Scientific journal of Dragomanov Ukrainian State University. Series 14. Theory and Methodology of Arts Education

Polish Piano Music for Children and Youth of the Nineteenth and First Half of the Twentieth Century

Olena BURSKA — 2024-05-31

The history of the Piano Pedagogy literature development is represented by a variety of outstanding composers who have written wonderful pieces for beginners. Along with the classical piano repertoire, on which more than one generation of musicians grew up, the research interest is aroused by the pieces for youth written by composers of different national schools during the XIX – early XX centuries – the period of active formation of pedagogical thought in the piano art. The relevance of this paper is constituted by the necessity of updating the pedagogical repertoire for children, in which little-known works written by composers of the past are of considerable interest, along with contemporary music.

Literature review. The piano pieces of the brightest representatives of the Polish School of Composition of the XIX – early XX centuries have been studied by M. Brulinski, E. Osiak, H. Harley, M. Adamek-Kurhan, Y. Domahala, I. Dulish, M. Renat, M. Schleser, and others. Among the Ukrainian art historians, such studies were conducted by L. Kyianovska, T. Krulikovska, N. Revenko, A. Ozymovska, I. Shatkovska, O. Vereshchahina-Biliavska, and others.

The purpose of this article is to review the piano music written by Polish composers for children and youth during the XIX – first half of the XX centuries.

The piano music of the studied period, suitable for students of different learning stages, can be divided into three types: 1) piano schools with the arrangement of music in the relevant content sections; 2) piano cycles; 3) collections of easy-to-follow piano miniatures and etudes.

Famous didactic publications of that time included the piano schools issued by Ignacy Platon Kozłowski (1832), Jan Nowiński (1839), Josef Nowakowski (1840), Ignacy Feliks Dobrzyński (1842), Zygmunt Noskowski (1886), and Aleksander Różycki (1894).

Similar to other educational materials, their content and sequence were built on the principle of gradual complication. They contained both elementary exercises and piano pieces. These piano schools’ peculiarity was reliance on dance genres and vocal melodies, intonation, the use of Polish composers’ popular opera fragments, etc.

The most famous examples of Polish piano albums for children of the studies period are Henryk Pachulski’s "Album for Youth" op. 23 (1906), Ignaz Friedman's "Children's Scenes for Piano" (1912), and Feliks Rybicki's "Piano Album" op. 25 (1951).

To conclude, the history of the Polish "didactic music", initiated by the first basic methodological manuals, was developed by the XIX–XX centuries’ composers. It is represented by the piano cycles and pieces collections that are based on popular genres and melodies with artistic images and moods, familiar to children. At the same time, this repertoire embodies the national features of Polish music.

The popularization of the Polish composers’ piano heritage and its support by the Polish government today are excellent examples of providing art education with a high-quality pedagogical repertoire.

Essential and content aspects of ethno-educational awareness of future music teachers

Nadiia HOLUBYTSKA — 2024-05-31

In the article, the author theoretically substantiates and specifies the essence and content of the ethnopedagogical consciousness of the future music teacher in the context of a systemic approach. The ethnopedagogical consciousness of the future teacher-musician is considered as a meaningful component of ethnopedagogical culture, which integrates ethnopedagogical thinking and ethnopedagogical activity in its structure together with ethnopedagogical consciousness. The scientific-theoretical substantiation of the ethno-pedagogical consciousness of the future music teacher is carried out on the basis of the value system of Ukrainian ethnic pedagogy, built in accordance with the dominant value-goal, values-means and values-relationships in the context of the need to form intentionality as an important factor in improving the quality of vocal, vocal-choral and instrumental learning thanks to the increase in emotional response to Ukrainian folk music, which embodies the aesthetics of the educational ideal of Ukrainianness.

Stages of development of choreographic activity from amateurism to modern private dance studios of Vinnytsia region

Yevgeniia PAKHOLCHAK — 2024-05-31

The article examines and analyzes the peculiarities of the choreographic activity of Vinnytsia region in 1920-2020. The author shows five stages of the difficult historical development of dance amateurism, which in the twenty-first century smoothly flows into the activities of modern private dance studios. The global development of contemporary dance art is also highlighted, which serves as a massive opening of private dance studios, including in the Vinnytsia region. It is proved that within the modern Vinnytsia region, children and young people are actively getting acquainted with new styles and trends of choreography, with special attention to modern dances, namely Contemporary, Modern, Jazz Modern, Jazz Funk, Hip Hop, High Heels, Twerk, Stretching, Break Dance, Dancehall, Choreo, K-pop. Choreographic studios as an indispensable component of amateurism, the formation of cultural and artistic activity and an objective historical and cultural phenomenon that is an important link between general and professional choreographic education in Vinnytsia region. Analysis of recent research and publications.

