Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education <p>This is an academic periodical journal, publishing peer-reviewed original papers and scholarly researches to be specialized on arts educational questions and pedagogy of arts. Printed edition is publishing from 2004.</p> Національний педагогічний університет імені М.П. Драгоманова | National Pedagogical Dragomanov University en-US Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2664-1909 Synergistic determinant of special training of a music teacher <p>The peculiarity of musical and pedagogical reality today manifests itself in the joint existence of various pedagogical paradigms and approaches. New concepts of pedagogical knowledge have appeared, among which are such concepts as “synergetic pedagogy” and “synergetic approach”. At the same time, synergetics is considered as a promising way to master a non-linear situation, which helps in the conditions of unstable social development to find new actions aimed at improving the educational process. The extrapolation of these ideas to the field of musical and pedagogical education allowed us to conclude that in the process of special education a synergistic approach can be realized through differences in the sequence of studying educational material, the variability of its content in its complexity, and orientation in the educational process on the creative and projective activities of each student. The use of design as a way of self-organization of the cognition process helps to compensate for the decrease in the volume of classroom information for students, to gain experience in communicative skills using in different types of educational activities. This allows each student to discover their creative potential, learn new methods of pedagogical influence, and master deep pedagogical knowledge. Thus, synergetics acts as a methodological basis for the pedagogy of art, and the use of its principles in the pedagogical field makes it possible to comprehend the processes common to all types of art, recognize new meanings in them, and understand the prospects for the development of new pedagogical thinking.</p> Olha Shcholokova Olena Nahorna Copyright (c) 2019 Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 3 9 10.31392/NPU-nc.series14.2019.27.01 Perspectives of performative artistic didactics in metamodern environment <p><strong>Relevance of the study</strong><strong>. </strong>The modern competency-based education focused on human self-actualization as gnostic mask in a digitall world-text. However, diacritic ability, sensible discretion (prudentia) is a function of apperception of moral consciousness, and, therefore, it is considered to be the first human virtue, the main soul activity. Thus, the <strong><em>aim</em></strong> of the article is to identify and substantiate the considerable differences between post- and metamodern concepts of educational process as anthropological factors.<strong> Material &amp; Methods</strong><strong>.</strong> The systematic thinking methodology of the proposed research has applied semiotic, phenomenological and hermeneutic approaches, methods of coherent modeling and expert evaluation of the theory of conceptual integration, the connective theory of metaphorical interpretation, the concept of non-linear epistemology, the principles of antinomy, verification, complexity, disjunctive synthesis. <strong>Results.</strong> The post-non-classical didactics of higher education considers studies to be a complex non-linear, open and self-developmental process the determining factor of which is the interaction between “a student and an educationally professional task”. Consequently, the teachers’ functions, the meaning of leading didactic principles, forms, methods, techniques have undergone changes. <strong>Discussion.</strong>The organization of digital training, especially in a variety of forms (blogs, online encyclopedias, online discussion clubs, online games and simulators, online courses within management systems (Learning management systems, LMS), open on-line courses (MOOK), tablet and smartphone applications and many others) is considered to be a factor that can significantly increase the novelty effect and the corresponding motivation of cognition and amazement, content comprehension and understanding. (R.&nbsp;Andrews, 2011; M. Dzhanelli, 2018; E. Ivanova, 2009; A.&nbsp;Uman, 2010; E. Kösel, 1993). Therefore, modern educational process is a decentralized, multi-vector, heterogeneous system that merely mimics something from predictive and transformative self-organization, This approach to education affirms self-centered individualism encouraging future specialists to reflect on the expediency of machine kenosis what means transgression in the “bodies” of a transformer, cyborg, android robot so on. A promising solution to the crisis of post-modern methodology of professional education can be the <em>performative concept</em> of future specialists’ professional training. The ability of a modern performative player to performance act provides for the creation (organization) of an artistic phenomenon / art project as an atopic metaxis - simultaneously in reality symbol and / between in the symbol of reality.&nbsp;<strong>Findings</strong><strong>.</strong> Years ago the opportunity of the epistemological contemplation of the internal essence (λόγος ένδιάθετος) was ironically rejected. Previously, the possibility of such epistemological contemplation of the subject essence of an art-symbolic tetrade (icon-index-symbol-relate) was ironically denied. Now, in the atmosphere of metamodernist oscillation, its implementation is being activated due to the introduction of metanoiа technique. Two methodological willingness to it and the event itself: involving the soul wandering in a whirling passion in an existential transformation and is the focus on the act as the only form of not only <em>mediation</em> of the students’ thinking process but also its reconstruction and variation. <strong>Originality</strong><strong>.</strong> Effectiveness of the realization of this aspect is proved by the strategies created in the para-art space: <em>metareflection</em>, the “double frame<em>”</em> strategy, design provocation, <em>soft-norm, </em><em>constructive pastiche</em>, aspects of metanoia are known to exist, namely the <em>norm-core.