МАЙСТЕР-КЛАС З АКАДЕМІЧНОГО ВОКАЛУ ЯК ФОРМА АКТИВІЗАЦІЇ НАВЧАЛЬНОГО ПРОЦЕСУ У МИСТЕЦЬКИХ ЗАКЛАДАХ ВИЩОЇ ОСВІТИ

Abstract

The article reveals the experience of using a master class on academic vocal as a form of activation of the educational process in urban institutions of higher education in Ukraine. Since Ukrainian scholars have not identified theoretical works on the role of master classes in the educational process in the vocal sphere, the disclosure of experience, which is the purpose of our article, should update the development of methodological and methodical principles of research. It has been established that over the last decade the form of master classes has been increasingly used by domestic vocal teachers. The experience of their holding at the Mykola Lysenko Lviv National Academy of Music, the Institute of Arts of the Borys Hrinchenko Kyiv University and the Vasyl Stefanyk Precarpathian National University with the participation of leading foreign opera singers, most of whom are of Ukrainian origin, was summarized. All of them worked on master classes on a volunteer basis. In Lviv they were conducted by the professor from the Academy of Music (Norway), world-famous singer (tenor) Carlo Allemano, in Kyiv – world-famous opera singer (lyric-coloratura soprano) Victoria Lukianets from Vienna, in Ivano-Frankivsk – also world-famous opera singer (baritone) Pavlo Gunka (Great Britain), young singers, soloists of Polish opera theaters Iryna Zhytynska and Stanislav Kufliuk. In each case, the duration of master classes lasted from one to seven days, the number of participants was 4–30 people. A pre-studied program of 1–3 works (aria, solo songs, folk song) was chosen for the work. Some teachers paid more attention to technical problems in voice production, others – to the artistic image, associations, understanding of the works performed. The structure of the master classes included: 1) demonstration by a recognized singer-mentor of his skills and his understanding of the problem in a practical form; 2) involvement of the student in active activity on mastering of skill under the control of the expert; 3) publicity, ie the presence of a wide audience (teachers, students, journalists), who perceived the process of communication between the master and his wards, and who joined this process, asking questions and demanding explanations. The organizational and semantic aspects of the use of master classes in academic vocal in higher educational institutions in the field of art are in need of further consideration.