The formation of private choreographic studios in Ukraine, the artistic and pedagogical experience of prominent choreographers, and the development of the choreographic culture of Vinnytsia in general are reflected in the various scientific studies by T. Blahov, T. Pavliuk, V. Pastyukh, V. Romanenko, Y. Stanishevsky, and other scholars. It is worth noting that despite considerable scientific research in the field of choreographic culture, a retrospective analysis of the development of dance creativity and the stages of development of choreographic activity from amateurism to private choreographic studios in Vinnytsia region remains an under-researched problem. Therefore, the purpose of the article is to study the peculiarities of the development of choreographic activity from amateurism to modern private dance studios of Vinnytsia region from 1920 to 2020, to analyze the main stages of choreographic art, styles and trends, forms of organization, trends in the choreographic activity of various dance groups of Vinnytsia region.

Conclusions and prospects for research in this area. It is worth noting that the modern choreographic activity of Vinnytsia region is characterized by rapid and profound changes that have taken place in recent decades. The development of amateur activity of the last century, with the help of appropriate innovations, has led to global changes in modern times. Prospects for further scientific research may be associated with the introduction of innovative methods of dance studios for the training of choreographers in the present.

Transformation of art education under martial law (on the example of the Faculty of Arts and art and educational technologies VSPU named after M. Kotsyubinsky)

Tetiana HRINCHENKO — 2024-05-31

Art education, as an integral part of an education system in Ukraine, is undergoing significant changes and transformations during martial law. Its main goal is to preserve the cultural code of Ukrainians. On the background of increased attention to updating the content and improving the quality of artistic and educational processes, a new generation of higher education applicants is being brought up, who in the future will become guardians of traditions and translators of Ukrainian Art in the post-war world. The article summarizes information about the work of the Faculty of Arts and art and educational technologies of the Mykhailo Kotsyubynskyi Pedagogical University in Vinnytsia during the full-scale enemy invasion. The authors of the article study the scientific, educational and nurturing work of the faculty staff, analyze the topics of scientific research, conducted scientific and practical conferences, means of improving the career guidance activities of faculty teachers, preparing students for all-Ukrainian and international competitions of performing skills, participation in art exhibitions, concerts and festivals. The article discusses ways to revive interest in Ukrainian culture through the creative activity of Ukrainians abroad, as well as the study and creation of new works of art inspired by military themes, the search for ways of aesthetic education based on patriotism and devotion to Ukrainian values, in-depth study of musical, pedagogical and educational and organizational activities of Vinnytsia artists and art groups.

Genre-style paradigm as a musicological and pedagogical problem

Anna NOVOSADOVA — 2024-05-31

The article analyzes musicological and pedagogical studies of genre and style. It is noted that the genre-style paradigm is a complex and multifaceted phenomenon that combines genre and style features of musical creativity. It is established that a full-fledged study of genre and style is possible on the basis of determining the unity of their typological features. The purpose of the article is to consider significant approaches to the definition of genre and style as musicological and pedagogical categories. It was determined that the genre-style paradigm is a concept related to the analysis of various musical styles and genres, including knowledge of their typical features. It is emphasized that the genre-style paradigm helps students to better understand musical art. It was determined that the understanding of genre and style is one of the basic skills of students of art education. They are necessary for the transfer of artistic content, the student's orientation in the historical and cultural situation, the main aspects of the composer's creativity, and the manifestation of one's personality. It should also be noted that the understanding of genre and style is necessary for the teacher to solve educational tasks during the educational process with students and transfer this knowledge to students. The complex of expressive means reflecting the genre-stylistic specificity of the musical text requires musicians and choreographers to understand the figurative and pictorial features of musical compositions.

