Future Teachers Of Musical Art Research Articles

PEDAGOGICAL CONDITIONS OF FORMATION OF STYLE OF PEDAGOGICAL COMMUNICATION OF FUTURE MUSIC TEACHERS IN THE PROCESS WORKING WITH THE CHOIR

The article updates the significance of the formation of an individual style of pedagogical communication for a future music teacher. The pedagogical orientation of the professional training of future teachers of musical art is emphasized, in which a significant place is given to conducting and choral training, which determines and specifies their work with the choir. As a result of the analysis of the scientific literature, the views of modern researchers regarding the pedagogical conditions of the professional training of future teachers of art disciplines are summarized. The author's understanding of the pedagogical communication of future music teachers in the process of working with the choir is presented. Pedagogical conditions that ensure the effectiveness of the formation of the pedagogical communication style of future music teachers in the process of working with the choir have been determined. To determine the effective pedagogical conditions for the formation of the style of pedagogical communication, the methods of scientific and theoretical analysis and generalization are applied.Keywords: future music teachers, pedagogical conditions, style of pedagogical communication, communication, creative interaction, conducting and choral training.

METHODS OF IMPROVING THE COMMUNICATIVE SKILLS OF FUTURE TEACHERS OF MUSICAL ART IN THE CLASSES OF THE ORCHESTRAL GROUP

The article reveals the specifics of the methodology developed by us to improve the communicative skills of students of the faculties of arts who are engaged in orchestral music-making. Orchestral music-making as a kind of collective cooperation contains many functional moments that stimulate the desire to communicate and develop professional activities. It is the student creative team that is the springboard, the team that pushes future teachers of musical art into an interesting process of professional activity, improving communication skills and motivating them to acquire a wide range of creative and social connections, which in the future will lead to maximum professional fulfillment, which will be socially useful and will inspire future generations to self-expression and development.Key words: communication skills, orchestra group, future music teachers, professional training, creative potential.

Phenomenon of Artistic and Performing Emotiveness of Future Piano Teachers

The article reveals the phenomenology of emotionality of future piano teachers. The relevance of the study of emotionality and emotiveness in the context of professional training of future teachers of musical art is substantiated. The importance of the study of emotiveness as a means of broadcasting the artistic and figurative content of musical works is determined. The purpose of the article is to summarize information about the interdependence of emotions, emotionality and emotiveness of future music teachers. The concept of "emotions", "emotionality", " emotiveness " was studied, the peculiarities of these definitions were determined in relation to the musical performance training of future teachers of musical art and their further professional activities. It is determined that unlike emotionality, which is a psychological phenomenon, emotiveness is a linguistic category. During the performance of musical performance by both the teacher of musical art and students, emotiveness and emotionality are in an inseparable unity, because musical art is impossible without emotional perception and performance, and work on a musical piece requires the use of emotionality. It has been established that emotionality is one of the aspects of emotional intelligence. The model of emotional intelligence is presented. The phenomenon of emotionality is necessary for the verbal interpretation of the artistic and figurative load of a musical work. The artistic performance presentation of a musical piece by a piano teacher lays the foundation for the student's understanding of the emotional and figurative content of the piece. The teacher must organize the students' verbal and non-verbal communication with the musical piece in an appropriate and accessible form. And this form has signs of emotiveness. emotiveness makes it possible to convey the symbolic language of music through the interpretation of artistic representations as a result of artistic perception through the verbal artistic and pedagogical interpretation of a musical work.

Stages and Pedagogical Conditions for Forming Performance Phrasing Skills of Future Musical Art Teachers in the Process of Teaching Playing Wind Instruments

