Pedagogical principles of the composer Serhii Turneev

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Statement of the problem. If the study of various aspects of teaching by musicians-performers has always been under consideration of scientists, then the question of the method of teaching composition is a poorly covered area. As a rule, the main subject of research is primarily the composer’s musical works. However, understanding the composer’s work and his activity as a whole, in the unity of all components, requires the systematization of his pedagogical principles. In turn, such research can help to evaluate the composer’s work in a new way, especially if it belongs to the modern musical space. Research and publications. The article is based on the works devoted to fixation and transmission of the composer’s experience (Rameau, 1971; Mann, 1971; Dyletsky, 1970/1723; Riemann, 1902; Hindemith, 1984; Messiaen, 1956; Schoenberg, 1999), the memories about composers-teachers (Galas, 2020; Bevz, 2021; Hrabovsky & Shchetynsky, 2017), scientific reference literature (Borysenko et al., 2017). Also, the theoretical basis was created by the works that reveal the concepts of “composition”, “school” (Dmytriyeva, 2018; Siuta, 2008; Kucherenko, 2019). Objectives, methods, novelty of the research. The purpose of the study – a systematization of the pedagogical principles of S. Turnieiev, a composer, teacher, musical and social activist, who made a significant contribution to the development of compositional activity in Luhansk and Kharkiv. The article uses historical, historical-theoretical and biographical research methods. The scientific novelty of the study is that S. Turnieiev pedagogical principles are investigated in the scientific literature for the first time. Results. There are difference between composer and pedagogical principles. If the composer principles are the aesthetic views and technological techniques of the composer himself, so the pedagogical ones are the transformation of the first into creative instructions for the student. In determining the composer’s principles, one can rely on the composer’s works, but the pedagogical principles of the composer can be fined in the works of his students and their memories of his teacher. Different composers prefer the distinct roles of a composition teacher: teachermentor, teacher-friend, teacher-colleague. These roles dictate work approaches. Serhii Turnieiev formulated his own creative guidelines, which defined his pedagogical principles based on a gradual change in role: from the teachermentor to the colleague-composer or even a friend. During this time, the student becomes aware of the composer’s profession syncretic essence, the importance of regular work, and studying traditions and innovations. After graduation, the student becomes a member of the musical community, in which professional and friendly relations should prevail. Conclusion. So, the following S. Turnieiev’s pedagogic principles are revealed and systematized: a) composer is an universal artist; therefore, his education should be broadbased – in addition to special classes, to include in-depth courses in musical and theoretical disciplines (music history, musical analysis, polyphony and harmony), philosophy, cultural studies, and management; b) emotional-rational approach to creating music; c) appeal to heritage and modernity; d) the model “from mentor to colleague / friend” in student-teacher relationships; e) regular and honesty work; e) sociability and friendship within the musical community.