Future Teachers Of Musical Art Research Articles

Professional Performance and Methodological Training of Future Musical Art Teachers: A Theoretical Approach

The problem of improving the effectiveness of performance and methodological training is one of the leading in the system of professional development of future teachers of music in higher education institutions. In this regard, the purpose of the article is to study the theoretical foundations of professional performance (vocal, instrumental) and methodological training of future musical art teachers. To achieve this goal, the following methods have been used: generalization of scientific resources, analysis of practical experience, and theoretical modeling. The performance training includes the organization of the students’ work with the main instrument and voice production (during individual classroom and independent activities, in the class of the ensemble, orchestra, and choir, etc.). Methodological training is the most dynamic feature of the formation of future teachers of music art, due to active changes in regulations and trends in the field of “art”. The prerequisite for the effective provision of professional training for future teachers is the integrated use of several systematically combined approaches. For vocal and instrumental training of music students, these approaches are personality-oriented, individual, and developmental, and for methodological training – competency, culturological, integration, and system approaches. Thus, the performance training of future music teachers is based on scientific approaches to personal orientation, and methodological approaches related to modern requirements and pedagogical trends in general secondary education.

USE OF MASTER CLASS TECHNOLOGY IN VOCAL TRAINING OF FUTURE TEACHERS OF MUSIC ART

The article considers the step - by - step process of vocal work with students in the conditions of professional training of future teachers of music art in modern higher school. The author is convinced that the future teacher of music, as a bearer of national and world cultural traditions and artistic and aesthetic values, is called to play a unique role in the formation and development of artistic and aesthetic worldview of students, their spiritual culture, and understanding of beauty. A prominent place in this process belongs to the skill of performing vocal works by future teachers of music, which combines painstaking work on poetry and musical texts that form a single meaning of the work - its artistic image.Readers are offered an innovative author's technology of vocal master class, based on a dialogic strategy of communication between teacher and students and is a set of consistent artistic and pedagogical actions aimed at updating, modifying the content, organization, forms, and methods of vocal education, adapting the learning process to a new, high-quality productive level.The technology of the vocal master class is implemented according to the rules of intensive interactive interaction of participants due to improvisation, interpretation, a combination of already familiar forms and methods with the development of new techniques and techniques. In the process of conducting a master class, there is a collective integration of knowledge and skills, the experience of artistic and aesthetic perception of works of the vocal art, and their creative performance.The main task of the master class as a form of organization of the educational process is the presentation of the experience gained by the teacher, which determines a new, innovative system of organization of pedagogical actions of the master and participants of the art-pedagogical workshop.The technology of vocal master class should be considered as a process and result of students mastering a holistic system of psychological and pedagogical and specifically professional - methodological, theoretical and methodological knowledge, skills, elements of pedagogical, vocal and performing techniques that provide a high level of the professional activity of future music teachers. The step-by-step process of functioning of vocal master class considered in the article testifies to the orientation of pedagogical action of the teacher on system and rationality for the purpose of increase of skill of vocal and pedagogical activity of future teachers of music through the translation of effective mechanisms of own performing and pedagogical activity, and their acquisition of the necessary professional competencies.

METHODOLOGICAL PREPARATION OF FUTURE MUSICAL ART TEACHERS FOR SCHOOLCHILDREN’S NATIONAL CULTURE FORMATION BY MEANS OF FOLKSONG CREATIVITY

The aim of the article is to highlight the key positions of planning the process of methodological training of future musical art teachers, which provides a step-by-step acquaintance with the effective methodological tools for the formation of national culture of schoolchildren by means of folk-song creativity. The study was conducted using the methods of theoretical analysis, induction, modeling of pedagogical situations, generalization of theoretical and methodological recommendations. The research devoted to the formation of methodological and ethnocultural competences of future musical art teachers in the context of practice-oriented activity are analyzed. The algorithm of methodological preparation of students for schoolchildren’s national culture formation is defined. The gradual acquaintance of students with a set of methods aimed at involving schoolchildren in folk-song creativity is substantiated.