Formation of readiness for independent educational and cognitive activity of future culture and art specialists

Nataliia SHETELYA — 2024-05-31

The article substantiates methodological approaches to the formation of readiness for independent educational and cognitive activity of future specialists in culture and art. The structural and structural analysis of the educational and professional training program for the Bachelor and Master in the field of knowledge «Culture and Art», majors 025 «Musical Art» and 024 «Choreographic Art» convinces of the need to highlight such important approaches, which constitute the theoretical and practical basis for the formation of readiness for independent educational and cognitive activities of future specialists in culture and art. Taking into account that the formation of readiness for independent educational and cognitive activity of future culture and art specialists takes place in the process of various forms of artistic, creative and socio-cultural activity, the introduction of the following methodological approaches becomes important, namely: competence, cultural and personal-activity, the main of which are active interaction of the subjects of the educational process in various types of artistic, creative and socio-cultural activities, during which the subjects of the activity consciously and purposefully change the world and themselves.

Features of the correction of the psycho physiological state and somatic health of a person using the means of vocal therapy

Nataliia KRAVTSOVA — 2024-05-31

The article is devoted to the corrective possibilities of vocal therapy as one of the forms of active music therapy.

The authors note that the problems related to the psychophysiological impact of music on a person remain relevant even today for scientists of various scientific fields. The increase in stress genic factors in modern society causes psychological instability and disorganization, leads to neuroticism in both children and adults. The consequence of this is a decrease in immunity, the growth of various psychosomatic diseases. Today's challenges require the improvement of techniques and methods of correction of the psychophysiological state and somatic health of a person.

One of the effective methods of treatment of psychosomatic diseases is music therapy. The article highlights the historical aspect of the development of vocal therapy, its essence, role and influence on the harmonization of psychophysiological and somatic human health. It has been established that singing has always had a positive effect on a person's mood, functional activity and work capacity, and his entire spiritual world.

The considered works and researches of scientists and psychologists who studied the problem of using music therapy technologies and means of combining medical, pedagogical, psychotherapeutic methods with controlled musical influence.

Effective methods and ways of correcting the psychophysiological state and somatic health of a person with the help of vocals are analyzed. The effectiveness of the method of therapeutic collective singing as a means of relieving tension and harmonizing the personality is indicated. This method orients a person to collective communication, enables him to join a group, establish social contact, and evokes a sense of secure self-realization.

The article also examines the therapeutic properties of a complex of vocal training exercises: respiratory gymnastics, articulation gymnastics, exercises for the formation of basic vocal skills. The authors conclude that vocal therapy is an effective method of active music therapy, in the process of which all the most important psychophysiological and somatic systems of a person are normalized and activated.

Content of the concept of «creative individuality of a person» in foreign literature

Dmytro BUTREI — 2024-05-31

The need to study the content of the concept of «creative individuality of a person» in foreign literature in Ukraine is defined by the need for the development of creative individuality in the context of modern paradigms of identity and self-expression. The study of foreign experience helps to reveal the psychological aspects of the creative process, the influence of culture on the individual expression of creativity, and pedagogical aspects of the development of creativity and innovative thinking in education. The importance of raising this topic for the self-identification of Ukrainians lies in the disclosure of internal, less visible, but no less important than external manifestations of the creative process of the individual, which contributes to the formation of a unique cultural identity. The study of cultural diversification allows us to identify common features and differences in the perception and expression of creativity in different cultures and different scientific approaches, which contributes to the development of tolerance and understanding of diversity. Thus, the study of creative individuality in foreign literature becomes important from almost all aspects of philosophy, psychology, education, and modern research on personal identity.

Cognitive essence of musical intelligence in personality of pupil’ development

Mykhailo KISIUK — 2024-05-31

The article discusses the problem of the essence of intelligence and its manifestation in various fields of science, it is stated that in the conditions of important socio-cultural changes, accompanied by the influence of emotional stress on the human psyche in any sphere of life, the awareness and understanding by individuals of the manifestation of their own emotions and the emotions of others become significantly relevant.

The concept of «musical intelligence» has been analyzed and specified, as well as its substantive characteristics and place in the development of the student’s personality have been substantiated. It is noted that in the social aspect, musical intelligence reflects the integration of emotional, cognitive, communicative, and regulatory properties of personality. A developed musical intelligence in a teacher becomes a guarantee of their professional effectiveness as a means of creating the necessary psychological atmosphere and establishing mutual understanding with students.

Based on the study of scientific literature, other information sources, and the comparison of views and theoretical conclusions of various researchers, the cognitive essence of intelligence has been explored, and it has been established that musical intelligence is an important component in the formation of students’ skills and abilities.

