Music Teacher Training Research Articles

RETRACTED: Critical thinking of music educators as a factor in creative music pedagogy

• Critical thinking is one of the core skills of the 21st century. • The study involved 53 music teaching individuals. • Music education is widely regarded as a vehicle for self-expression. As one of the main skills of modern education, critical thinking has actualized the problem of developing new concepts in all preparation areas, including music. However, as experience shows, many teachers are not competent in critical thinking enough. The ultimate goal of this study was to define the relationship between educators’ HOTS (critical thinking), creativity, and the ability to teach music in a creative manner. For this, the study involved 53 music teaching individuals who had completed preliminary training in the form of the course on the development of higher-order thinking skills (2019–2020). The put forward hypotheses stated that the ability to teach music creatively does not depend on the skills of critical thinking and creativity (H0) and, accordingly, that it is directly connected with these skills (H1). In order to find dependencies in the experimental data obtained as a result of testing, analysis of variance and methods of analytical statistics were used. As a result, the conclusion was drawn that critical thinking and musical creativity have a notable impact on music educators’ competence to teach creatively. That is, hypothesis H1 was confirmed. The paper concluded by arguing that it is advisable to pay more precise attention to the activation of critical thinking skills when training music teachers to raise the effectiveness of the overall music education. Its results might be useful for interested academics, music educators, and music school administrators who wish to implement innovative educational approaches that positively impact student and teacher achievement.

Distance choral conducting training of future music teachers

The article reflects the study results, the purpose of which is to identify the distance approach's educational potential and determine its role in the conduct and choral training of a future musician teacher. The study examines the situation in the conduct and choral training of a future musician teacher, identifies the problems, and compares traditional and modern methodology. The study was conducted based on the Institute of Philology and Intercultural Communication of Kazan Federal University in three stages. It was based on the integrated application of literature analysis and practical experience, the study of teaching materials, pedagogical monitoring, and pedagogical experience generalization. During the distance approach application analysis in the educational practice of Kazan Federal University, they determined the conditions for the distance format implementation in conduct and choral training: provision with the material and technical base and special methodological support in the form of digital educational resources in conduct and choral disciplines; the availability of specialist teaching aids for independent conduct and choral training and the possibility of receiving distance pedagogical advice. The effectiveness of conduct and choral training is determined by the balanced use of contact and distance learning with a well-defined education strategy and methodological support.

IMPLEMENTATION OF PEDAGOGICAL CONDITIONS OF FORMATION OF READYNESS FOR PROFESSIONAL SELF-DEVELOPMENT OF FUTURE TEACHERS OF MUSICAL ART

The article highlights the problem of implementation of pedagogical conditions for the formation of readiness for professional self-development of future music teachers.It defines readiness for professional self-development of future music teachers as a professionally important quality of a studentʼs personality.The article establishes pedagogical conditions that ensure the efficient process of formation of readiness for professional self-development of the future music teachers. They are strengthening of motivational foundation of professional self-development of students based on acmeological positions; implementation of competence approach to professional training of future music teachers based on pedagogical innovation; enrichment of creative potential of students in the process of involving in artistic and educational activities.The article substantiates experimentally tested methods of introducing pedagogical conditions for the formation of readiness for professional self-development of future music teachers, which include the value-motivational stage (development of the motivational component of readiness for professional self-development of students), cognitive-activity stage (formation of competence for professional self-development of future music teachers), creative stage (creation of conditions for maximum creative self-realization).It proves that the implementation of the proposed methods of implementation of educational conditions for the formation of readiness for professional self-development will significantly improve the quality of training of future music teachers. This conclusion is based on the comparison of the results of the control and experimental groups, as well as on the processing and generalization of the results.
 Keywords: pedagogical conditions, formation, realization, professional self-development, future teachers of musical art, approaches, methods, level of readiness.