The article presents the justification of the step-by-step methodology of forming future musical art teachers’ culture of performing phrasing in the process of learning to play wind instruments. The problem of formation of the specified professional quality, which is considered as a segment of performance training that ensures the quality of the artistic-figurative disclosure of the meaning of a musical work, has been actualized. The essence and component structure of the culture of performing phrasing, which is made up of certain relevant performing skills, and the criteria for their assessment make it possible to classify three levels of their formation: high – “meaningful expressive phrasing”, medium – “aspiration for expressive phrasing”, low – “weak perception of phrasing”. Three stages are presented, according to which the introduction of pedagogical conditions is carried out, each of which aims to positively influence the components of the culture of performing phrasing. At the first stage – motivational-setting – the pedagogical condition of stimulating a meaningful attitude towards the skills of performing phrasing is introduced, which affects the component: “motivation of artistic-technical excellence”. At the second stage – practice-oriented – such pedagogical condition is introduced as the purposeful assimilation of various forms and types of phrasing in the context of the evolution of styles and genres, which affects the component: “competence in working on the performing repertoire and musical texts of pieces”. At the third stage – self-methodological – the pedagogical condition of the activation of methodological self-efficacy in performing and educational processes is introduced, which affects the component: “artistic-communicative content of creative-performing and pedagogical interpretation of musical works for wind instruments (solo, ensemble)”.

METHOD OF DIAGNOSTICS OF VOCAL PERFORMANCE COMPETENCE OF FUTURE TEACHERS OF MUSIC

The article discusses the criterion apparatus and methodology for diagnosing the vocal and executive competence of future teachers of musical art. The structure of the identified phenomenon is defined: motivational-directed, known-innovative and operational-creative components, each of which includes elements that characterize and reveal their essence.The motivational-directed component is characterized by the direction of students to understand the irown vocal and executive opportunities for solo public-executive activities for school children, awareness of the importance of the formation of vocal-executive competence. The non-innovative component – accumulates the accumulated the saurus of subject knowledge, skills and abilities in the field of vocal art for meaning fuluse of vocal training in practice in order to increase the level of vocal and executive competence. The active-creative component – provides creative elaboration of vocal works, independent embodiment of creative interpretation of the vocal work in order to conduct concert-performing activities for school children. The diagnostic work allowed to give the levels of formation of vocal-executive competence of students of art faculties quantitative and qualitative characteristics.Keywords: vocal and executive competence, future music teacher, component structure, diagnostic methodology, the final stage of the experiment.

ТЕХНІКА ДИРИГУВАННЯ ЯК ВАЖЛИВИЙ ЕЛЕМЕНТ ДИРИГЕНТСЬКО-ХОРОВОЇ ПІДГОТОВКИ МАЙБУТНІХ ВЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦВА: МЕТОДИЧНИЙ АСПЕКТ

The article raises the issue of the role of conducting and choral training of future music art teachers of pedagogical institutions of higher education as a necessary component of the training process of a teacher-choirmaster, head of a school choir. The relevance of the mentioned problem is determined by the need for students to develop skills and abilities to manage children’s choral singing, as well as their preparation for practical work with a choral team. The article proves the importance of working on the technique of conducting with students in the framework of the discipline «Practicum of vocal and choral training». It is noted that the technique of conducting is included in the technological preparation of the future music art teacher as an important means of managing choral performance, and various approaches to the definition of this concept in the works of Ukrainian scientists are analyzed. In the process of analysis, it is justified that mastering the technique of conducting includes a whole set of abilities and skills that students – future teachers of musical art receive. The article highlights the stages of work on the conducting technique. The content of the specified work at each of the stages of training is highlighted. The work offers a variety of exercises aimed at improving students’ conducting techniques, their content and performance methods are presented. It is emphasized that the hands are the most important part of the conductor’s apparatus and require special attention and a number of special exercises. It is recommended to start work precisely with exercises to release this part of the conductor's apparatus. Attention is focused on exercises for general liberation, development of a sense of the integrity of the hands and the relationship of their individual parts (hands, forearms, shoulders), to develop muscle tension and relaxation, as well as a group of exercises that will reduce or completely eliminate stiffness of the hands during conducting. The article describes in detail the most interesting methods and techniques of conducting training of future music art teachers, which contribute to effective work in the class of choral conducting and development of the performance skills of the teacher-musician. Keywords: conducting and choral training, conducting technique, future music art teachers, conducting apparatus, a conductor’s gesture, auftact.