As a result of the development of ideas about the nature of cognitive and affective processes of the human brain, enriching the understanding of emotions as a subsystem of consciousness, emotional intelligence is presented; musical intelligence is presented as a means of expanding the content regarding its multiplicity of manifestations.

The article provides an understanding of the essence of musical intelligence, which is one of the components of musical abilities, along with a sense of rhythm, musical ear, voice, and so on. Moreover, many researchers assign a leading role to musical intelligence in the formation of the musical giftedness of an individual. It is intelligence specifically that accounts for the inclusion of creativity in the list of musical abilities – the ability to create something new and unknown. The significance of developing the ability to apply musical intelligence by individuals is demonstrated, along with its connection to students’ abilities. The essence of this skill in the process of forming the student’s personality is highlighted.

Pedagogical guidance in the development of creativity of younger schoolchildren in a choreographic group

Olena TEPLOVA — 2024-05-31

In the article, the authors consider pedagogical conditions and peculiarities of methodical provision of choreographic training of younger schoolchildren in extracurricular educational activities in a children's choreographic ensemble. Relevance of research. Relevance of the study. The relevance of the research lies in determining the great role of powerful educational levers in the artistic training of schoolchildren in the modern educational process - musical and choreographic arts. The need to research the stated topic caused the problem of our scientific-methodological research, which is associated with incomplete practical and theoretical substantiation of the methodological foundations of choreographic training of younger schoolchildren. The purpose of the article is the theoretical and methodological substantiation of pedagogical conditions for the development of creativity of younger schoolchildren in a choreographic ensemble. After all, posing problems related to the development of schoolchildren’s creativity is an urgent issue of modern pedagogical science. Purpose. Aim and Objectives - various research justifications related to the definition of the concept of «choreographic training» are highlighted. Results. It has been proven that the development of creative thinking, aimed at overcoming the steps of artistic mastery, is an important methodical reference point for modern choreographic training of junior high school students. The article reveals the peculiarities of pedagogical influence on the development of creativity of younger schoolchildren in the process of choreographic training in a children’s ensemble. Research methods. The conformity of the specified pedagogical conditions for the development of students’ creativity with the methods of encouragement, awareness of one’s own actions, creative results, self-evaluation, striving for self-improvement was analyzed. The educational productivity of the methodical work of the teacher-choreographer regarding the education of creatively developed student youth is foreseen. Originality. On the basis of psychological-pedagogical, methodical-practical and art history sources, the main pedagogical principles and technologies of the practical work of a choreographic art teacher, aimed at the development of creativity and high-quality choreographic training of younger schoolchildren in a children’s choreographic ensemble, were considered and methodically substantiated. Conclusions. Emphasis is placed on the special importance of choreographic art in the context of extra-curricular children’s education, as the most accessible and most scenic form of art for students. Significance. Within the framework of the work, the scientific justification of methodical support for the development of creativity of younger schoolchildren in the process of their choreographic training in a choreographic ensemble is determined.

Formation of intercultural communication experience of students of faculties of arts of teaching universities

Alla ZAITSEVA — 2024-05-31

The article presents the problem of improving the quality of training of future teachers of art disciplines in the context of paradigmatic changes in the system of modern art education. The article presents the phenomenology of communication in the artistic and educational perspective as a vector of humanistic orientation of the subjects of interaction with art to the awareness and correction of their own subjective development. The worldview positions of researchers related to the ontological content of intercultural communication on the basis of art comprehension are highlighted. It is emphasised that it is possible to master the culture of artistic and pedagogical interaction with representatives of other cultures through the analysis of the experience of applying the current pedagogical knowledge about the value of art and culture of other peoples in the process of initiating one's own artistic and communicative activities.

It is important for the formation of the experience of intercultural communication of the future music teacher to take into account their own emotional and sensory, lived and reflectively recorded experience, the ability to plan, evaluate and implement intercultural dialogue; the ability to identify culturally; the ability to artfully operate with the communicative thesaurus in the process of intercultural communication; the ability to establish an equal artistic dialogue in an intercultural context.

The author's vision of the formation of this phenomenon is presented. According to the author's position, intercultural communication as a form of cultural activity of students of art faculties involves taking into account individual, personal, socio-cultural characteristics and the real state of formation of the future music teacher's intercultural communication experience.

