Creative Cooperation of Subjects of the Educational Process in the Context of Musical Activity

Oksana Andreiko,Oksana Andreiko,Lyudmila Vasilenko,Regina Savchenko,Olga Khizhna,Yuliya Savchenko

doi:10.7596/taksad.v8i1.1969

Abstract

This article discusses the creative cooperation of subjects of the musical-educational process as a practical mechanism for the humanization of music education, which allows establishing “subject-subject” relations between the teacher/lecturer and pupils/students and contributes to the disclosure of the creative potential of all participants in the musical-educational process. The analysis of the scientific literature on the idea of cooperation in the history of education, musical pedagogy in retrospective and modern dimensions is presented. The main contradictions of its solution at the present stage are determined. The purpose of this article is to substantiate the ideas of pedagogy of cooperation in the context of the humanization of music education. The main methods used in the study are comparative, analytical, historical, system-structural. It is concluded that the artistic and pedagogical process in terms of music education allows establishing conditions for the creative cooperation of the teacher and the student.

Highlights

In the educational system, especially in the field of music education of the 21st century, the humanistic paradigm began to be intensively implemented
Creative cooperation can be viewed as a practical mechanism for the humanization of music education, since it allows establishing “subject-subject” relations between the teacher and students and facilitates the unfolding of the creative potential of all participants in the educational process
Traditional learning is based on the position of the teacher as a subject, and the student is an object of the pedagogical process

Summary

Introduction

Especially in the field of music education of the 21st century, the humanistic paradigm began to be intensively implemented. The humanistic goal of education is aimed at disclosing the student’s personal potential, at forming the experience of joint creative activity of a teacher and students – the pedagogy of cooperation. During the second half of the 20th century, the idea of cooperative pedagogy was intensively developed by scientists from different countries (Zuckerman, 1970; Deutsch, 1949; Lieberman, 1975; Selman, 1975; Wheeler, 1973; Ryan, 1973), who paid special attention to the development of creative abilities of students, as well as their personal qualities. In the context of humanistic ideas, the main task of music education is the upbringing of a creative personality, capable of realizing its potential through music. Creative cooperation can be viewed as a practical mechanism for the humanization of music education, since it allows establishing “subject-subject” relations between the teacher and students and facilitates the unfolding of the creative potential of all participants in the educational process

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