РОЛЬ ІННОВАЦІЙНИХ ТЕХНОЛОГІЙ У ФОРМУВАННІ АРТИСТИЧНИХ УМІНЬ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИЧНОГО МИСТЕЦТВА

Мета – розкрити роль та значення інноваційних технологій у формуванні артистичних умінь май-бутнього вчителя музичного мистецтва. Методи. Для досягнення поставленої мети використані такі методи, як: обґрунтування, узагальнен-ня, систематизацiя теоретичного та практичного матерiалу. Результати. У статті розкрито специфіку діяльності майбутнього вчителя музичного мистецтва. Висвітлено сукупність загальних артистичних умінь вчителя; визначено складники артистизму май-бутнього вчителя музичного мистецтва – це культура, емоційність, уява, оригінальність мислення, здатність до імпровізації, здатність до образного, емоційного перевтілення. Окреслено інноваційні тех-нології, які сприятимуть формуванню артистичних умінь майбутнього вчителя музичного мистецтва. Охарактеризовано музичну бесіду як форму музично-виконавської підготовки студента. Показано, що для формування особистісного духовно-ціннісного світу учнів, розкриття їх творчого потенціалу вчите-лю музичного мистецтва необхідні артистичні уміння, які під час комунікації та музично-виконавської діяльності будуть йому необхідні. Також у статті дається визначення поняття «інноваційні технології» як технології, що особистісно зорієнтовані, тобто спрямовані на особистісний, індивідуальний розви-ток, орієнтовані на особистість кожного студента; поняття «мультимедіа» – це технологія, що описує порядок розробки, функціонування і застосування засобів обробки інформації різних типів. Висновки. З’ясовано, що використання інноваційних технологій сприятиме підвищенню ефектив-ності формування артистичних умінь майбутнього вчителя музичного мистецтва; сприятиме набага-то продуктивнішій організації різних форм музично-виконавської, музично-педагогічної діяльності студентів завдяки використанню різних прийомів подачі навчального матеріалу, використанню різних інноваційних форм і методів під час проведення занять. Вони позитивно впливають на самоосвіту, саморозвиток, самовдосконалення студентів, що своєю чергою сприяє ефективному формуванню артистичних умінь. Purpose – to expose a role and value of innovative technologies in forming of artistic abilities of future teacher of musical art. Methods. For the achievement of the put aim we used next methods: ground, generalization, systematization of theoretical and practical material.Results. The specific of activity of future teacher of musical art is exposed in the article. Totality of general artistic abilities of teacher is reflected; certainly, constituents of artistry of future teacher of musical art are a culture, emotionality, imagination, thinking originality, capacity for improvisation, capacity for a vivid, emotional reincarnation. Innovative technologies that will assist forming of artistic abilities of future teacher of musical art are outlined. Musical conversation as form of musically-carrying out preparation of student is described. It is shown that for forming of the personality spiritually-valued world of students, opening of them creative potential to the teacher of musical art artistic abilities that during communication and musically-carrying out activity will need him are needed. Also determination of concept “innovative technologies” is given in the article, as technologies that is personality orientated, sent to personality, individual development, oriented to personality of every student; a concept “multimedia” is technology, that describes the order of development, functioning and application of facilities of treatment of information of different types.Conclusions. It is found out, that the use of innovative technologies will assist the increase of efficiency of forming of artistic abilities of future teacher of musical art; will assist far more productive organization of different forms of musically-carrying out, musically pedagogic activity of students due to the use of different receptions of serve of educational material, use of different innovative forms and methods during realization of employments. They positively influence on a self-education, self-development, self-perfection of students, that assists the effective forming of artistic qualities in turn.