The phenomenon of intercultural communication in a multicultural artistic and educational space is interpreted as a pedagogical process that is a structural component of the holistic, systematic professional training of future specialists. This process is aimed at understanding the importance of constructing a multicultural educational space of higher art education institutions on the basis of ethnic tolerance, the ability to implement culturally relevant means of teaching art; development of personal qualities and artistic values of students as mediators of dialogue of cultures.

The multicultural educational space is characterised as a spatial and subject area of interaction between the subjects of the educational process, which is constructed taking into account the invariance of universal (planetary) values in combination with the variability of cultural intentions (ethno cultural worldview, culturally determined interpersonal patterns).

The author's position is substantiated that the modern model of intercultural dialogue should be based on the national Ukrainian heritage in the field of musical art, scientific achievements of art education, which allows students not only to form a national consciousness and a sense of belonging to their national culture, but also to understand its connection with world cultural achievements, to comprehend the need for tolerant attitude towards representatives of other cultures.

Music history as an academic discipline in the context of an anthropological approach

Olena VERESHCHAHINA-BILIAVSKA — 2024-05-31

The relevance of the topic is determined by the fact that in the professional activity of musicians it is not enough to simply understand the content of music and interpret it. It is important to understand how each individual work embodies a world model and a human model. The author of the article starts from the thesis that musical works primarily reflect the spirit of the era, national culture, and creative school, and only then - the composer's own life and artistic experience. It encourages the usage of the principles of an anthropological approach in the training of musicians. The anthropological approach to understanding music becomes the basis for artistic, cultural, philosophical, and pedagogical research. This approach should be used in teaching a number of music-theoretical disciplines, including music history.

The anthropological approach to musical culture has already been formed within the framework of general anthropological research, and there is still a lack of scientific works on its usage in the study of the history of music. Based on the analysis of the latest scientific research by L. Kyianovska, Y. Chekan, I. Kohanyk, O. Kotliarevska, O. Kapichyna and other scholars, the author of the article draws conclusions about the level of study of the stated problem. Based on the application of a number of general scientific methods of cognition (analytical, historical, cultural, comparative) and the author's own pedagogical experience, the author aims to theoretically generalise the manifestations of anthropological thinking in the art of music and formulate practical recommendations for the usage of the anthropological approach in teaching music history.

The anthropological approach to the study of music history involves the identification of fundamental cultural concepts necessary for understanding the content of musical art. The article presents anthropological concepts for each section of the history of music from the ancient times to the nineteenth century, which allows us to understand the essence of its main processes.

It is concluded that understanding the basic principles of musical anthropology and their embodiment in specific artifacts that reproduce the paradigm of the human spiritual world is important for comfortable adaptation in the modern globalised sound space. The formation of knowledge about the main stages of the evolution of musical art in the context of the anthropological approach should be a priority for the training of a professional musician.

Transversal approach in the system of professional training of future music teachers using digital technologies

Oleksandr BORDYUK — 2024-05-31

The article deals with the concept, essence and characteristics of digital technologies, their role in enhancing the creative potential and competence of future specialists, prospects and possibilities of their effective use in the system of professional training of music teachers. An important element is the description of the functionality of these technologies as a means of optimizing the educational process in artistic higher education institutions.

The author's own formulation of the concept of "transversal approach" is presented, and the methodological basis of modern professional training of future music teachers is characterized, which allows analyzing the possibilities of this approach for the formation of students' professional competencies by means of digital technologies, and therefore its adequate application by interested teachers of higher education institutions in the field of art education.

In the context of music education, the transversal approach is proposed to be used to interconnect and interact with different types of art, genres, styles and fields of knowledge. After all, the dominant trend of the current stage of informatization of art education is the need to integrate various computer tools into the process of training future music teachers using digital technologies that find their practical application in the transversal approach.

Method of forming the capacity for creative self-realimation of arts faculty students in the process of vocal and choral work

_ WEI LIMING — 2024-05-31

The article reveals the method of formation of the ability to creative self-realization of master's students of musical art. The method of forming the ability of master's students of musical art to creative self-realization in the process of vocal and choral activity covers the following stages of pedagogical work, namely: diagnostic-research, problem-informational, complex-modeling, analytical-evaluative, creative-prognostic. The diagnostic-research and problem-informational stages aim students at discovering the ability to use creative thinking during preparation for conducting vocal and choral work with schoolchildren. The complex-modeling and analytical-evaluation stages are aimed at orienting students of the faculties of arts to creative self-realization in practical activities, which allows solving the task of building a personal strategy for designing one's own creative and independent activities. The creative-prognostic stage is aimed at forming the ability of master's students of musical art to creative self-realization in practical activities, which allows solving the task of building a personal strategy for designing one's own creative and independent activities.

