Interdisciplinary Coordination in Historical-Theoretical and Music-Performing Training of Future Musical Art Teachers

Maryna Boichenko,Halyna Nikolai,Alla Linenko,Natalya Koehn

doi:10.7596/taksad.v9i1.2434

Abstract

The article investigates the basic blocks of future musical art teachers' training, which include historical-music, theoretical-music, and music-performing disciplines. In this regard, the didactic potential of their interdisciplinary coordination is revealed, and ways of its realization are suggested. The methodological basis of the study includes the phenomenological approach in which music is positioned as a distinctive phenomenon, an ideal substance that comprehends the immense and creates a sensual picture of the world. It is shown that, in contrast to the competence approach, which directs the efforts of researchers to the formation of professional and personal qualities of the teacher, the interdisciplinary approach primarily involves optimization of the curriculum. Interdisciplinary coordination is considered as flexible and consistent use of all its components in a real learning process. Interdisciplinary coordination, based on the allocation of related elements in the content of subjects of historical-theoretical and music-performing blocks, provides formation of common knowledge and skills in future musical art teachers, ability to use their various activities (educational, performing and didactic) independently, flexibly and creatively. Essential characteristics of future musical art teacher’s music-performing training are presented, which consist of voice training, choral conducting and music-instrumental training, aimed at interpreting composers’ works. The latter requires harmonization of cognitive and emotional components of the experience. For all types of music-performing training (piano, violin, accordion, vocal, choral conducting, etc.), it is important to analyze the performance means of expressiveness, technical difficulties, differences between ideal auditory-figurative representations and real sound.

Highlights

The globalization process urges updating of educational curricula and implementing interdisciplinary approaches, in particular in the field of music pedagogy
The need to increase future musical art teachers’ professional competence necessitates the search for a methodological basis for relevant research, in particular revealing the didactic potential of an interdisciplinary approach
Its actualization is observed in numerous studies concerning various aspects of future musical art teachers training, in particular: performing competence formation in master’s students of musical art in the course of their training from the standpoint of acmeological approach (Kozyr, 2018); professional competence as an important component of the pedagogical self-efficacy of future music teachers (Kremeshna, 2006); the process of forming future music teachers’ professional competence (Mykhaskova, 2007); peculiarities of future music teachers’ professional competence formation in the pedagogical college (Poluboiaryna, 2008), methodological foundations of music competences formation in students of pedagogical universities (Pushkar, 2009); the specificity of future music teachers’ professional competence formation in the process of independent educational activity (Happin, 2012) and their interpretative culture

Summary

Introduction

The globalization process urges updating of educational curricula and implementing interdisciplinary approaches, in particular in the field of music pedagogy. Its actualization is observed in numerous studies concerning various aspects of future musical art teachers training, in particular: performing competence formation in master’s students of musical art in the course of their training from the standpoint of acmeological approach (Kozyr, 2018); professional competence as an important component of the pedagogical self-efficacy of future music teachers (Kremeshna, 2006); the process of forming future music teachers’ professional competence (Mykhaskova, 2007); peculiarities of future music teachers’ professional competence formation in the pedagogical college (Poluboiaryna, 2008), methodological foundations of music competences formation in students of pedagogical universities (Pushkar, 2009); the specificity of future music teachers’ professional competence formation in the process of independent educational activity (Happin, 2012) and their interpretative culture Its actualization is observed in numerous studies concerning various aspects of future musical art teachers training, in particular: performing competence formation in master’s students of musical art in the course of their training from the standpoint of acmeological approach (Kozyr, 2018); professional competence as an important component of the pedagogical self-efficacy of future music teachers (Kremeshna, 2006); the process of forming future music teachers’ professional competence (Mykhaskova, 2007); peculiarities of future music teachers’ professional competence formation in the pedagogical college (Poluboiaryna, 2008), methodological foundations of music competences formation in students of pedagogical universities (Pushkar, 2009); the specificity of future music teachers’ professional competence formation in the process of independent educational activity (Happin, 2012) and their interpretative culture (M. Demir, 2016)

Objectives

Methods

Discussion

Conclusion