Combining traditional and innovative teaching technologies to develop students' inner musical ear

Abstract

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 Exclusively traditional methods have been replaced by adaptive, interactive and multimodal means that can significantly intensify the educational process.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.