Training of Future Musical Art Teachers: An Ethnocultural Approach

The article reveals theoretical and methodological foundations of implementing the ethnocultural approach in the process of future musical art teachers’ professional training. The results of the study have shown that implementing the ethnocultural approach in art education is one of the requirements of the new education paradigm. It is proved that in the process of future musical art teachers, professional training should be taken into account the developmental capabilities of folk music and peculiarities of ethno-musical education development. The article highlights the principles, which regulate the process of future musical art teachers’ professional training: ethnocultural basis of students’ professional skills formation; using national samples of musical art as learning repertoire; involving students in various types of musical and aesthetic activities, especially in the study of various works of national musical art; personality-centered organization of the educational process; inclusion of ethnocultural component in courses of historical-theoretical and methodological cycles; effective use of various forms of ethno-musical activity.

Innovative Technologies in Vocal Training: Technological Culture Formation of Future Musical Art Teachers

Under the conditions of present-day modernization of education, the urgency of dealing with educational issues and challenges in terms of the coronavirus pandemic, the teacher’s technological culture enhancement who is capable to effectively apply innovative technologies in the educational process has acquired particular significance. Therefore, special attention is paid today to the formation of future music teachers’ technological culture by means of applying innovative technologies in vocal training at the institution of higher artistic and artistic-pedagogical education. The technological culture of the teacher is considered as a professional and personal phenomenon based on value-and-technology worldview and way of thinking, skills in the application of technological knowledge, those formed and implemented in creative artistic and pedagogical activities as well as the ability to creatively use pedagogical tools. Students have to master a wide range of technologies for teaching singing and then use them in their practical activities as music teachers, namely: technologies aimed at mastering performing and methodological foundations of singing for future teachers; information and computer technologies, including remote ones, aimed at teaching the art of singing in remote access and mastering the basics of sound amplification equipment by both future performers and music teachers; technologies that have a music therapy and healthcare effect. The methodological basis for technological culture formation of future music teachers in the process of vocal training features such scientific approaches as: culturological, technological, competence approach along with creative one. In order to effectively form the technological culture of future musical art teachers, the following elements have been determined: the structure of this phenomenon, which includes axiological-culturological, epistemological-emotional, technological and activity approaches as well as creative-professional one; their level of formation is determined by the identified criteria, in particular: value-axiological, cognitive-emotional, vocal-operational and creative-professional.

Value of musical noise instruments for modern art education

The article raises the issue regarding the possibilities of using musical noise instruments in the process of mass art education. The relevance of the topic is predetermined by these facts: a) insufficient attention of representatives of musical education to the use of musical noise instruments; b) the growing importance of this type of instrument in academic and popular music; c) increasing interest of modern youth in instrumental music making; b) the low degree of development of the theory and methodology of playing musical noise instruments. The goal of the work is to consider the phenomenon of musical noise instruments from the education viewpoint as well as to determine their pedagogical potential. The content of the article. Based on the analysis of special literature, the classification concept “musical noise instruments” has been specified. Their mechanical, acoustic, plastic, cultural and educational properties have been characterised. The features of musical noise instruments that determine the possibility and expediency of their use in the practice of musical education have been determined. The results of the study. It is proposed to understand “musical noise instruments” as acoustic mechanical devices that allow creating more or less plastic broadband and colour noises. It has been established that musical noise instruments have an important educational value, which can be explained by a number of factors: a) these instruments belong to the oldest sound generation devices in the history of mankind, familiarity with them serves to expand cultural knowledge and gnostic motivation for art education; b) mastery of them opens the way for developing traditions of the native national art and the wealth of other national cultures; c) musical noise instruments primarily serve to reproduce the musical rhythm in all its expressiveness and structural complexity; involvement of schoolchildren in playing music with musical noise instruments promotes the development of their musical and rhythmic abilities, perceptions and skills; d) since the role of musical noise instruments today has significantly increased in the practice of classical, jazz and popular music, the acquaintance of students with these instruments should be considered as one of the ways to master the poetics and artistic language of modern music in its various style and genre manifestations; e) musical noise instruments have a high potential in attracting preschool children and primary school pupils to active ensemble music playing. Modern pedagogy of higher education should study and develop the didactic capabilities of musical noise instruments in training future teachers of musical art: the formation of their sense of rhythm, texture, architectonics, timbre palette, intonational expressiveness; arranging skills, expanding musical and cultural experience. These tasks require an appropriate technique, the development of which is the author’s further task.