Musical-performing interpretation as a means of forming artistic and analytical skills of future Musical Art teachers

The article actualizes the problem of forming artistic and analytical skills of future Musical Art teachers by means of musical-performing interpretation and proves that the process of training a competent specialist in the field of music education is impossible without developing students’ artistic and analytical skills. On the other hand, the article substantiates the opinion about the significance of artistic and analytical skills as an indispensable factor in the processes of modeling musical-performing interpretation. On the basis of the theoretical analysis of scientific sources, it has been revealed that objectively there are contradictions of scientific and pedagogical nature – between the development of theoretical foundations of artistic interpretation in the field of musicology and musical performance and the lack of scientific research revealing the pedagogical aspects of this problem in the context of artistic and analytical skills formation. The specificity of musical-performing interpretation has been revealed, which is determined by its integrative nature, which is expressed by the unity of artistic and analytical skills of the performer. The authors have proposed their own definition of musical-performing interpretation as a creative and analytical activity of a musician to create the author’s performing interpretation of cultural meanings contained in a musical work. The content and component structure of future Musical Art teachers’ artistic and analytical skills are disclosed. It is proved that the process of formation of artistic and analytical skills during the musical-performing interpretation of the future Musical Art teacher has a systematic complex construction, where at the first stage artistic and analytical skills related to the theoretical-semantic component are formed, at the second stage – the artistic and analytical skills of the methodological-pedagogical component are involved, and at the final stage – the artistic-interpretive component was formed. The study has established that all components of artistic and analytical skills include the integrated formation of intellectual and emotional support, and all components of the intelligence and emotional sphere of the future Musical Art teacher become components of musical-performing interpretation.

Artistic and pedagogical design in professional training of future Musical Art teachers

The article describes the method of artistic and pedagogical design in the context of professional training of future music teachers. The relevance of the research is based on the importance of students mastering the latest artistic and pedagogical technologies in the process of studying at a higher education institution. The project method is defined as widespread and relevant in the context of pedagogical activity as one that develops the ability of future music teachers to carry out project activities of various types and subject areas, to carry out a critical analysis of various artistic material, to work on it independently, to navigate in the latest information and communication technologies. The purpose of the article is to reveal the essence and content of artistic and pedagogical design, to analyze its importance in the system of professional training of future music teachers; disclosure of the specifics of artistic and pedagogical design in the context of professional training of future music teachers. The article uses methods of theoretical research: analysis of scientific literature, generalization, systematization of practical experience. It has been established that creatively oriented design activity contributes to the formation of students of higher education, the ability to independently master scientific and methodological and artistic literature, aware and critical work with information, develops thinking, including project thinking, promotes personal and professional development, stimulates creative activity, develops emotional intelligence through interaction with works of musical art, etc. The principles of artistic and pedagogical design are substantiated.

Implementation of Steam Technologies for Building Digital Competence of Future Music Art Teachers

The aim of the work is to determine the effectiveness of the implementation of STEAM technologies for building the digital competence of future music art teachers. This aim was achieved through a sociological survey, effectiveness calculations, variation, statistical error. It was established that most students' digital competence level was low (47%) before the study, which affected their level of knowledge. Only 12% of the students had a high level of digital competence. The obtained data contributed to developing approaches to training future music art teachers using STEAM technologies and digital opportunities. It was found that the use of the Vocal Range Vocaberry application has a greater impact on students’ digital competence, as the results are related to the detailed study of approaches to voice development. This approach to learning contributed to the acquisition of high-level knowledge by a greater proportion of students (71%). The practical significance of the work is related to the possibility of improving the system of training music art teachers with the use of digital technologies. Further research may focus on establishing the effectiveness of various vocal training programmes for future teachers.

THEORETICAL ASPECTS THE FORMATION ARTISTIC-REFLEXIVE SKILLS OF MASTER MUSIC STUDENTS IN THE PROCESS PIANO TRAINING

The article deals with the problem of forming artistic and reflexive skills of master students of musical art in the process of piano training on the basis of psychological, pedagogical and artistic and pedagogical analysis of scientific and methodological work on the problems of reflection, artistic reflection and reflexive skills of future teachers of musical art, teachers of art disciplines. It has been established that the reflection of master students of musical art makes it possible to personally model the process of piano teaching based on self-observation, self-assessment and self-correction of learning activities. It is noted that the awareness of the value of the mission of a music teacher in the context of its comparison with personal motivation for professional achievements testifies to the formation of reflective skills. The mechanism of artistic reflection of master students of musical art is revealed, which is based on the involvement of mental actions and operations of analysis, synthesis, comparison, concretization, abstraction, etc. A scientific generalization of the essence of the artistic and reflective skills of master's students of musical art is made, and the characteristic features of these skills are specified. Key words. Artistic and reflexive skills, master students of musical art, piano training, reflection, artistic reflection, self-observation, self-evaluation, self-correction, reflective analysis, artistic activity, mental actions and operations, functions of thinking.

