scholarly journals ОСОБЛИВОСТІ ОРГАНІЗАЦІЙНО-ПЕДАГОГІЧНИХ УМОВ ФОРМУВАННЯ ІНДИВІДУАЛЬНОЇ ОСВІТНЬОЇ ТРАЄКТОРІЇ МАЙБУТНЬОГО ВЧИТЕЛЯ МУЗИКИ У ПРОЦЕСІ ПРОФЕСІЙНОЇ ПІДГОТОВКИ

2019 ◽  
pp. 48-52
Author(s):  
Колоніна Л. Г.

The article defines the issues of the specificity of the structure of the individual educational trajectory of the future music teacher. The algorithm of individualization of the student learning process is considered. The definition of the terms “individual educational trajectory” and “pedagogical condition” is given. The author briefly reveals the organizational and pedagogical conditions for the formation of the individual educational trajectory of future music teachers, in which he emphasizes the improvement and revision of educational programs on the basis of partner collaboration with a student. It also points to the need to maximize the use of organizational ideas of dual education by increasing the elements of practice-oriented education. Particular attention is paid to the need to modernize the functions of the teacher-curator through updating the content and principles of the institute of the curator.

Author(s):  
Skuratovska Mariya

Concert and performance activity is an important component for future music teachers. It encourages them to analyse their needs, interests, inclinations. It contributes to the formation of personal significance, emotional confidence, ensures the independence of the performer in the process of professional training. Thus, the insufficient elaboration of the problem of preparation of a future music teacher for concert and performance activity becomes an actual one in the art educational process. The article is devoted to the problem of concert and performance activity of a future music teacher in the process of professional training. It reveals the principles of forming the readiness of a future teacher of music for concert and performance practice, analyses the research on this issue. The purpose of the article is to reveal the influence of the concert and performance activity as a kind of artistic creativity on the process of professional training of a future music teacher. The scope of research on this issue includes the definition of the most effective ways and methods of preparing future music teachers for concert and performance activity, as well as numerous aspects of the creative process in which the future musician-performer is involved. The methods and techniques of diagnosing the characteristics of an individual and his performance qualities are of particular importance. This allows identifying “problem issues” that require active pedagogical influence to overcome existing shortcomings. Universal approaches (systemic, axiological, competence) must be constantly combined with individual-personal, which takes into account the features (physiological, mental, ideological, etc.) that are specific to this person and that distinguish him from everyone else. The individual-personal approach is one of the most important tasks of studying the professional and spiritual formation of the person for the future music teacher. It defines the ability to create his / her own original musical world embodying the maintenance and values of a mussician-performer as the basic criterion of the readiness for professional concert and performance activity.


Author(s):  
Xie Lifeng

The article is devoted to the study of the essence of the phenomenon “performing will” as an important professional quality of future specialists in the field of art education. The purpose of the article is to substantiate the essence, content and component structure of the performing will generated by future Music teachers, in the context of choirmaster (choral) training in particular. These methods are used in the article: analysis, synthesis and generalization (in order to substantiate the key provisions of the study); the method of shifting from the abstract entities to the concrete ones (in order to study the essence of the complex concept "performing will of a Music teacher in the context of choral training"); the methods of modelling and systematisation (in order to study the structural components of the phenomenon under study). Based on the study, it was determined that the choirmaster training aimed at the future Music teachers involves mastering the competence in specific activities with pupils’ non-amateur and amateur choirs, as well as mastering the forms and methods of organising pupils’ group choral performance. The performing will of the future Music teacher in the context of choirmaster training is considered as individual basic personal and professional properties which provide mental and emotional influence of the conductor on the members of the choir to unite them on the basis of emotional and spiritual resonance. The will of the conductor-choirmaster acts as a mechanism of energy impact on each member of the team in order to achieve the necessary, highly artistic and convincing level of implementation of the performance conception as an intonation-auditory and emotional image of the musical work envisioned by the conductor. Based on the definition of the content-oriented and attributive characteristics of the performing executive will, the component structure of the studied phenomenon is substantiated, it consists of four interconnected components: motivational-incentive, intonation- and image-centred, manual-expressive and reflexive-corrective