STUDY OF SCIENTIFIC RESEARCH CULTURE OF FUTURE MUSIC TEACHERS IN EUROPEAN COUNTRIES

Object. In the article taking into account forming of European educational space orientated on rapprochement of the systems of training of pedagogical personnels in the countries of European union, actuality of the research-oriented studies as innovative is grounded. Methods. On the basis of comparativist analysis the different vectors of refraction of theoretical and practical experience are considered in relation to forming of scientifically-research culture of teachers, future teachers of musical art, in European countries (To Germany, Poland, Great Britain). Results. It was found that in the European pedagogical space there is a significant number of teacher training programs «teacher-scientist», «teacher-researcher», «teacher who reflexively self-governs», «teacher - reflexive practice». In these programs, the conditions for organizing the training of future teachers, the nature of educational interaction are transformed and subject to the requirements of research. The German pedagogical system is based on W. Humboldt’s concept of higher education and determines that the specialty «music teacher» is based on three «whales» - creativity, science and pedagogy. It is established that in Poland the master’s research is considered as a didactic category in art education and requires different ways of organizing scientific and pedagogical guidance; in the Great Britain, the education and development of a teacher-researcher, a thinking practitioner, is a personal marker of his competence and professionalism. Conclusions. Factors influencing the development of critical, interdisciplinary, analytical, methodological thinking of the future specialist and creating the necessary foundation for the formation of his research culture are identified. This is raising the level of scientific and methodological education, the fundamentalization of the educational space, its «learning», the intensification of research, reflection, innovative forms of learning.

Determining the structure and content of the formation of the readiness of future teachers of music for vocal and pedagogical activities in higher education institutions in Chinawang Jin

The article defines the essence of the concept «readiness of future teachers of music art for vocal and pedagogical activities» and proposes its structure. The author substantiates the components of readiness of future music teachers for vocal and pedagogical: motivational and value (focus on music and aesthetic education), content-target (systematization of knowledge, skills and abilities that meet the purpose), operational (set of knowledge and skills of students), which contribute to the formation of cognitive-value, emotional and artistic attitude to the art of music), productive-reflective (self-esteem and reflection).

CRITERIA, INDICATORS AND LEVELS OF FORMATION OF PROFESSIONAL COMPETENCE OF FUTURE TEACHERS OF MUSIC ART

Nowadays the problem of improvement of technologies of professional development of applicants of the higher musical pedagogical education acquires special urgency. In order to develop the effective model of professional training of teachers, it is important to assess their educational results. Therefore, the aim of our study is to substantiate the criteria, indicators and levels of the formation of professional competence of future teachers of music.The article clarifies the essence of such concepts as «criterion», «indicator», «level(s)». The criterion tools of modern research in the field of professional training of music teachers are analyzed. It is emphasized that the professional competence of future teachers of music is an integrative education that combines personal qualities, experience, values, knowledge, skills and abilities formed in the process of studying professional disciplines during the course of higher pedagogical education, as well as the ability to carry out music-pedagogical, creative and instrumental activities. The content of this phenomenon as the unity of value-motivational (motivational sphere, value orientations, personal qualities and abilities), cognitive (psychological, pedagogical, music-theoretical, methodological knowledge), activity-creative (psychological, pedagogical and musical-practical skills, experience of professional activity) and reflexive-evaluative components (reflection, artistic reflection) is highlighted. Based on the analysis of the essence and content of professional competence of music teachers, as well as scientific works of modern scientists, the following criteria for the formation of professional competence of future teachers of music art are substantiated: personal-motivating, cognitive, functional and reflective. Three levels of formation of the studied phenomenon are singled out and described in detail: high, average and low.