PROFESSIONAL COMPETENCE FORMATION OF FUTURE TEACHERS OF THE INTEGRATED COURSE “ART”

The article presents the analysis results of educational practices for future teacher training for teaching the integrated course “Art”, which made it possible to ascertain the presence of a specific approach of higher pedagogical educational institutions to the necessary competencies formation. It has been emphasized that institutions of higher education choose different paths. The first one is deepening the content of individual academic disciplines of educational and professional training programs for music teachers, fine arts teachers, or choreography teachers with information that contributes to competencies formation for teaching the integrated course “Art”. The second one is the introduction to the educational and professional programs “Secondary Education (Musical Art)”, “Secondary Education (Fine Arts)” or “Secondary Education (Choreography)” of individual educational components aimed at students mastering other types of art and their teaching methods with the aim of preparation of future teachers for the integration of various kinds of art in the process of art education. It has been emphasized that one of the ways of professional training of a teacher of the integrated course “Art” at Poltava V. G. Korolenko National Pedagogical University is a combination of the above-mentioned approaches with the introduction to the educational process of students majoring in “Secondary Education (Musical Art)”, of the certificate educational program “Integrated Course “Art” for Institutions of General Secondary Education”. It is noted that the proposed certificate educational program provides for the presence of such educational components as “History of Culture”, “Art Pedagogy”, “Theory and History of Fine Arts”, “Theory and History of Choreographic Art”, “Fundamentals of Theater and Screen Art”, “Non-Formal Art Education”, “Methodology of Teaching Fine Arts”, “Methodology of Teaching Choreographic Art”, “Multimedia Technologies in Education and Art”, “Computer Arrangement", etc. It has been emphasized that mastering the content of the above-mentioned educational components by future teachers of musical art is the key to the necessary competencies formation for teaching the integrated course “Art” in a general secondary educational institution.

ШЛЯХИ ФОРМУВАННЯ ГОТОВНОСТІ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИЧНОГО МИСТЕЦТВА ДО СЦЕНІЧНОЇ ДІЯЛЬНОСТІ У ПРОЦЕСІ ІНСТРУМЕНТАЛЬНОЇ ПІДГОТОВКИ

The author of the article studied and mentions the specific of performing skills, effective methods, techniques, conditions that ensure efficient formation of readiness of future teachers of musical art to activity on stage during instrumental training, emphasizing on such qualities of a musician as psycho-emotional states during a concert realization; emphasizing on recommendations for an effective implementation of an interpretive model of music works. A concert performance is a special form of activity on stage of a future music teacher. This type of professional activity has its own regularities that must be considered not only during the preparation period of the concert, but also in the process of working on a piece of music. Students of higher education and teachers should consider the specific peculiarities of thinking and specialties in behavior during activities on stage and peculiarities in the creation of the performance form of a musical work precisely during preparation for the performance. Understanding these phenomena will contribute to successful achievement of artistic goals in the process of activity on stage, professional development of the future specialist as a whole and will help prevention and coping stage stress, the path of which is multifaceted and complex. Working with stage stress, in most cases, should be built based on individual approach to the development of stage reflection, creation of positive psychological attitude, formation of constructive skills, a creative and positive attitude to extreme situations. The very necessity of overcoming stage stress became the key to determining the paths of formation of readiness for activity on stage in the process of instrumental training of future music teachers as it allowed to find new resources of qualitative basis for improving executive training in accordance with modern requirements. After all, psycho-emotional states often become an obstacle to performance excellence during a concert performance. Key words: readiness, activity on stage, instrumental training, methodological approaches, higher education applicant, future musical art teacher.