CONTENTS OF METHODICAL TRAINING OF FUTURE TEACHERS-MUSICIANS FOR THE USE OF BELL RINGING MEANS IN PROFESSIONAL ACTIVITY

The urgency of improving the professional training of future music teachers in connection with the growing public demand for the professional qualities of teachers is substantiated. It is established that the teacher’s search for a new content of education, in particular among ethnopedagogical bell ringing means, the use of non-traditional methods and forms of teaching will promote creative development of an individual, the formation of value attitude to the traditions and customs of his/her nation. The necessity of formation of methodical readiness of future teachers-musicians for the use of bell-ringing means in professional activity is defined. The development of students’ motives for studying bell ringing will be more effective by directing the educational process of art and pedagogical faculties to the development of future music teachers’ bell ringing competencies. The purpose of the article is to highlight the author’s contribution to the content of academic disciplines included in the cycle of professional training of future music teachers, information about bell ringing, as well as to present the methodological content of lectures and practical classes. Among the vectors of innovative adjustments, making changes to the work programs of educational components, the organization of independent extracurricular activities of music students have been defined. The author’s system of semantic additions to the disciplines of the professional cycle of training future teachers of music has been presented. Instructional and methodical materials for lectures, seminars and practical classes, organization of independent work have been developed. The practical value of the paper lies in the presentation of creative, didactic tasks that will contribute to the formation of students’ skills and abilities to use the bell-ringing means in professional activities. Cognitive and research work, excursions, expedition and on field collection of materials about bell-ringing of the region, production of photomontages, slide compositions, video materials, presentations of the developed creative projects have been suggested as extracurricular forms of work. Thus, the introduction of bell-ringing material in the normative and practical component of higher education will make it possible to eliminate contradictions between students’ acquisition of theoretical knowledge and their practical application.

ACTIVITIES OF MUSIC EDUCATION CENTERS IN SLOBOZHANSHCHYNA IN THE CONTEXT OF CULTURAL AND EDUCATIONAL DEVELOPMENT OF THE REGION (the second half of the 19th – early 20th century)

The article highlights the problem of the formation of music education in Slobozhanshchyna in the second half of the 19th – early 20th centuries in the context of studying the general trends of cultural and educational development of the region. Based on the analysis of the results of previous studies, it has been proved that the development of music education in Ukraine in the second half of the 19th – early 20th centuries has been revealed in scientific publications. At the same time, it has been established that the problem of highlighting the main milestones and ways of institutionalization of music education in Slobozhanshchyna (Sloboda region) through the creation of special educational institutions of vocational music, as well as substantiation of opportunities to use cultural and educational experience at the turn of the century and raising children in the modern education system, requires further research and practical implementation. The aim of the article is to reveal the experience of formation and development of the system of music education in Slobozhanshchyna in the second half of the 19th – early 20th centuries in terms of analyzing the activities of music education centers and identifying ways of its modern use. The authors have used a set of research methods: system-structural and historical-genetic methods to assess the cultural situation in the region; general research methods to organize and generalize theoretical views of historical facts, clarify the problem in the dynamics, substantiate the main historical milestones; study of historical literature, archival, statistical, normative documents in order to generalize the practical experience of music education in educational institutions of the region. It has been found that the identity of cultural traditions of ethnic groups of Slobozhanshchyna has determined the specifics of the development of music education in the region, revealed the features of cultural and musical life in the region, the spread of private music education, public associations and creative associations (Kharkiv Society of Choral Singers, Music and Charity Kharkiv Music Group, Church Singing Society), the development of music education, which proved to be an important basis for the development and institutionalization of music education. The activity of music classes, evening classes at music classes, Sunday courses, the work of which was aimed at training church choir singers and music teachers, created under the auspices of public societies, is essential for the institutionalization of music education in Slobozhanshchyna. In the context of research of regional problems and difficulties of music education development, in particular concerning primary stage of work of Kharkiv music school in the studied period, the big role of the known music figure, teacher and the inspirer of process of institutionalization of music education in Slobozhanshchyna I. Slatin has been allocated. Based on the analysis of historical and pedagogical literature we have revealed the main milestones in the process of institutionalization of music education, identified a variety of forms of such education in the region (music classes, private music lessons, music lectures, courses for singers, performers and regents); the experience of creation of the first institution of music education in Slobozhanshchyna – music school has been analyzed, its activity has been characterized, the organizational conditions of activity of music school as the most important center of music education of youth in the region have been analyzed.