Value Intentions in Future Art Teachers’ Professional Training

The article is devoted to the study of future art teachers’ value sphere. A wide range of applications of the theory of values in various fields of knowledge is shown: culturology, psychology, pedagogy, art education, economics; classification of values in science is given. A number of issues is actualized, concerning values in the context of cultural development and at the same time global crises; professional development, competitiveness and life views and needs; development of person’s abilities and his/her self-realization in art creativity. The artistic-communicative, professional-hermeneutic and motivational-need spheres in the future art teachers’ creative self-realization are singled out. These areas are subject to pedagogical influence, while becoming a conglomeration of value intentions of the individual. Theoretical substantiation is conducted and the essence of the phenomenon of future art teachers’ value intentions is determined, which combines the specified multi-vector values. The meaning of the terms “intentionality” and “intentions” is clarified.Emphasis is placed on the importance of value intentions of the individual in the economic projection and compliance of this socio-personal construct with the current concept of student-centered learning.The results of the study of future art teachers’ value intentions, which are formed during professional training and creative activity, are given. The results of the value intentions diagnostics and dynamics of their changes in accordance with future musical art teachers’ professional training are highlighted. Scientific approaches and technologies that effectively influence their value intentions are outlined. It is proved that definition of a conglomeration of value intentions of an individual allows a qualitative choice of methods for the formation of creative and competitive personality of future musical art teachers and teachers of art disciplines in general.

THE FORMATION OF VOCAL AND AUDITORY SKILLS OF THE FUTURE MUSIC TEACHERS

Formation of vocal and auditory skills of future music teachers is an urgent task of the system of music professional education at the present stage. Updating the music education system, new target settings require students to more consciously acquire learning knowledge and skills, among which vocal and auditory are the leading ones. Attempts to scientifically substantiate vocal and pedagogical practice were made during the existence of the old Italian school. However, most works, both domestic and foreign, do not provide a comprehensive scientific substantiation of the theory of singing art. The problem of development and training of future teachers of music in the class of voice production, improvement of their vocal and performing skills, is receiving much attention today in both art and pedagogical activity. The purpose of the article is to generalize the acquired scientific and practical experience in the field of formation of vocal and auditory skills of students – future teachers of music art. To achieve the goal, a set of theoretical methods were used, including: analysis and systematization of scientific sources in order to identify the state of development of the problem under study; terminological analysis to determine the nature and content of key research definitions; analysis, generalization, and systematization to determine the potential effectiveness of methodological approaches. The theoretical background for creating a technique for forming vocal and auditory skills of future music teachers is analyzed in the article. The necessity of vocal training of students – future music teachers as an important component of their professional training is proved. Scientific approaches to the development of such leading vocal and auditory skills as: singing voice, vocal breathing, melodic hearing are analyzed. The authors found out that the implementation of the process of development of vocal and auditory skills requires a clear construction of the strategy and tactics of pedagogical activity to create a teaching methodology. Thus, according to the analyzed vocal-pedagogical and methodological literature, psychological and pedagogical bases of vocal-auditory skills formation, psychophysiological aspects of the development of vocal voice, the structure of the process of vocal-auditory development of future pedagogues-musicians was formed. As well as the formation of scientific-methodical base of the knowledge motivation to study singing, formation of vocal, technical and auditory performing skills. Having studied the problem of development of singing voice of students – future musicians-teachers, they concluded that there is a need for a clear strategy and tactics of pedagogical activity aimed at the development of vocal and auditory skills of the latter