Organization of independent work in the training of future teachers of musical art: modern challenges and realities

У статті відображається концепт реалізації та головні вимоги до здійснення самостійної роботи студентів мистецьких спеціальностей у процесі їх фахової підготовки. Зосереджується увага на основних кроках організації даного виду діяльності. Даються рекомендації щодо використання бюджету часу для виконання самостійної роботи майбутніми вчителями музичного мистецтва; висвітлюються деякі аспекти діджиталізації самостійної роботи. Звертається увага на розуміння сучасним викладачем власної ролі в успішному здійсненні студентом самостійної роботи, як консультанта, фасилітатора, коуча. Виокремлюються принципи: цілепокладання, індивідуалізації, поступовості й систематичності, активності, контролю і зворотного зв’язку, використання сучасних технологічних засобів, як ключових у вирішенні питання організації самостійної роботи студентів. Проаналізовано її види, форми та методи. Визначено фактори успіху організації самостійної роботи: самомотивація, управління часом, цілепокладання, постійна практика та навчання, самоорганізація та підтримка. Зроблена спроба окреслити сучасну модель організації самостійної роботи для ефективного здійснення освітнього процесу при підготовці майбутніх учителів музичного мистецтва, яка включає: проєктування та планування, інтерактивність та використання інформаційно-комунікативних технологій, формування творчої активності, самостійного дослідження та колективної участі.

ЕТАПИ РОБОТИ НАД ЯКІСТЮ ТЕМБРОВОГО ЗВУЧАННЯ ВОКАЛЬНОГО АНСАМБЛЯ

The article is devoted to the problem of organizing the teacher's methodical work on the quality of timbre sound of the vocal ensemble, depending on the level of development of the singers' vocal skills. Nowadays, solo and ensemble singing are popular genres of musical performance and have a huge impact on the consciousness of listeners, their feelings and interests, and for performers it is a means of developing the creative qualities of the individual. Today, vocal art occupies a large space in the musical life of society, so the interest of scientists in this phenomenon is so constant, in connection with which there is an urgent need to study the processes of formation and development of ensemble vocal art, the specifics of vocal performance and vocal pedagogy. Only under these conditions will the study of vocal-performance and professional-pedagogical features of vocal ensemble singing be most complete. The main purpose of classes in the vocal ensemble class is the formation of students' singing culture, the development of aesthetic taste, vocal and auditory skills, musical abilities, emotional sphere, artistry, skills of emotional expressiveness of performance, education of the need and readiness for pedagogical and concert performance activities, etc. The method of training a future teacher of musical art to lead vocal ensembles at a higher education institution is carried out in the process of mastering the professional direction of the disciplines of voice production and conducting and choral disciplines. In the process of this work, students acquire professional competences necessary for working with professional, educational and amateur vocal ensembles, namely: – master the professional requirements for the head of a vocal ensemble; – get acquainted with the specifics of the professional activity of the leaders of vocal ensembles; – study the basic principles of organization and professional activity of professional, educational and amateur vocal ensembles; – master the technique of working on vocal works for ensemble performance; – model the professional activity of a vocal ensemble leader; – master the skills and abilities of independent work with scientific and methodical literature; – develop the ability to select and systematize vocal and technical material, educational and concert repertoire for vocal ensembles; – develop research skills in the process of performing voice production tasks, etc. The author believes that the vocal abilities and skills formed by singers at the previous stages of training require consolidation in the process of constant training and improvement in further independent and professional activities.