Author(s):  
A. S. Koval

This article is devoted to the studying hermeneutic circle in the development of methodological culture of future music teacher. Under the conditions of globalization processes, tendencies of convergence of world cultures improvement of culturological training of student youth requires new approaches, in particular, culturological training of students of pedagogical specialties. The task of pedagogical education is to develop a teacher as a specialist and as a person of high culture, who has a special positive effect on the personality of school student. This article analyses the works of scientists dedicated to the issues of establishment and development of the hermeneutic approach in philosophical, psychological, and logical and gnosiological contexts. It is defined the essence of the concept of “hermeneutic circle” as one of the basic principles of the hermeneutic approach. There have been provided the examples of interpretation of the principle of hermeneutic circle by various scientists. Hermeneutic approach is applied in sciences such as pedagogy, psychology, economics, sociology etc. In pedagogical science the hermeneutic approach at the level of conceptual use was elaborated by A. Zakirova. She introduced the term “pedagogical hermeneutics”. Hermeneutic circle as a principle of text understanding is based on the interrelation of the part and the whole. Understanding of the whole consists of the understanding of the individual parts, and understanding of the parts requires understanding of the whole. The concepts of the part and the whole are correlated: the text is a part concerning the whole creative activity of the author, which in its turn is a part of the particular genre or literature in general, as well as the part of spiritual life and biography of the author. The idea of hermeneutic circle means also that there is no understanding of the text without certain prerequisites: understanding is preceded by some idea of what is yet to understand. There have been determined the peculiarities of the use of the principle of hermeneutic circle in the development of methodological culture of the future teacher of musical art. In light of hermeneutical trends, the penetration of which in the realm of musical art can be traced quite clearly, the use of the hermeneutic circle principle in the development of methodological culture of the future teacher of musical art appears not only in the narrow interpretation of the particular phenomenon or group of phenomena, but much wider — as a means of learning and understanding of the worldview by a person.


2020 ◽  
Vol 13 (3) ◽  
pp. 279
Author(s):  
Laura Elizabeth Cervantes Benavides

Facing the problems for understanding student learning and the way that makes the relationship and integration of learned knowledge easier, this work is presented, which objective is to identify in the teaching-learning process, at the moment in which the individual relates and integrates the knowledge it acquires. In this document, the assumption was made is, In greater depth of reflection, the student strengthens his cognitive and metacognitive abilities.


Author(s):  
Joanne Haroutounian

The lovely student pianist was bowing graciously to an appreciative audience of music teachers from across the country. She was the junior high winner of a national competition, and her exquisite playing and careful training was apparent. Her performance was no surprise. It was polished and well prepared. As we rustled our programs, searching for the next performer’s name, the junior high cellist awkwardly stepped on stage, tried to adjust the chair and struggled with an endpin that seemed to enjoy sliding rather than sticking to the floor. After a few uncomfortable moments, she nodded to her accompanist and began to play. This performance was a captivating surprise. From the first notes, the audience was caught up in the enthusiasm, excitement, and connection she made with her cello and the music. As she finished, with a flourished release of the bow, the audience spontaneously rose to its feet, shouting “Bravo.” This young teenager, with the simple cotton dress and awkward entrance, stood transfixed. She looked around at her fellow competition winners to see them on their feet as well. She turned, bowed slightly, and gave a shy smile of appreciation. A musician communicates through performance. The recognition of musical talent through performance makes common sense to anyone who is a musician or teacher of musicians. Music aptitude may measure musical potential, but musical talent is realized through performance. We hear it. Musical talent blends the inborn perceptive capacities of the individual with the physical ability to perform with personal interpretation. Quite simply, a musician or music teacher believes that you can determine talent if you just listen to the student play. In fact, the assessment of musical talent by listening to a performance isn’t quite that simple. It poses a number of problems because of its inherently subjective nature. Performance is a process as well as a product. It is phenomenological. The opening performance of the young cellist was captivating. Why? It could have been the audience’s surprise at hearing a brilliant performance from a student who outwardly didn’t have the trappings of a seasoned competition winner.