ФОРМУВАННЯ МУЗИЧНО-ВИКОНАВСЬКОГО ДОСВІДУ СТУДЕНТА ЯК ПЕДАГОГІЧНА ПРОБЛЕМА

The purpose of this one article is analysis the pedagogical aspects of forming a student’s music performing experience in the process of his professional preparation. The article analyzes the category of experience; identifies the types of experience that have become the subject of scientific research in the field of art pedagogy; shows scientific data in philosophy, psychology and music pedagogy as a base for formation of a music performing experience; considers the phenomenon of music performing experience in the context of professional training of the future teacher of music art and substantiates its significance for the future music-pedagogical activity. Priority of instrumental and performing disciplines in forming of music performing experience and their orientation on mastering different types of music performing practice (vocal, instrumental, conducting) in the article are determined. The prerequisites for forming a music performing experience of a future music art teacher in the course of teaching (such as: development of analytical thinking and motivation for music performance activity; systematic replenishment of musical repertoire; disclosure of individual and personal qualities; accumulation of musical impressions and concert practice, etc.) are substantiated. The content of musical performing experience of the future teacher of musical art is formulated, which includes: skills of reading notes from a letter and transposition; ability to play in an ensemble and accompany; formation of performing technique, which allows you to freely own the instrument, voice, conductor’s gesture; confidence, artistic taste, artistry, psychological readiness for public performance of musical works; ability toembody an artistic image, etc. It is emphasized that this problem is of great practical importance, so its solution should be the focus of the teacher. Necessity of purposeful pedagogical management of the process of formation of music-performing experience of the student and the orientation of educational practice on the effectiveness of professional training are declared.

Implementation of sample-engineering as arrangement technology in the training of a future teacher of musical arts

The article considers the possibility of including the technology of sample-engineering in the process of training students - future teachers of Musical Arts. The purpose of the article is to highlight the concept “sample-engineering” in its historical and technical aspects and to determine the possibilities of practical application of the innovative technology for arranging musical material by future teachers of Musical Arts. The main development stages of the technology facilitating the artificial production of non-traditional sound tones are considered, it is associated with the revolutionary inventions obtained at the end of the twentieth century and a qualitative breakthrough in microprocessor technology, which allowed us to significantly increase the volume and speed of information processing as well as the role of discoveries in the field of applied music programs and provided the emergence of new ideas regarding sound synthesis. The author describes the features of three technological stages related to sound synthesis, sampling and sample-engineering, as well as to new opportunities that are opened up for musicians through their use. The distinguishing features of using these technologies and devices are presented, in particular, the features of the sampling phenomenon and the emergence of a new variety of electronic keyboard instruments – a sampler in the memory banks of which you can store sounds that are “borrowed” from the environment. Particular attention is drawn to the importance of the widespread practice of developing modern sample-engineering technology which arose due to the microprocessor technology and the opportunity to convert an analogue sound to a digital one without any noticeable loss in quality. The essence of the concept “engineering”, the significance of its use in musical practice and the main stages-tasks of using the technology of sample-engineering in the educational process are revealed. The universal role of the computer in the application of the sample-engineering technology is determined, its technical capabilities growing when connecting external sound sources (tone generators) to it. The article substantiates the feasibility and prospects for the future teachers of Musical Arts to study the sampling-engineering technology a good command of which might allow them to achieve timbre diversity and greater artistic expression in the processing of school songs arranged by them and in their own creativity. The work reveals the prospects of using the technology of sample engineering as a way to increase the capabilities of future specialists-arrangers to process musical material, the importance of mastering creative self-realisation by the future teachers in a modern innovative way. The author presents the stage-by-stage process regulating the acquisitions of skills to use sample engineering by students in educational and creative practice alongside the prospects of mastering this technology involving a wide range of teachers of institutions of higher musical and pedagogical education.

Typology of creative skills of future music teachers and pedagogical conditions for their effective development

