Aesthetic needs in professional activity of future teacher of music: theoretical aspect of the problem

The paper considers the issue of developing aesthetic needs of a future music teacher in the course of professional training. The author defines notions such as culture, aesthetic culture, aesthetic activity as well as explores the essence of the notion of an aesthetic need of a future music teacher. The paper substantiates the role of art and aesthetic activity as the main factor for aesthetic needs development. The study reveals that there is a reason for the interest to human needs since a large number of branches in material and spiritual culture of society depend on defining the nature of needs and trends in their development. The author emphasises that the functioning of all levels of human life requires needs that would meet human development both physically and emotionally, thus, there should be an aesthetic form of activity because it harmoniously combines both spiritual and functional aspects. The paper substantiates the role of art as the main factor for development of aesthetic needs that can be met in various activities, but it is in art that they find the greatest expression. The author supports the idea that art is a special area of human existence and it combines knowledge and communication, intelligence, a sense of morality, and imagination of people. Involvement of a person in art is a necessary condition for development of aesthetic consciousness since elevation of the spirit and actualization of an essential aesthetic force take place during the process of perception, experience and understanding of works of art. Art integrates a dialogue of a person with the world. Considering the concept of an aesthetic need, the author defines it as an internal need to comprehend certain aesthetic values, development of certain skills, because an aesthetic need is based on aesthetic feelings that are embodied in aesthetic tastes and consist of individual selection of those aesthetic phenomena and objects that best suit views and interests of a person. The paper emphasises that an aesthetic need embodies richness and diversity of spirituality of a person who seeks to fulfill their potential in all fullness of life and if a person has a need for personal fulfillment, they will find the strength and ways to do that. It has been proved that an aesthetic need has semantic and aesthetic properties and has an artistic and perceptual nature, which provides an opportunity to obtain pleasure, enjoyment, joy, delight from beauty. It has been established that the process of perception or direct creativity of art are characterized by a combination of a goal and means, where the means develop into the goal, and the goal is the process itself when spiritual, functional and aesthetic needs of the individual are met, i.e. a person reaches a certain level in their activity when they create products and forms of cultural activity that meet more and more of their needs. The paper outlines that an emerging aesthetic need motivates a music teacher to create conditions and means for achieving satisfaction with their own creative activities, because an aesthetic need is a desire of a future music teacher to harmonize the internal and external world as well as development of aesthetic awareness of the world: to perceive and appreciate the beauty, to live and create according to the laws of beauty.

Study of professional and emotional burnout in foreign psychological-pedagogical theory and practice

One of the acute problems in modern psychological and pedagogical theory and practice is the problem of emotional burnout of pedagogical workers In the process of studying emotional burnout, we first of all encounter with such general methodological problems, such as: the need to take into account all the main factors that are important for the emergence and formation of emotional burnout in a specialist, with the fact of variability of the main symptoms of emotional burnout at different stages of its formation (changes in thinking, behavior, feelings and health); taking into account probable moments in the development and formation of emotional burnout, etc. In our opinion, the following approaches can be solved by solving common methodological problems: interdisciplinary, systemic, empirical, personal-social-activity, situational. The article uses a complex of theoretical and empirical methods of analysis, systemization and generalization. Scientific understanding of foreign experience in studying the phenomenon of burnout, allowed to determine the degree of negativity of long-term professional stress, emotionally charged conditions of concert and stage activities and a large number of unforeseen situations of artistic and pedagogical interaction as a determinant of psychophysical burnout, emotional and intellectual I am a specialist. Thus, the approaches analysed in this article to the study of “emotional burnout” show that burnout manifests itself in various spheres of personality (cognitive, motivational, human rights to work), and there is a connection between burnout and exacerbation in all these areas, it seems to us important. Further research requires the development of technologies to overcome the syndrome identified by Ukrainian scientists.

Concert and performance activity in professional training of future teacher of music art

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.