ОСОБЛИВОСТІ КОНЦЕРТМЕЙСТЕРСЬКОЇ ДІЯЛЬНОСТІ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИЧНОГО МИСТЕЦТВА

The article analyzes the question of the peculiarities of concertmaster activity of future teachers of music art in the process of learning in the class of accompaniment and improvisation and in further practical activities. The author identifies the constituent structural elements in the training of pianist-accompanist in higher educational institutions of art, which is manifested in various aspects of the activities of future professionals. The field of activity for a musician-performer is concertmaster's work, which by its specificity requires from the specialist not only the possession of traditional performing skills, but also a whole set of personal qualities and the ability to work creatively with musical material. It should be noted that in the concertmaster class due to its specificity is the concentration and systematization of knowledge and skills acquired by students in piano, accordion, accordion, conducting, solo singing and music theory (N. Borisov, D. Gostev, T. Glyadkovskaya, M. Moiseeva, F. Khalilova and others.). This is especially evident in singing to one's own accompaniment and selection by ear, where the narrow professional skills acquired in various specialties are concentrated in one direction - the embodiment of the artistic image of a musical work. Such a variety of tasks requires a comprehensive improvement of the theory and technology of concertmaster activity. Сoncertmaster class is one of the performing disciplines that is important for the general professional training of music teachers. In the concertmaster's class, students' musical and performance activities are studying a wide range of vocal, instrumental, children's music literature, accompanied by a soloist-vocalist or instrumentalist, playing in an ensemble, singing to their own accompaniment, reading from a letter, transposing, listening. The concertmaster class in the structure of professional training of a musician-pianist is an important subject of a special cycle, along with other disciplines, is responsible for the holistic training of a specialist, provides a basis for work in the field of ensemble activities. The tasks of the concertmaster class in music education are to form and improve performance skills and abilities designed for the professional work of a pianist with soloists. Modernity requires the training of competent concertmasters with high performance potential, developed artistic and organizational qualities, possessing the means of artistic processing of musical material, accustomed to work in the stage.

Chinese Pre-service Music Teachers' Perceptions of Augmented Reality-Assisted Musical Instrument Learning.

Given the rapid growth of music technology, this study reports Chinese pre-service music teachers’ perceptions of musical instrument learning assisted by augmented reality (AR). In this study, we conducted a small-scale case study with six pre-service teachers enrolled in a music teacher training programme at a comprehensive university in China. Participants engaged in semi-structured, face-to-face interviews after hands-on experiences with an AR-based piano learning app. Thematic analysis revealed that the participants were generally aware of the potential of this instructional approach but doubted its efficacy and exhibited weak intention to adopt it in their future classrooms. Implications of the findings for music teacher training are discussed.

Müzik öğretmeni yetiştirme programlarının analizi: Müzik alanı ders program tasarılarının yapısı

In this research, 2007 music teacher training program prepared by the Council Higher Education in Turkey and Education Faculty music teacher training program changed under adaptation, quality and accreditation to Bologna process in the field of 2018 European higher education were analysed. In this study characterised as a “field study” regarding the environment it was carried out, “descriptive” in terms of method and specifically “document analysis”, it was investigated to what extent music teacher training curriculum designs complied with program development principles, and relationships regarding courses defined within the scope of the program and the goals of the subject areas of music education. It has been found out that there were not sufficient number of members in the curriculum development committee based on “certain criteria” when amended Music Teacher Program Design was created, and there are contradictions between the scope of the curriculum and definition of courses, and there are significant number of theoretical courses in the curriculum. When examining the goals of courses specified related to the Music Teacher Field, allowing teachers to have in-depth understanding and knowledge on their field, in the four-year program, it was determined that the indicators related to “repeatability”, “permanence” and “progressivity” were very low/poor/insufficient. To conclude, suggestions were made related to the studies on reorganisation, update and amendment of the music teacher training curriculum (2018).