</em> <strong>In conclusion</strong>, we would like to sum up that contrary to liberal education, methodology of the realization of soteriological mission of the teacher in the society is the chance to prevent the future specialists’ from ‘existential exhaustion and sleepiness’, according to J.&nbsp;Fichte.</p> Ludmyla Кondratska Copyright (c) 2019 Кondratska L.A., Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 10 16 10.31392/NPU-nc.series14.2019.27.02 Methodological guidelines for the artistic and aesthetic aspect of teaching performance the future music teachers <p><strong>Relevance of the study.</strong> The article raises to the issue of ensuring methodological support for teaching performance the future music teachers in the context of their artistic, aesthetic and pedagogical potential. Artistic and aesthetic content of musical works should be comprehended and reproduced through the performer’s interpretation. The study unveils the factors that influence superiority of the technical aspect of performance, which makes it impossible to disclose artistic image of musical works qualitatively.&nbsp;<strong>Literature review</strong>. Analysis of the recent research shows that the issues of ensuring methodological support for teaching performance the future music teachers cover all its varieties: piano, vocal, conductor, and choral one. It has been considered from different points of view, namely: comprehension of methodological recommendations of the leading musicians-educators of the past; harmonization of emotional and rational in interpreting the musical works; creative development of the attributes of artistic thinking (timbral-auditory, artistic-semantic representations); polycultural and intercultural aspects of performing training, etc.&nbsp;<strong>Purpose.</strong> The purpose of the article is to provide methodological guidelines for the artistic and aesthetic aspect of teaching performance the future music teachers taking into account the main vectors of its pedagogical orientation and all professional varieties.&nbsp;<strong>Research methods.</strong> Terminological analysis and theoretical generalization have made it possible to clarify the essence of the concepts of “artistic and aesthetic content” and “methodological support”. Analysis of scientific sources and generalization of pedagogical experience have shown the expediency of applying such scientific approaches as: polycultural, comparative, polymodal and hermeneutic.&nbsp;<strong>Results.</strong> On the basis of extrapolation of certain approaches to the pedagogical strategy of artistic and aesthetic aspect of teaching performance the future music teachers, the basic vectors of its pedagogical orientation are substantiated: artistic-outlook; cultural-polylogue; creative-developmental.&nbsp;<strong>Discussion.</strong> Comparing the current practice, the study defines continuous application of three key pedagogical principles and methods that are used throughout all stages of teaching performance (all its types) students of the first (bachelor) level of education. These methods are as follows: stimulation of cause and effect relationships that involve “here-and-now” techniques and use of Internet resources and media technologies; harmonization of emotional and intellectual which involves application of artistic and emotional trainings of personification (immersion in the feelings of the hero), reflection and self-evaluation in terms of artistic and aesthetic feelings; creation of “communicative charts” and “artistic-communicative field”.&nbsp;<strong>Conclusions.</strong> The theoretical contribution to Ukrainian and world science includes the refinement of the concept of the “artistic and aesthetic content of teaching performance” that is the process of mastering, comprehending and reproducing during interpretation of artistic information, which is indirectly contained in each musical work and has a figurative, aesthetic and semantic character transmitted by means of musical language; definition of pedagogical principles that become regulators of methodological support of artistic aspect of teaching performance the future music teachers: activation of artistic-informational search and cultural-code content comparisons; intensification of dialogue of cultures and artistic consciousness among the participants (real and virtual) involved in the art-creative process.&nbsp;</p> Alla Lynenko Halyna Nikolai Iryna Levytska Copyright (c) 2019 Lynenko A. F., Nikolai H. Yu., Levytska I. M.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 17 26 10.31392/NPU-nc.series14.2019.27.03 Theoretical principles of ensuring the music teacher training quality <p>The article analyzes the theoretical aspects of building a model to ensure the quality of training of future teachers of music in the process of instrumental learning. The essence of the concepts “model-analogue of a real existing object” and “quality – the inherent certainty of an object, which is its specificity and distinguishes from others,” is defined. It was found out that the study of the concept of “quality” is carried out at three levels: empirical (generalization of conscious facts), epistemological (substantiation of methods and techniques, conditions and criteria) categorical and scientific-theoretical (specific to each science). The main characteristics of “quality” are determined - importance (significance), realism (probability of research), effectiveness (degree of achievement of the goal) and efficiency (ratio of effectiveness to costs). The internal and external system-forming factors of quality assurance in the field of higher education are highlighted. Negative factors inhibiting the effectiveness of education and improving its quality are considered. One of the effective ways to improve the quality of training teachers of musical art is recognized as the formation of a cultural environment in a higher educational institution, and acts as the basis for the assimilation of humanistic values, artistic knowledge, and performing skills.</p> Nataliia Mozghalova Iryna Baranovska Yulyia Moskvichova Copyright (c) 2019 Mozghalova N. H., Baranovska I. H., Moskvichova Yu. O.