Ukrainian music performance schools: regional aspect

The analysis of the definition of “music performance school” in musicological and music-pedagogical studies of modern domestic scientists demonstrates different methodological approaches to its interpretation. This phenomenon is considered in terms of historical and stylistic approach (N. Kashkadamova) and is included in the broader cultural and music-pedagogical context (N. Guralnyk, V. Shulgina). It deals with the problems of professional training of the teacher of art disciplines and art pedagogy (O. Rudnytska, G. Padalka, O. Oleksiuk, O. Mykhailychenko and others). As a socio-cultural and personal-value phenomenon of the music-performing and pedagogical tradition, or the factor of its preservation, transaction and transformation in the scientific discourse, the music performance school can be interpreted in a single, collective and universal dimension. In this context, the problem of studying the regionalism of music performance schools as a dynamic historical and cultural phenomenon is actualised. A thorough exploration of the history of regional piano schools has become the topic of a number of musicological studies. Thus, the works of N. Kashkadamova, T. Starukh, L. Mazepa and others are devoted to the piano art of Lviv. The educational and pedagogical traditions of this school found continuation in the activity of the pianists, pedagogues and performers of Ukraine and abroad, mostly Western Ukraine The purpose of the publication is to analyse the historical and cultural backgrounds and main aspects of the formation of professional piano performance in Ternopil at the end of the 19th — the first half of the 20th century. Based on historical, comparative and individual approaches, the figures of famous piano performers and teachers associated with Ternopil are highlighted. The initial stage of the formation of piano performance in the region during the end of the 19th — the first third of the 20th century is traced as a transition from an amateur period to academic performance and professional music education. The attention is focused on the beginning of the piano class at the branch of Lysenko Higher Music Institute (VMIL) in Ternopil. The article highlights the role of representatives of Lviv piano school, the activity of some performers, composers and pedagogues as founders of piano performance in the region. The creative figures of the performers and piano pedagogues of S. Krushelnytska TMK, V. Hnatiuk TNPU as a follower of the Lviv piano school tradition are briefly presented.

Factors of influence on vocal teacher’s stage image multifunctionality in modern conditions

The article analyses the scientific basis for the emergence and development of the concept of “stage image”. It has been proved that the essence of a stage image creation is the deep performer’s penetration into the stage image and its implementation by means of vocal techniques, facial expressions, gestures, etc. The noted personal, social and symbolic characteristics of the stage image are not unchanged, they flexibly change in accordance with the inner aspirations of the individual and the external circumstances to which it is forced to adapt in any case. It has been emphasized that among the considered factors and methods of the stage image formation the most important is positioning, i.e. consolidation of the unique identifying features of the vocalist in the minds of others that distinguish him or her from other similar performers. Positioning which is carried out on one, two or three features will be effective as due to the basic laws of psychophysiological perception a larger number of it is not usually delayed for a long time in the people’s minds. The positioning strategy should remain unchanged for a long time as its rapid and frequent change does not allow the selected marked characteristics and attributes to take root in the minds of the audience, and therefore positioning will just not happen.

Structure of methodological competence of future teacher of art school

The article proposes the structure of methodological competence of the future teacher of art school. Based on the analysis of scientific and pedagogical literature, the author finds out that scientists have not previously studied the problem of forming the methodological competence of the future teacher of art school, and did not develop its content and structure. The purpose of the article is to highlight the structural components of the methodological competence of the future teacher of art school. The research methodology involves the use of theoretical research methods, such as: analysis of psychological and pedagogical literature on the research problem, systematization, generalization, specification, synthesis and comparison. The article considers the interpretation of the key concepts “teacher’s professional competence” and “teacher’s methodological competence”, disclosed in the pedagogical literature. The content and structure of the related concept “methodological competence of the future teacher of music art” are given. It is emphasised that methodological competence is a determining factor of successful and effective methodical activity of the future specialist. It is found that the pedagogical conditions, methods and techniques of forming the methodological competence of the future teacher of art school in solo singing classes need scientific substantiation.