Structural and functional model of formation of professional competence of future choreographers

Volodymyr CHERKASOV — 2024-05-31

The article is devoted to the justification of the structural-functional model of the formation of professional competence of future choreographers, the meaning of the concepts «model» and «modeling» is clarified, the stages of implementation of the technology of modeling the professional competence of future choreographers are defined. It is proved that the developed structural-functional model of formation of professional competence of future choreographers contains the following blocks: methodological-content, subject-subject, procedural-organizational; control-resultative, which are mutually determined and interdependent, are implemented through compliance with certain conditions that ensure the effectiveness of the model in the process of professional training.

Transfessional and complex approach to the professional training of master's students in musical art

Iryna HLAZUNOVA — 2024-05-31

The potential of a transprofessional and complex approach to the professional training of future music teachers is revealed as a methodical basis for this training. The main attention is drawn to the practical orientation of the entire learning process. Characteristic for art education, the broad coverage of various branches of art creates favorable circumstances for the implementation of this approach, which assumes multidimensionality, interdisciplinary, readiness of future teachers to learn and perform in the future a wide range of types of activities; synthesis of knowledge from various scientific fields. Therefore, it is precisely in art education that the transformational renewal of the student training system can become very productive. The application of the transfessional-complex approach implies the parallel implementation of informative and problem-solving methods of education; using techniques of self-immersion and at the same time achieving communicative openness of future teachers; ensuring freedom of choice and at the same time involving students in the performance of unified educational tasks, application of direct interpersonal and electronic remote methods of communication between the teacher and students. Prospective directions for the development of modern national art education are determined by the universalization of knowledge, abilities and skills of students in the field of art, multicultural vectors of the development of art education, pedagogical tools activation in modern conditions of personality formation by means of musical art.

Formation of a conscious attitude of future musical art teachers to piano classes

Larysa ZARIA — 2024-05-31

The article summarizes some empirical and special studies by philosophers, psychologists, teachers and scientists of the essence of consciousness (directions of human mental activity). The purpose of this study is to identify the possibilities of a conscious attitude of future music teachers (students) to piano lessons. This study is based on revealing the philosophical and psychological essence of human consciousness. It is indicated that the consistent formation of students' conscious attitude towards piano lessons is carried out through consistent training and independent study of musical works. As a result of the research, the author comes to the conclusion that the factor in students’ conscious attitude towards piano lessons is their interest in certain musical works, based on the preferences of relatives, friends and acquaintances. Students' consciousness is activated when a piece of music evokes a desire to perform it on the piano. Students' consciousness is activated when a piece of music makes them want to play the piano. This will be helped by confidence in your performing abilities and self-affirmation based on awareness of feelings and desires.

Content of musical-intonation speech in the performance of works by future music teachers

_ LIU MING — 2024-05-31

The article reveals the content of the nature of musical-intonation speech as a scientific-theoretical problem, which is presented from different scientific positions. The study of intonation in musical-instrumental performance is an important aspect from the point of view of the history of this problem and forms the basis for understanding important issues that arise in the process of reproducing the composer’s creative musical idea. The scientific essence of the concept of “intonation” and its connections with other categories – “intoning”, “sound management”, “musical speech”, “musical-intonation speech” – are considered.

The content of musical-intonation speech is presented, which has its own specific semantic features: music as a sound art has its material basis, the substrate of musical forms. The researchers singled out two main origins of musical art – movement and word, which come from ancient Greek philosophy, two independent types of musical constructions: rhythmopeia (motor intonation) and melopeia (speech intonation). The shared character of the sound nature with the human motor essence and the affinity of musical and speech intonation are revealed; it is realized that intonation is the carrier of musical content and relates it to intonation in speech, which indicates their common origin. The difference between intonation in verbal language and music is revealed, which consists in the fact that when speaking, the main semantic load falls on the word, and intonation plays a supporting role, and in music, intonation is assigned a leading role; musical-intonation speech is presented in the sense of the pitch organization of musical tones, “intoning” that exists in music in unity with other characteristics of sound, a specific manner of musical expression (articulation, musical intonation, loudness, mode, rhythm).