СПІВ-ТВОРЧІСТЬ У ПРОЦЕСІ МУЗИЧНО-ВИКОНАВСЬКОЇ ІНТЕРПРЕТАЦІЇ ХУДОЖНЬОГО ОБРАЗУ

The article analyzes the scientific works of famous music educators, in which artistic and performing interpretation is defined as an active creative process, an individual, unique artistic and figurative understanding of the content of a musical work. It has been established that performing interpretation involves a creative search, valuable understanding and evaluation of a musical work, thanks to which an artistic image is created that is adequate, but not identical to the author's vision, containing the full potential of the «I» of the performer's personality in the process of artistic cognition. Therefore, the presence of a high degree of creative independence, the development of a unique associative complex, fantasy, imagination, the art of reincarnation, empathy and co-creation in the artistic- interpretive process contributes to the non-stereotypical solution of creative tasks, "entering" the deep layers of a musical work, dialogicity of artistic communication, artistic dialogue and co-creation with the author of the musical work. Subjectivization of the reproduction of a musical image is a natural phenomenon, since each performer differs in the level of knowledge, skills, development of emotional and empathic culture, performance technique, experience of artistic perception, development of musical abilities and other performance qualities that characterize him as a unique personality and determine individual artistic and interpretive process. It has been proven that precisely thanks to the elements of co-creation, the enrichment of the artistic interpretation process with the extraordinary thinking of the performer, his personal and individual attitude to the work, the artistic interpretation becomes not only adequate and convincing, and personally-convincing, personally-adequate, harmoniously combining the classical interpretation of the work with an individual vision and feeling of its essence, the spiritual-personal potential of the work is realized, a state that contributes to the solution of the personal task is reached. Through co-creation, the dialogue of consciousness, the understanding of the other as oneself, and the experience of the "spirit" of the musical work are carried out. The ability to co-create as a certain way of dialogic communication between the composer and the one who understands the artistic image determines the level of musical performance competence of the future teacher of musical art.

METHODICAL PRINCIPLES OF PREPARATION OF FUTURE TEACHERS-MUSICIANS TO LEAD FOLKLORE GROUPS

The purpose of the article is to reveal the methodological principles of training future teachers of musical art to lead folk music groups.Methodology. The main theoretical provisions of this article are based on the leading principles of the cultural approach. Such research methods as the method of artistic analysis of folklore sources, art history and pedagogical literature, the method of theoretical generalizations and conclusions are used in the investigation.Scientific novelty. The article highlights the problem of continuity of national traditions, transmission of aesthetic ideals and self-awareness of the people in modern Ukrainian society.The author developed the issue of folklore as a means of personality formation, considered folk songs as a model of aesthetic taste, high moral qualities and artistic experience of Ukrainians, as the embodiment of the national identity of the people. Attention is drawn to the originality, uniqueness and versatility of Ukrainian folk music.The article explains the methodical principles of training future teachers of musical art to lead folklore groups, which consist in: cultivating Ukrainian national identity in working with students, creative productivity of performing activities and artistic integration in the design and implementation of an artistic idea. Special attention is paid to the methods of interaction between the manager and the members of the artistic team as the basis of effective creative work.Conclusions. National folklore reveals the dynamism and multi-layered existence of Ukrainians, attests to the ways of understanding the artistic and aesthetic values of the past through the prism of the perception of modern cultural realities. The training of future teachers-musicians is interpreted by us, first of all, as a process of gaining experience of communication with folk art in the postmodern era based on the current methodical principles of interaction of student youth with samples of Ukrainian folk art.

Alternative ways of organizing distance practical classes for future music art teachers

The aim of this research was to find and study the effectiveness of alternative ways of organizing practical classes in Musical Art for Pedagogy students in the context of distance learning. The research involved semi-structured interviews with teachers and student surveys using a close-ended questionnaire. The content analysis of the answers revealed the main difficulties that the teachers had to deal with when organizing distance practical classes in Musical Art. It also enabled finding optimal ways to eliminate them. Their high efficiency was verified by conducting a pedagogical experiment. It was established that traditional methods of education are impossible during distance learning. They need to be replaced with new ones that are effective in technology-mediated learning. It was found that music teachers used special software, digital musical instruments as an alternative to traditional ones. Teachers also recorded video instructions and video lessons, and students recorded video reports on the work done. Teachers began to use new teaching methods. Distance learning yielded higher learning outcomes than the traditional one, as technologies are interesting to students and contribute to their motivation and engagement. This article was reduced to the study of the peculiarities of the organization of distance learning of students — future teachers of Musical Art. Further research should be aimed at identifying ways of organizing Music Art education in general secondary educational institutions.