2019 ◽  
Vol 33 (1) ◽  
pp. 15-23
Author(s):  
Sharyn L. Battersby

Music educators are continually seeking new ways to better their practice and improve student learning. Professional learning communities are a type of collaborative community that when administered successfully provide a forum for music educators to become active participants in both their own learning and that of their students. While the notion of professional learning communities has been around since the 1990s, they have received renewed attention more recently due to the adaptation and implementation of Danielson’s popular Framework for Teaching, which has been implemented in many school districts across the country. Teachers facing the challenge of reshaping the culture of their music programs and seeing their initiative sustained will devise elements that will become embedded in that (school) culture. Supportive and shared leadership, shared values and vision, and collective learning are just some of the attributes that can contribute to student learning and the professional development of music teachers.


2021 ◽  
Vol 1 (192) ◽  
pp. 88-91
Author(s):  
Svitlana Kulikova ◽  

At the present stage of systematic identification and approbation, purposefulness and improvement of various methods in musicology and music-pedagogical levels of education, the creative development of the future music teacher appears as an integral part of his future professional competence. Creativity as well as performance influence the comprehensive development of an instrumentalist musician at any stage of learning. Creativity stimulates the student to extraordinary music lessons. The main form of work in the piano class is individual lessons, which should be considered as one of the leading links in the learning process. They create conditions for comprehensive education and upbringing of the student, allow to solve pedagogical tasks consistently, to develop creative initiative and independence. The analysis of musical and pedagogical literature allowed to single out the following structural components of professional and creative development of the future teacher of musical art in the course of classes in the class of the basic musical instrument (piano) as sensory-emotional, artistic and figurative and performing. The art of playing any musical instrument is based on the unity of artistic image and technical skill, which allows the musician to convey to the listener what he wants to express his performance. Constant improvement of technical skills is the musician's work to expand his capabilities in the embodiment of artistic images. Thus, the main task of organizing the learning process in the classroom of the main musical instrument (piano) is to train a competent, broad-minded music teacher who owns the instrument, with a developed need for independent, creative activity. Achieving this task is possible provided that the following structural components of professional and creative development of the student: sensory-emotional, artistic and performing.


2021 ◽  
Vol 1 (192) ◽  
pp. 26-31
Author(s):  
Volodуmуr Сherkasov ◽  

The article substantiates the formation of musical and aesthetic culture of future teachers of music by means of the festival movement. The substantiation of the festival-competition «Steps to Mastery» is just being held on the basis of the Centralukrainian State Pedagogical University named after Volodymyr Vynnychenko. Music culture in the context of training future music teachers in higher education is interpreted by us as a complex dynamic phenomenon that integrates knowledge, skills and abilities in major musicological disciplines, experience in various types of music performance, the level of intellectual and creative abilities of future music teachers art, readiness for active musical and creative activity and increase of values of musical art. Aesthetic culture of the future music teacher is defined as a holistic, complex personal education, characterized by globalization of aesthetic worldview, level of aesthetic education and development, refined aesthetic taste, aesthetic perception and response to works of music, as well as the creation of aesthetic values in life and art. Musical and aesthetic culture of the future music teacher is the core of his professional culture, spiritual values and personal intellectual and artistic image. In the process of studying music-theoretical, instrumental and vocal-choral disciplines, future music teachers form an emotional and value attitude to the creative heritage of composers who were able to recreate the style, character and atmosphere of the era, which forms a holistic picture of the world, allows to think and focus those events that affected social change and contributed to progressive neoplasms in society. Participation in the festival movement promotes the creation of relationships between innovation, technology and creativity, the search for innovative and creative ideas. There is a presentation of the professional level of performers and musical groups, creative interaction is formed in the context of a new system of communication and a new model of cultural life. Music festivals have a positive impact on the preservation of cultural heritage, the promotion of national and world values.