ПОЛІХУДОЖНІЙ ПІДХІД ДО ІНСТРУМЕНТАЛЬНО-ВИКОНАВСЬКОЇ ПІДГОТОВКИ МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА

The article considers the implementation of a polyartistic approach in the educational process of instrumental and performance training of future music teachers, presents an alternative integrated-subject model of teaching a piano course based on general didactic principles and special methods of mastering musical works. The proposed model is developed from the perspective of the concept of interaction of arts which is realized by the current programs of secondary education.The purpose of the article is to justify the effectiveness of the integrative-subject model of teaching a piano course based on a polyartistic approach to the educational process using the principles of art pedagogy within the higher education system.It is noted that polyart education in a modern school puts forward fundamentally new requirements for a music teacher. His professional training should be based on integrative technologies that will promote the acquisition of special knowledge related to the ability to establish objectively existing links between a work of music and works of other arts, the ability to synthesize concepts, find common ground and implement a holistic, integrated, value-content analysis of a musical work. All these polyartistic skills, artistic knowledge belong to the essential characteristics of polyartistic competence, the formation of which becomes a necessary condition for artistic professionals.The concept of an integrated-subject model of piano teaching is based on a comprehensive polyartistic approach to the study of musical works, which is hinged on certain didactic principles and special methodological techniques, each of which cannot be distinguished; they all complement, interpenetrate, synthesize, accumulate in the educational process. The following didactic principles are considered: the principle of system-complex approach, which is focused on the combination of classroom, independent, extracurricular and professional-practical training of students; the principle of content and diversity, which allows the teacher to plan the technical, artistic and musical development of the student, taking into account his individual psychological characteristics and intellectual capacities; individual approach to the student, which involves the use of variability of the student’s curriculum depending on his performance capabilities and growth prospects; intra-subject, interdisciplinary integration and artistic synthesis, which forms polyartistic skills, develops in them polyartistic consciousness and thinking, cognitive interests in interaction with art.It is concluded that increasing the level of instrumental and performing training of future music teachers using the polyartistic approach equips them with a range of knowledge, skills and abilities that in the process of various educational activities are transformed into characteristics of a deeper categorical level, professional competencies, including polyartistic. The professional competencies developed by future specialists in the process of educational activity can be further transposed into their future professional and pedagogical activity.Key words: art education, piano performance, musical work, polyartistic competences, didactic principles, methodical receptions.

Enhancing the Intercultural Competence Development of Prospective Music Teacher Education: A Case Study in Indonesia

Music teacher education institutions in Indonesia are challenged to address their students’ intercultural needs due to increasing interaction at the global level. Therefore, this research seeks to discover suitable formulation for teacher education institutions in Indonesia in implementing music teacher education and training to equip them with intercultural competence. This research employs case study design, in which the data were obtained using interview conducted in July and August 2020. This aims at obtaining concepts based on the need analysis of intercultural competence through processes, actions and interactions from the participants’ perspective. The participants were students of Music Teacher Education Department of Universitas Pendidikan Indonesia, Bandung, West Java, Indonesia. The findings show that 1) the sensitivity to cultural diversity of music teacher candidates needs to be enhanced to expand the awareness of their own and other cultures; and 2) enhancing intercultural competence requires both theoretical and practical courses related to Indonesian identity and global culture. The findings are significant considering that every music teacher should have the same perception in teaching, which is in accordance with the diversity of Indonesian and world cultures.

