ПОЛІХУДОЖНІЙ ПІДХІД ДО ІНСТРУМЕНТАЛЬНО-ВИКОНАВСЬКОЇ ПІДГОТОВКИ МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА

Abstract

The article considers the implementation of a polyartistic approach in the educational process of instrumental and performance training of future music teachers, presents an alternative integrated-subject model of teaching a piano course based on general didactic principles and special methods of mastering musical works. The proposed model is developed from the perspective of the concept of interaction of arts which is realized by the current programs of secondary education.The purpose of the article is to justify the effectiveness of the integrative-subject model of teaching a piano course based on a polyartistic approach to the educational process using the principles of art pedagogy within the higher education system.It is noted that polyart education in a modern school puts forward fundamentally new requirements for a music teacher. His professional training should be based on integrative technologies that will promote the acquisition of special knowledge related to the ability to establish objectively existing links between a work of music and works of other arts, the ability to synthesize concepts, find common ground and implement a holistic, integrated, value-content analysis of a musical work. All these polyartistic skills, artistic knowledge belong to the essential characteristics of polyartistic competence, the formation of which becomes a necessary condition for artistic professionals.The concept of an integrated-subject model of piano teaching is based on a comprehensive polyartistic approach to the study of musical works, which is hinged on certain didactic principles and special methodological techniques, each of which cannot be distinguished; they all complement, interpenetrate, synthesize, accumulate in the educational process. The following didactic principles are considered: the principle of system-complex approach, which is focused on the combination of classroom, independent, extracurricular and professional-practical training of students; the principle of content and diversity, which allows the teacher to plan the technical, artistic and musical development of the student, taking into account his individual psychological characteristics and intellectual capacities; individual approach to the student, which involves the use of variability of the student’s curriculum depending on his performance capabilities and growth prospects; intra-subject, interdisciplinary integration and artistic synthesis, which forms polyartistic skills, develops in them polyartistic consciousness and thinking, cognitive interests in interaction with art.It is concluded that increasing the level of instrumental and performing training of future music teachers using the polyartistic approach equips them with a range of knowledge, skills and abilities that in the process of various educational activities are transformed into characteristics of a deeper categorical level, professional competencies, including polyartistic. The professional competencies developed by future specialists in the process of educational activity can be further transposed into their future professional and pedagogical activity.Key words: art education, piano performance, musical work, polyartistic competences, didactic principles, methodical receptions.