The article analyses the problems related to the development of future Music teachers’ creative skills; the classification of varieties of creative skills that are necessary for a future teacher of Musical Arts and the substantiation of the pedagogical conditions for their successful development are specified. The essence of the concepts “skills”, “abilities” and “creative skills” has been clarified. Acquisition of skills is associated with the result of mastering coordinated actions of a reproductive type. Creative skills are considered as the ability to apply the acquired knowledge and skills in non-standard conditions, in new ways, in order to obtain qualitatively new, socially significant material or spiritual values. The varieties of creative skills that are typical for the activities of future teachers of Musical Arts are characterised, their classification being based on their analysis. As a result, these categories of creative skills are distinguished: performing-interpretative, verbal-hermeneutic, musical-productive, methodological and practical. The forms of their implementation in the process of interpreting and performing musical works, interpreting their artistic and figurative meanings from the pedagogical point of view, creating musical and creative products in the forms of arranged musical material, its scientific and pedagogical creativity have been determined. The pedagogical conditions for the successful development of the future Music teachers’ creative skills have been grounded. They include: presence of personal attributes which ensure person’s psychological readiness for conscious and persistent mastery of creative skills; maturity of the teaching staff of the pedagogical institution to demonstrate their attitude towards the implementation of the student-centred approach to organising classes; a dialogical, democratic style of communication; creation of a psychologically comfortable psychological climate. The complex and integrative nature of creative skills explains the importance of enhancing systemic interdisciplinary connections and interdisciplinary coordination in the process of training students as the second pedagogical condition for the formation of their creative skills. The substantiation of the third pedagogical condition is based on the analysis of two types of creativity: artistic-figurative and intellectually-creative and the need to achieve their organic combination and interpenetration in the activities of a Musical Arts teacher. The solution to this condition provides the ability of future specialists to mobilise the achievements of their own musical, artistic and scientific searching experience, integrate them in the process of acquiring professional and creative skills, developing a flexible strategy for creative self-improvement, expanding areas and ways of applying innovative and creative actions. The creation of these pedagogical conditions is to facilitate the effectiveness of the acquisition of creative skills by the future teachers of Music.

Іmplementation of Emotional Intelligence Theory in Future Musical Art Teachers Training

The article investigates the ways of implementing emotional intelligence theory in future musical art teachers training. The methodological basis of the study includes synergetic, holistic, and hermeneutic approaches, the application of which allows finding out the ways of the future musical art teacher’s emotional intelligence development. It is shown that emotional intelligence is an integral dynamic phenomenon that provides optimistic awareness, understanding, and control of one’s emotions and emotions of other people; it also influences the success of communicative interaction. On the basis of the analysis of scientific literature on the issue under investigation and practical experience of training future musical art teachers, the ways of implementing the emotional intelligence theory in the professional preparation of future musical art teachers were determined, namely: activation of students’ motivation for emotional interaction in the process of professional preparation; creation of appropriate artistic-educational environment; realization of a practically oriented, personalized, active creative process of development of the future musical art teachers’ emotional intelligence through introduction of training technologies; involving students in constructive activities through joint events, game teaching methods, dramatization, etc.; learning self-talk skills, internal dialogue and self-affirmation; improving the effectiveness of artistic-pedagogical communication and professional training of the future musical art teachers; carrying out research activities. It is proved that the use of the provisions of the multiple intelligences theory in HEI for the development of emotional intelligence provides opportunities to students’ self-cognition; better understanding of students’ talents and abilities by teachers; stimulating creation of innovative teaching methods and forms; involving students in the creative learning process, taking into account the natural capabilities of all types of intelligence.

МЕТОДИКА РЕАЛІЗАЦІЇ ПЕДАГОГІЧНИХ УМОВ ФОРМУВАННЯ ГОТОВНОСТІ МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА ДО ВИХОВАННЯ НАЦІОНАЛЬНОЇ САМОСВІДОМОСТІ УЧНІВ