NEW CREATIVE TECHNOLOGIES AND METHODS OF MUSIC PEDAGOGY IN ISRAEL

Today, musical and pedagogical education holds an important place in the sphere of cultural achievements of the leading countries of the world. It is undeniable that the stage of development of any country is determined by its cultural level. Musical art plays an important role, as it is intended for an individual and has a huge effect on the formation of worldview values of young people. At the same time, it opens the possibility of a wide exchange between countries and peoples in the field of culture, because music is definitely a language of international communication. Despite the importance of scientific development in the field of music education and pedagogy, the issue of professional training of future music teachers in Ukraine and Israel remains underdeveloped. The study and analysis of new methods and trends in the field of music education determines the prospects for the further development of pedagogical thought. Comprehension of the new global pedagogical experience of different countries and comparative analysis of the theory and practice of educational activity spreads the worldview, enriches the experience, promotes the mastery of new methods and educational technologies, motivates and provides a new creative impetus of pedagogical development. The article is devoted to highlighting new methods of training future teachers of musical art in the process of professional training in a higher School of Art in Israel. The achievements in Israeli national system of music education are highlighted; the pedagogical problem of active perception organizing, and performance of musical works is creatively solved. The musical-pedagogical methods such as “mirror”, “plastic intonation”, and the method of body-oriented psychotherapy are considered. These methods are used in musical education for students of the Jerusalem Academy of Music and Dance, as well as in the education of children and youth in musical institutions of Israel.

Peculiarities of Training Future Teachers of Music Art in Higher Educational Institutions in Terms of Distance Learning

The article highlights the main aspects of distance learning in the context of training future teachers of musical art. The study identifies the main approaches to the implementation of distance learning, identifies the pedagogical features and the most effective technologies and methods of distance learning in higher education institutions. The article forms the objectives, providing for the implementation of conceptual foundations for the training of future teachers of musical art in higher education institutions. The study presents theoretical and methodological substantiation of the concept of distance education, the profession of music art teacher and pedagogical foundations for higher education based on the conclusions of researchers and scientists on the relevant problem. Distance learning is widespread in today's global development, especially in the pandemic. This type of learning is an alternative to traditional learning, because it simplifies the educational process and is available to more people, develops the individual traits of each person in an online learning environment. Distance learning encourages the creation of online platforms that involve individual tasks and build competencies in various fields and branches. The study used the integrative method of synthesis and analysis of the main trends of distance learning. Research, descriptive and scientific methods were also applied to study aspects of the training of future teachers of musical art. The results of the study identified effective foundations for teacher education that improve distance learning.

Arts Education in the Development of the Personality of the Next Generation of Future Music Teachers: History and Modernity

The article focuses on the problem of the future music teacher’s comprehensive personal development, which is the basis of their professional competence, pedagogical skill and spiritual culture, relevant to modern education. The purpose of the study is a retrospective and comparative analysis of the problem of comprehensive personal development of the future music art teacher of a new generation, based on the historical and pedagogical experience of the organization of art education in the collegiums of Left-bank Ukraine (18th-the early 19th centuries), as they laid the groundwork for the formation and development of general and professional art education; to illustrate the practical implementation of the historical and pedagogical experience of art education organization in the collegiums of Left-bank Ukraine (18th-the early 19th centuries) on the comprehensive development of the future music teacher personality in higher educational institutions. Methods. The research methods used by the author were analysis, synthesis, systematisation, comparison and generalisation. Results. Modernization of art education in Ukraine aims to improve the spiritual and creative development of personality, humanization and humanitarization of educational process in educational institutions of different types. Consequently, this requires searching for optimal approaches to the organization of art education in higher educational establishments, which would focus on the comprehensive development and professional training of future music teachers as carriers and transmitters of national culture. Conclusions. The author has noted that the analysis and creative insight into the historical and pedagogical experience of art education organization in the collegiums of the Left Bank Ukraine (18th-the early 19th centuries) determines the possibility of its use in modern higher educational institutions for comprehensive individual development of future music art teachers, which is the basis of their professional competence, teaching skills and spiritual culture. The author has presented the transformation of progressive ideas of historical and pedagogical experience of the organization of art education in the collegiums of Left-bank Ukraine (18th-the early 19th centuries). Moreover, the author has defined the forms of organizing educational and extracurricular cultural and artistic activities of future music teachers at higher pedagogical educational institutions, namely: 1) individual classes in «Additional musical instrument», «Voice production», «Choir conducting», «Main musical instrument» and group (practical) classes in artistic disciplines, which are the part of the educational program «Secondary education (Musical art)» on the training of future music teachers; 2) staging and theatricalization, which is implemented in the course of the educational discipline «Staging a children's musical performance» and organizing creative student theater groups to perform theatrical actions: 3) vocal and choral groups in an educational institution: 4) extracurricular cultural and artistic activities.