarly contribution, in which he proposed a detailed stylistic classification of Ukrainian folk dances, thus laying the groundwork for modern systems of dance typology. The research highlights the dual processes of maintaining authenticity and adapting tradition to new cultural and social conditions, showing how folk dance can serve both as a marker of national identity and as a dynamic form open to transformation. The feasibility of integrating Humenyuk’s principles into contemporary educational and performance practices is also discussed. The authors argue that the stylistic system provides mechanisms for ensuring continuity of Ukrainian choreography, strengthening its cultural value, and enhancing its capacity for artistic self-representation on the global stage.
Copyright (c) 2025 Єлізавета Яношівна Бабяк, Ярослава Віталіївна Вейгеші (Автор) https://creativecommons.org/licenses/by-nc-sa/4.0
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