Готовність майбутніх учителів музичного мистецтва до виховання національної самосвідомості учнів ми розуміємо як стійку особистісну характеристику майбутнього учителя, що містить високий рівень мотивації, наявність знань, умінь та навичок, необхідних для ефективного виховання національно-свідомих школярів, спроможних брати участь у розбудові та захисті нашої незалежної держави.Ефективне формування означеної готовності є складним процесом, результати якого залежать від цілого ряду забезпечених закладами вищої освіти педагогічних умов.У статті теоретично обґрунтовані педагогічні умови, які є підґрунтям для досягнення високого рівня готовності до виховання національної самосвідомості учнів: цілеспрямований розвиток мотивації студентів до виховання національної самосвідомості учнів; забезпечення зразків освітньо-виховного середовища у процесі співтворчості учителів та студентів; відбір і систематизація музичного репертуару. Аналізується методика реалізації педагогічних умов формування готовності майбутніх педагогів-музикантів до виховання національної самосвідомості учнів, яка здійснювалась у три етапи: професійно-мотиваційний, інформаційно-змістовий та творчо-діяльнісний. На професійно-мотиваційному етапі основну увагу приділяли формуванню позитивної мотивації майбутніх педагогів-музикантів до виховання національної самосвідомості учнів. На інформаційно-змістовому етапі формували знання, уміння та навички майбутніх учителів музичного мистецтва. Творчо-діяльнісний етап зорієнтовувався на втілення набутого студентами досвіду спілкування з національним музичним мистецтвом у практичній діяльності (під час проходження педагогічної практики, концертно-виконавської діяльності, участі у науково-практичних конференціях). У ході формувального експерименту апробовано методику формування готовності майбутніх учителів музичного мистецтва до виховання національної самосвідомості учнів та підтверджено ефективність її впровадження у навчально-виховний процес закладів вищої освіти.

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

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.

Metodological readiness formation of future music art teachers for their professional activity

The article highlights the ways of solving the current problem of artistic education in Ukraine - methodological readiness formation of future music art teachers for their professional activity. The purpose of the study is experimental verification of the organizational and methodical principles of the methodological readiness formation of future music art teachers for their further professional activity, which is considered as: professional and personal formation of a teacher based on the motivation to such a kind of activity, a complex of methodological knowledge, skills and psychological capacities of the music art teacher to apply them. The research covers the structure of the methodological readiness of the music art teacher for their professional activity, which includes the following components: motivation-demanding, informational-cognitive, scientific activity-based, reflexive-evaluational, self-improving; also certain criteria, indicators and levels of methodological readiness formation of the music art teacher are determined in particular and the organizational and methodical principles of forming the methodological readiness of future music art teachers, based on the modernization of the content, forms and methods of methodological training of future music art teachers. The effectiveness of certain organizational and methodical principles has been confirmed by experimental research.

МЕТОДИКА ФОРМУВАННЯ ПЕДАГОГІЧНОЇ КУЛЬТУРИ МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА ЗАСОБАМИ ДУХОВНОЇ МУЗИКИ: АНАЛІЗ РЕЗУЛЬТАТІВ ПЕДАГОГІЧНОГО ЕКСПЕРИМЕНТУ

The article explores the problem of forming pedagogical culture of future teachers of musical art by means of spiritual music. It is established that at the present stage of development of higher education in Ukraine, teachers have the opportunity to actively introduce the latest methods of formation of pedagogical culture, based on the use of spiritual music in the educational process. The author defines the methods of formation of pedagogical culture of future teachers of music art by means of spiritual music: explanatory-illustrative, problem-search, analytical-interpretative, model, synthesis, artistic perception, emotional impact, group discussion, creative work, stimulating creative activity, storytelling, conversation, debate, discussion, example method, listening and discussing musical works, creation of special creative situations, creative exercises, training, assignments, creation of special creative situations with emphasis on cultural pedagogical content, etc., which allow to strengthen the process of formation of pedagogical culture of future teachers of music art. The article defines the criteria of pedagogical culture of future teachers of music art, which are consistent with the components of the phenomenon under study (emotional-motivational, cognitive-axiological, moral-philosophical, activity-creative). The levels (transformational, imitative, resource, initial) of pedagogical culture of future teachers of music art are determined on the basis of selected criteria and manifestation of their indicators. The stages of experimental and experimental work on the introduction of the method of formation of pedagogical culture of future teachers of music by means of spiritual music, which took place in three stages are described: adaptation, cognitive-correcting, acmeological. The results of the effectiveness of the experimental work, which prove the positive effect of the introduction in the educational process of a certain methodology for the formation of pedagogical culture of future teachers of music by means of spiritual music, are presented. Key words: pedagogical culture of future music teachers, spiritual music, criteria and levels of pedagogical culture of future music teachers, methods of forming pedagogical culture of future music teachers by means of spiritual music.