Дистанционное обучение в классе концертмейстерства

Abstract

The purpose of this study: to present theoretical and practical results of creating a distance learning methodology in concertmastership class using traditional, innovative and media techniques based on a synthesis of many years’ experience in “distance” classes (especially during the quarantine period caused by the Covid-19 pandemic). Also, as a matter of priority: to systematize and to characterize various forms and methods of working with concertmaster students and illustrator students, to analyze the component structure of the technical element in the process of “distance” classes, to share experience in applying media techniques to the educational process. Research methodology: system analysis of all components of the newest teaching methods these days, heuristic method. The scientific novelty of the study is due to the unique features of the distance learning and has several aspects: historical (which describes the facts of giving distance lessons in concertmastership and adaptation of traditional educational systems to completely new conditions), practical (reflecting the features of traditional, innovative and media methods and techniques through their analysis and synthesis) and theoretical (creation of distance learning methods in such a specific subject as concertmastership). In addition, new terms are introduced into the educational process: “mirror minus”, “double minus” and “virtual soloist” (terminological aspect). Conclusions. Distance learning system, in which, in essence, everything is experimental, has proved its viability as an alternative method of training in concertmastership class and it may be used not only in force majeure situations, but also for initial personal tuition of extramural students. Despite the fact that not all forms of work may be used, an effective control is possible over the score learning and over the conceptual orientation of the programs preparation, which allows maintaining the professional status of students at the proper level. Some methodological practices in the forms of “mirror minus”, “double minus” and games with a virtual soloist may be recommended to certain categories of students as additional training in the traditional (fulltime) learning mode. The efficiency of this methodology has been confirmed by the high results of the semester control. But the main thing is that all the technical, electronic and media innovations were not antagonistic to the music profession, but rather contributed to the satisfaction of the intellectual and artistic needs of musicians.