ОСОБЛИВОСТІ ФАХОВОЇ ПІДГОТОВКИ МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА ДО КЕРІВНИЦТВА ХУДОЖНЬО-ТВОРЧИМИ КОЛЕКТИВАМИ

The article discovers the issues which are a part of a complex set of training future music teachers to manage artistic and creative ensembles, in particular, vocal and choral ones. It is emphasized that the dominant place in the process of training future music teachers to guidance these groups is occupied by aspects of conducting and choral training, the study of which is impossible without understanding the unique phenomena of native choral performance and features of working with vocal and choral collectives. To solve these problems there are the disciplines of conducting and choral cycle, the main task of which is to educate students in professional skills and skills of singing in the choir, as well as managing the choir based on mastering the methods of working with the choir, didactic principles and knowledge of psychophysiological process which a person has during singing. It is noted that the reserve for improving the quality of professional training of future music teachers to manage vocal and choral ensembles is the intersubject relationship of special disciplines with socio-pedagogical and music-theoretical ones. Modern performance and analytical requirements for professional training of future music teachers to guidance vocal and choral groups are analyzed, in particular, the ability to achieve the required level of knowledge and skills on condition that students master each subject of conducting and choral cycle with awareness of their interaction, high level of singing and conducting competence of students and their deep knowledge of vocal and choral repertoire, the art of mastering of not only performing vocal and choral skills, but also organizational skills by the future manager of the ensemble, the unity of erudition in the field of vocal and choral art, methodical training, pedagogical activities based on interrelation of knowledge and practice of working with an artistic and creative collective. The specifics of the professional training of future music teachers to lead vocal and choral groups is his singing and conducting competence, deep knowledge of vocal and choral repertoire, the art of mastering the leader of the vocal and choral group not only organizational skills but also performing vocal skills. For effective professional training, students need to constantly and purposefully develop their musicological and performing qualities in conjunction with conducting and choral and methodological training.

Musical Semiotics: an interdisciplinary aspect

Due to the relevance of the process of updating the modern educational system of Ukraine, especially its aesthetic field, attention is drawn to the problem of the qualitative transformation of music and pedagogical education. The introduction of a semiotic component into the process of preparing future teachers of musical disciplines is intended to enrich its analytical focus, both in theoretical and practical formats. This practice looks promising in the training of music teachers and music performers. The purpose of this article is the requirement to study the essential features of the “semiotics” concept in an interdisciplinary context, that is, from a philosophical, philological, cultural and art criticism position with their further correlation with the characteristic features of the “musical semiotic” concept. As a result of the analysis of various literary sources, setting out the provisions of the concepts by scientists who are influential in the field of semiotic theory in the above-mentioned areas, single characteristic features of the “semiotics” concept have been identified. In the process of correlating these essential features of semiotics with the concept of “musical semiotics”, it is concluded that they fully coincide in the definition of both phenomena. But at the same time, based on the specifics of music art, special characteristics of musical semiotics are also revealed. First of all, these include the special place of the artistic image in the semiotic analytical process, as well as the distinction between the concepts of “language” (“musical language”) and “utterance” (“musical utterance”), rather than the more traditional holistic analysis of musical language. It is necessary to build a further study of musical semiotics and actively implement its capabilities in the process of training musicians-teachers and performers with these features in mind.

Training of music teachers in pedagogical universities of China in the expressive gestures

Training of music teachers in pedagogical universities of China in the expressive gestures

Розвиток музичної освіти у вибраних країнах Європи у XXI столітті

Розвиток музичної освіти у вибраних країнах Європи у XXI столітті

Issues of the cluster approach to improve theprofessional training of future music teachers

Issues of the cluster approach to improve theprofessional training of future music teachers

ІННОВАЦІЙНА МЕТОДИЧНА ДІЯЛЬНІСТЬ ЯК ОСНОВА РОЗВИТКУ ТВОРЧОГО ПОТЕНЦІАЛУ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИЧНОГО МИСТЕЦТВА