The meaning of “musical-intonation speech” is represented by the following essence – it is the integrated quality of musical thought development (small and detailed), which is revealed in the unity and various comparisons of morphological, syntactic and lexical elements.

Training of future bachelor of musical arts for professional self-development

Valentyna FRYTSIUK — 2024-05-31

The article describes certain aspects of the study of readiness for professional self-development of future bachelors of musical art. The importance of readiness for professional self-development of future bachelors as a necessary professional quality has been proven. The preparation of future bachelors of musical art for professional self-development is defined as a part of professional training. This part combines all components of the educational process of a pedagogical university. It was emphasized that professional training of students should be combined with general pedagogical training. It is indicated that it is necessary to develop the readiness of future teachers for professional self-development in stages. It is proven that the problem of professional self-development of future bachelors of musical art should be considered as readiness for its implementation. Readiness for professional self-development is described as a personal quality. This quality implies a conscious desire for personal and professional growth. This quality also combines a cognitive, emotional, personal, behavioral component. The abilities of the individual, his spiritual and intellectual potential, interests, beliefs, aspirations are also important. This quality is manifested in an active, creative position in the process of learning about the surrounding world. Emphasis is placed on the importance for future professional activity of preparation for playing a musical instrument. The music teacher constantly acts as a performer, illustrator, concertmaster in class. He must be able to use a complex and diverse repertoire. Professional mastery of a musical instrument is one of the signs of performance and professional skill of future bachelors of musical arts. Professional mastery of a musical instrument must be constantly improved.

Performance-instrumental skill of future music teachers: theoretical aspect

Serhiy SELEZNYOV — 2024-05-31

The article analyzes the theoretical aspects of performance-instrumental skill of future music teachers. The views of domestic teachers on the definition of this concept are considered. It is noted that the executive component is one of the most important elements of the professional personality of future teachers. In particular, depending on certain tasks that arose in different periods, game techniques and techniques changed significantly. It is emphasized that the demands of modern art education actualize the search for new approaches and solutions to educational tasks. In this connection, there is a need to improve the quality of training of future music teachers. It is noted that successful performance requires not only the development of technical skills, but also requires artistic fullness. Performance-instrumental skill of future music teachers is defined as the performer's ability to understand and reproduce the artistic content of a musical composition, technical embodiment of the text, and artistic performance. Its components include performance interpretation, music-theoretical and genre-style knowledge, concert performance. According to the authors, the formation and development of performance and instrumental skills of future music teachers is the result of planned professional activity. It is also stated that it is a systemic formation that requires the development of each component mentioned above. Instrumental and performing skill is characterized by a significant number of various techniques of music reproduction, the uniqueness of its activity, which is created in the performance process. The authors state that it is based on the achievements of modern music art and pedagogy and meets the qualification requirements for the training of future music teachers in higher education institutions.

Methods and techniques of forming the performing culture of future artists-vocalists in solo singing classes

Kateryna TATARKO — 2024-05-31

The article is devoted to the analysis of methods and techniques of teaching and consideration of the optimal ways of forming the performing culture of future artists-vocalists in solo singing classes. In accordance with the components of performing culture proposed by the author (motivational and value, informational and cognitive, control and reflection, interpretation and performance), a methodology for the formation of the performing culture of future artists-vocalists in solo singing classes has been developed, which includes four blocks of methods and techniques. Attention is focused on the practical aspects of teaching, such as working on vocal and technical exercises, developing diction and articulation, as well as working on the interpretation of musical material. The article also discusses the importance of using modern teaching methods by the vocal teacher in the solo singing class, which will make the class effective, interesting and informative for students. It is found that the key to a successful, competitive specialist in the field of musical art is a deep methodological awareness of students. The article describes the effectiveness of using such methods and techniques in solo singing classes as: “The method of stimulating interest in vocal activity through the use of factors of surprise” and the method of “Exemplary personal demonstration of a vocal work by a teacher”; the method of “Creating a situation of novelty of educational material” and the method of “Using musical games in the classroom of solo singing”; the method of “Technologies of teaching singing according to various methods of foreign teachers” and the methods of “Analysis of foreign methods of singing in the classroom”, “Creating a comprehensive program of teaching singing based on the integration of modern methods of vocal training”; the method of “Talk show” and the method of “Teaching vocal skills”. It is concluded that today in modern art education it is necessary to introduce innovative teaching methods for vocal students.