2018 ◽  
pp. 60-71
Author(s):  
З. В. Шевченко

Philosophical anthropology proceeds from understanding the essence of man as a fundamentally open, unfinished entity in its formation. But it was just such a formation that the representatives of philosophical anthropology understood differently: some saw certain stages, stages of such formation, some distinguished certain classification types, and only in recent decades more and more anthropologists have drawn attention to multiple identities as anthropological characteristics of man. Anthropology, in this case, seeks objective, mainly natural, grounds for such a plurality: the splitting of subjectivity, for example, should not appear as an accursedness of chance, a psychiatric anomaly, but on the contrary - as a hidden mechanism, which gives the appearance of singularity to the surface of consciousness. Such a fundamentality of the anthropological approach is determined by most of its advantages, but it is precisely it that explains certain limits and even, in a sense, shortcomings, to identify which called philosophical anthropology - in any case, as the basic theory and methodology of the study of multiple identity of the individual.Life is heterogeneous, and therefore identity can not be homogeneous - as long as it is the identity of the living person, and not its image, created by the researchers as a certain codified version of the interpretation of this personality.Modern anthropologists, such as the French researchers Philippe Descola and Jean-Marie Schaeffer, focus on the specificity, certainty of human existence more than on its openness, uncertainty. For Descola the question is in defining of certain types of sociality that create the preconditions for the formation of different types of human identity. While Schaeffer goes much further and criticizes the metaphysical foundations of the monologue definition of human nature as the false in its basis, it is the false thesis of the exclusivity of man among all living forms.Deskola sees basic natural certainty of human peculiarities, but only takes into account existing and past versions of human identity. Future versions of human identity should also be taken into account, but this is somewhat problematic on a biological basis. Biology can only capture new versions of personality identity, but it is unlikely that they can be foreseen. However, everything that can be said about human identity has once arisen, that is, it just never existed. If Schaeffer’s critique of metaphysics and phenomenology is perfect in its orientation to the present and the past, then it clearly breaks down about the future. However, in the future, one can hardly expect the negation of most of the existing biological characteristics of a person – rather, we should talk about their very gradual, piecemeal improvement.Returning to the original contrasting theories of personality and the theory of social systems, it can be argued that theories of personality, which tend to humanitarian, interpretive interpretation of values, are closer to transcendentalist version of philosophical anthropology; however, the naturalistic version represented by Schaeffer, corresponds to the functional demands of social system theories and more rigid and invariant approaches of social sciences. Despite all the achievements of the natural sciences, one shouldn’t forget that they only realize the possibilities of actually proving counter-factual values that humanities give them. Thus, dehumanization of modern science does not appear as a world trend, but only as another challenge to the humanities. They have experienced a great number of such challenges – and giving each time new impetus for the development of natural sciences.Contradiction of transcendental and naturalistic approaches within the framework of philosophical anthropology should be regarded as somewhat conditional. In particular, both approaches provide sufficient grounds for substantiating the multiple identity of the individual. However, each of these approaches emphasizes the other aspect of the multiple identity of the individual: the transcendental one – the ability to create new versions of the identity of the person in the future, and the naturalistic one – on the classification, combinatorial opportunity to consider multiple identities in its actual diversity.


Author(s):  
Oleksandr Mozolev

Training future specialist to professional activity is one of the main tasks of higher and professional education. Pedagogical modeling of professional activity is used to determine the content of quantitative and qualitative information, which is necessary for modern researchers to further work, and also directs them to the prospects of career growth. The purpose of the article is to analyse the content of the process of pedagogical projecting of the model of the future specialist. The author established requirements for the training of qualified personnel determine the necessary competences which specialist has to master, his professionally important qualities, necessary in future activity, and also carry out the goal setting of the training process, acquiring the necessary knowledge and skills. It is identified that the competence of future specialists is a set of their competencies, which in turn are classified into key required, without exception to all graduates and professional, appropriate to the particular specialty. The article reveals the content of constructing a model of the future specialist which allows to solve such problems: a description of the specialist's work in the course of its professional activities; identifying inconsistencies between the content of training and specific professional activities of specialists. Requirements are defined as quality standards to the training of future qualified personnel. The list of basic competencies of the future specialist has been set which include: general cultural, methodological, professionally-oriented. The model of the specialist personality is characterized. Disclosed the content of the process modeling of learning outcomes and the algorithm of its development is determined. The definition of the concept «pedagogical design» was offered to reveal the principles and forms of pedagogical design. It is established that pedagogical design is one of the most common types of research. It is considered as an alternative to the classroom system in educational institutions. Project technology should be used as a supplement to other forms of direct or indirect learning as a means of accelerated professional growth of the individual.


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