Education modernization in the process of intensive development of society in the country is aimed at nurturing each person’s inner need to generate and implement innovative ideas. Therefore, one of the main objectives in organizing academic and methodological work of a future music teacher is to develop a highly qualified, competent, competitive specialist, without whom it would be impossible to modernize education in Ukraine. In the current context, the professional competence of a teacher, their ability to learn constantly, their desire for self-improvement and self-actualization come to the fore. A future music teacher must be a person educated in culture, pedagogy, psychology and specific methods. Without this knowledge, a teacher loses their professional qualities, the main ones being the capability to pedagogical creativity, academic, methodological and experimental work, and interest in improving their skills. The use of innovative approaches to the organization of academic and methodological work is an important factor in stepping-up those processes. Currently, there is significant interest in the issue of developing the creative potential of students of various majors, including those related to the training of future music teachers, who will carry out the process of music education for schoolchildren in the future. Artistic innovative activity does not only reflect the specifics of updating the traditional education system through rationalization, introduction of innovative experience, or modernization, but also presents an individual creative style of a future music teacher. An important condition of this process is the optimal combination of external factors and the system of internal personal transformations, which allows students to become subjects of self-development, to achieve a certain level of personal and professional orientation from the moment of awareness of their abilities and opportunities in artistic activities. The need for a creative solution to life’s tasks is endless, it constantly motivates a person to search, and the successful, productive completion of creative searches causes satisfaction and a new wave of the need to test yourself in solving life’s tasks creatively, and to find self-fulfillment.

ФОРМУВАННЯ ЕСТЕТИЧНОЇ КУЛЬТУРИ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИЧНОГО МИСТЕЦТВА З ВИКОРИСТАННЯМ ЦИФРОВИХ ТЕХНОЛОГІЙ

The paper considers one of the relevant issues of introducing and using digital technologies by a future music teacher. It is proven that the realm of aesthetic culture of a future music teacher requires the introduction of innovative forms of education and their active application. It is substantiated that digital technologies are a means of professional development of future music teachers in the process of professional training and become an integral part of society at all levels and centers, and digital competence is recognized as one of the priorities in educational activities. The paper emphasizes that modern education is the mastery of electronic, multimedia textbooks and guides, e-courses, interactive complexes, therefore learning with the use of digital technologies is not a novelty but a requirement of the time. The structural components of aesthetic culture such as aesthetic consciousness, aesthetic activity, aesthetic self-organization are analyzed and singled out, and the author believes that such components are designed to implement strategic ideas in the field of education and culture into public life, to develop values, to apply and use modern technologies in professional activities, and this requires active skills in using ICT, as well as information, music and technological competencies, critical thinking, behavioral strategies, response to changing needs and interests of society. In this paper, the author considers digital, music and computer technologies as a means of professional development of a future music teacher in the process of professional training, because the use of such technologies increases motivation for professional activity and develops positive beliefs in selected music disciplines and areas of music research. The paper studies the SAMR approach that allows assessing the level of digital technologies use in educational institutions for teaching and learning. A review of current trends in digital technologies organization and application has identified their most common forms in the training of future music teachers and proven the effectiveness of their use, which affects the development of pedagogical mastery of music teachers.

Digital educational space in the professional training of music teachers

Professional training of music teacher is a versatile and creative process. It includes numerous areas, such as instrumental and vocal training, studying pedagogical technologies for working with children, studying masterpieces of world music art, and, certainly, studying digital resources and technologies. Digital education space is a digital environment integrating opportunities of digital education resources, computer-aided music technologies and tools, which is the basis in training music teacher. The importance of skills of setting as interactive accompaniment and basic user accompaniment in the form of phonogram is also stipulated by the specificity of accompaniment activity of music teacher as one of the major constituents of professional readiness. Imagination of music teacher as a concertmaster (accompanist of children singing) exerts the influence on whether he would be able by means of expressive playing and keyboard technique to underline and to support the temper of children singing, to present clearly and to reproduce instrument features by piano. That is, a music teacher should be aware of organology, know features of instrument sounding and peculiarities of various instruments. This is sufficiently aided by sequencer software with embedded banks of virtual tunes on synthesizer. In digital education space, video is presented as teaching aid for transfer of learning information, that is, it is considered as video aid, video device used for organization of education. Under existing conditions of distance learning, the interaction between teacher–choirmaster, teacher–vocalist, concertmaster, and students is supported by information and communication technologies. Therefore, mastering means and resources of digital education space is aimed at improved of professional training of future music teacher being the basis of formation of personal capabilities and skills of student.