Synesthesia as a tool for development of musical semiosis among younger students

The paper reveals the concept of semiotics of art as a separate field of study that impacts the process of developing musical semiosis in younger students. Important attention is paid to creation of abstract sensory images in younger students through the perception of synesthesia phenomenon. This ensures the formation of specific synesthetic codes that allow to transmit information at a special cognitive level based on physical and emotional experience of students. Musical art is of great interest for semiotics, aimed at finding principles, components of the basis of the content formation process in the field of human sensory experience. During the twentieth century, the synesthetic paradigm had been gradually entering the scholarly apparatus of art history and music pedagogy and manifesting itself in the aesthetic aspect of those arts and sciences. While perceiving art, younger students develop metaphors of sensory perception, which unite various sensory systems. Synesthesia promotes the perception of music as the movement of the “sound body” in the imaginary space with the following coordinates: depth — the texture of the sound; vertical line — harmony; horizontal line — melody. It is music that “awakens” synesthesia, not only through the expressive and personal nature of experiencing color and sound, but also through the specifics of motility and the natural state of a person. The action mechanism of synesthesia as a means of musical semiosis is that a student perceiving or performing music switches between arts. As a result, aesthetic culture of younger students develops and opportunities for optimal achievement of music education objectives uncover.

Interdisciplinarity as form of fundamentalisation of higher art education: faceted approach

The interdisciplinarity of art education lies in the universality of the influence of art on all human cognitive processes and the ability to embody artistically any theme and plot that excites a person — an artist and a recipient. The origins of interdisciplinarity as a scientific paradigm are involved in the theory of communication. Interdisciplinarity is based on scientific semantics: interdisciplinarity plays a syntactic role, on the one hand, and, on the other hand, it helps to build semantic connections in schemes and transitions between different subject areas. A promising strategic direction is to increase the cultural intensity of all disciplines. Simplified practical use of art as an illustration, “figurative confirmation” of life phenomena ignores its high purpose. Practitioners pay attention to the use of interactive teaching methods: discussion, round table, method of projects, synectics, inversion, etc. In the implementation of research projects of students, we use phenomenological dialogue / polylogue. The use of this method creates conditions for analysis, reflection and self-assessment of students in the organization of their educational activities. The facet approach is an important area of modernization of the university and corresponds to the innovative nature of science. The transition from interdisciplinary integration in the classroom to interdisciplinary integration with project forms of education is the main condition for building an innovative model for the development of art education.

Educational and methodological support for development of emotional intelligence of future teachers of musical art in professional training process

The article presents the author’s understanding of the concept of “emotional intelligence of a music art teacher” as an integral, personal and professional quality of a future specialist. It contains determination of the content and structure of emotional intelligence of a music art teacher, the peculiarities of its manifestation due to the specifics of professional activity. The content of educational and methodical support for the formation of emotional intelligence of future bachelors and masters of music art in the process of professional training has been revealed. It includes normative and selective professional disciplines; various types of pedagogical practice (educational, psychological and pedagogical, summer pedagogical practice in health camps, teacher training practice in general secondary education institutions, assistant practice in higher education institutions); different types of research work; selective course "Theory and Methods of Emotional Intelligence Development". It is noted that the curricula of all normative and selective disciplines, different types of pedagogical practice as well as the topics of research work of students are enriched with emotional and intellectual component. The developed content of educational and methodological support is implemented in various organisational forms and methods of development of future teachers’ emotional intelligence, which were classified into three groups: general didactic, special, conditioned by the peculiar nature of music and specific, related to the phenomenon of emotional intelligence.

Independent work as pedagogical condition for development of intellectual and creative abilities of future music teachers

The article analyses the independent work of future music teachers in higher educational institutions of art as a pedagogical condition for the development of intellectual and creative abilities. The concept of “independent work” is considered in the works of modern and domestic researchers. The role of independent work is defined as an integral system and forming factor of the educational environment of higher art institutions. The tasks are highlighted and the classification of types of independent work of future music teachers is considered. The phenomenon of independence, which is an integral attribute, the inner essence of independent work and acts as a sign of its intellectual component, is analysed. On the other hand, independence is seen as the highest step in the formation of personal competence. The future music teacher makes the significant both intellectual and creative efforts and thus reaches a certain level of intellectual and creative abilities by mastering professional training, carrying out professional and creative selection of the repertoire, methods of its processing, based on their preferences, intentions, and motivations. The author investigates the most important component of education — a self-education, the ability which is exclusively formed through the self-educational activities. The self-educational activity of the future music teacher is considered as an effective means of professional self-improvement and self-development of personality, which also provides the significant professional qualities and abilities such as both intellectual and creative, the development of which determines the level of professional self-development. It is proven that professional self-realization is the highest level of manifestation of professional training of future music teachers, in the process of which are carried out the intensive development of both intellectual and creative abilities.