Philosophical and Methodological Providence of Music Teacher Training Based on Interpretive Culture

Philosophy as a methodology and theory of cognition plays a decisive role in scientific research. The research of philosophical and methodological providence of music teacher training in the article is relevant and original and has a theoretical nature. A review of literature sources showed that the research of philosophical and methodological providence of music teacher training on the ground of interpretive culture was not conducted. To solve this problem, the following tasks were set: to develop a block diagram of the methodology of research of the scientific problem of music teachers training; to find out the interpenetration of such concepts as «interpretation», «culture», «interpretive culture»; to analyse the categorical apparatus of scientific research. The scientific research began with a monographic method, which allowed diving deep into the problem of music teacher training on the ground of interpretive culture. A system-structural approach was used to develop a structural scheme of the research methodology of this problem. Systematisation of the categorical apparatus allowed to make a categorical matrix of this scientific problem. The method of generalisation allowed to form a system of scientific approaches to the interpretation of the concept of «interpretive culture of a music teacher». The scheme of methodology of the problem developed by the author contains: subject area, scientific approaches, and components of methodology. The subject area in this development is the theory and practice of modern music and pedagogical training, analysis of the state of methodological providence in higher education institutions and providing quality training. The categorical matrix demonstrates the understanding of the theory and practice of interpretive activity, as well as harmonizes the logical and meaningful reflection of the object and subject of the research. Addressing the spiritual-value context is methodologically important, as it gives an idea of the spiritual environment of music and deepens the understanding of music, forcing to realise, differentiate and then synthesise ideological and semantic moments into a concrete integrity.

POPULAR MUSIC EDUCATION IN MUSIC TEACHER TRAINING DEPARTMENTS

Araştırmanın amacı Türkiye’de Müzik Eğitimi Ana Bilim Dallarında lisans düzeyinde uygulanan 2006 ve 2018 öğretim programlarının içeriklerinin popüler müzik eğitimi bakımından incelenerek karşılaştırılmasıdır. Araştırmanın modeli nitel araştırma modellerinden durum çalışmasıdır. Araştırmanın veri kaynaklarını YÖK tarafından oluşturulan ders içerikleri, Müzik Eğitimi Ana Bilim Dallarının oluşturduğu içerikler ve öğretim üyelerinin görüşleri oluşturmuştur. Araştırmanın verileri doküman analizi ve görüşme yöntemleri ile elde edilmiştir. Araştırmada, 2006 ve 2018 programında içeriğinde popüler müzik eğitimine yer verdiği saptanan dersler, ders saati ve içerikleri bakımından incelenmiştir. Ders içerikleri “Kapsam ve Kavram Olarak Popüler Müzik”, “Müzik Türleri”, “Popüler Müzik Endüstrisi ve Teknolojik Boyut”, “Popüler Müziğin Armonik Yapısı”, “Popüler Müzik Uygulamaları” ve “Popüler Müziğin Müzik Eğitimi İçerisindeki Yeri” kategorileri doğrultusunda betimsel analiz yöntemiyle analiz edilmiştir. Sonuç olarak Türkiye’de Müzik Eğitimi Ana Bilim Dallarında lisans düzeyinde uygulanan 2006 ve 2018 öğretim programlarındaki popüler müzik eğitiminin içerik ve kapsamındaki benzerlik ve farklılıklar ortaya koyulmuştur.