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 27 31 10.31392/NPU-nc.series14.2019.27.04 Essence of the "musical auditory perception" in modern scientific research <p>The article discusses the evolution of the concept of “musical auditory perception” and discloses modern views of scientists related to this phenomenon. It is noted that the views of the teaching musicians regarding the importance of the concept formation underwent changes and were determined by the structure and mechanics of the musical instrument, in particular the piano. The methodological systems of teaching how to play the piano changed accordingly: the instrumental technique took the inferior position contrary to the process of intonation and sound formation in terms of the formation of musical auditory perception. The analysis of modern methodological publications related to the musical education shows that the formation of musical auditory perception becomes pivotal for the successful musical activity, helps reveal the personality of students and has a significant effect on their musical development and aesthetic preferences.&nbsp;During the process of performing, the auditory processing activity serves as a basis for the formation of musical auditory perceptions. This activity maintains auditory-motor coordination, assesses the performance according to the artistic and technical parameters whereby encourages adjustments to the process of performance and its outcomes, forms a certain stock of musical and intonational perceptions. The ability to apply these and mastering elementary performing skills allow students to actively involve in the creative process of performing musical works. In this regard, there are two conditions that need to be addressed in the teaching process: the student has to be set an accurate and interesting task; the student has to be trained to hear what he or she actually performs. Based on the accumulated teaching experience, we come to a conclusion that the more complex the situation with the music pedagogy becomes, the more attention should be paid to the development of musical auditory perceptions. Such a process becomes the most favorable in teaching music at specialized musical institutions, and the formation of musical auditory perception should be the main task of a pianist educator.</p> En Hui Li Copyright (c) 2019 Li En Hui; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 32 38 10.31392/NPU-nc.series14.2019.27.05 An analysis of the contents of the pedagogical culture of the music art teacher <p><strong>Relevance of the study.</strong> All pedagogical classics assess the personality of the teacher as a decisive factor in the education of young people. A new understanding of the role of the human factor in social life, the transition from subject-oriented to personal-oriented education puts before higher education institutions the training of teachers of musical arts, which would be characterized by a high level of formation a pedagogical culture.&nbsp;<strong>Literature Review. </strong>The problem of teacher personality formation has received a qualitatively new concretization in the researches of modern Ukrainian scholars (E. Barbin, V. Bondar, V.&nbsp;Buryak, O.&nbsp;Dubaseniuk, I. Ziazun, O. Kirichuk, V. Moliako, O. Moroz, I. Nadolny, D.&nbsp;Nikolenko, L. Necheporenko, V. Ognevyuk, V. Palamarchuk, O. Pehota, O. Savchenko, S.&nbsp;Sisoeva, O. Serdyuk, G. Trotsko, M. Shkil, etc.). These writings emphasize the interconnectedness of culture and education, which requires teachers to have deep knowledge and beliefs, creative thinking, and the ability to navigate independently in a rapid flow of diverse information.&nbsp;Questions of pedagogical culture of the teacher music art from the standpoint of formation of personal qualities, professional skills and skills were considered by L. Archazhnikova, N.&nbsp;Volchegurskaya, A.&nbsp;Rastrigina and others.&nbsp;<strong>The results of researches </strong>devoted to the formation of professional culture of future teachers of music art, testified T. Abramova, O. Gribkova, R. Khaybullin and others. Problems of formation of methodological culture of music teacher were investigated by E. Abdullin. The issues of forming the artistic culture of the music teacher are devoted to the works of L. Rapatsky.&nbsp;<strong>The purpose </strong><strong>of the article </strong>is to reveal the components of the pedagogical culture of a future music teacher.&nbsp;<strong>Results. </strong>The term "pedagogical culture" has long been incorporated into the practice of pedagogical activity and is a component of professional culture as a social phenomenon in its scope. Parents, military educators, teachers of higher education institutions, heads of various institutions, that is, people engaged in educational work may be carriers of pedagogical culture. The bearers of the same professional-pedagogical culture are people who carry out pedagogical activities at the professional level. Teachers' pedagogical culture is based on special and pedagogical education and provides a high level of professional activity.&nbsp;<strong>Conclusions.</strong> The pedagogical culture of the future music teacher is a systematic characteristic of the personality and activity of the music teacher, which represents the integral unity of such interrelated and interdependent components: need-motivational, activity-personality, organizational and creative.&nbsp;The structural components of the pedagogical culture of the future teacher of music art are characterized.&nbsp;The characteristics of the connections that exist between the components of the pedagogical culture of a future music teacher can conclude that the set of components under consideration is a holistic, systemic entity. The formation of a pedagogical culture of a future teacher is a complex and long-term process, which should include the stages of education in a higher education institution and in independent pedagogical activity, as well as the systematic work of the future teacher of music art on self-improvement.</p> Tatiana Sidorenko Copyright (c) 2019 Sydorenko T. D.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 39 44 10.31392/NPU-nc.series14.2019.27.06 Psychological concept of communicative interaction in the orchestra team <p>Observations on the creative activity of the orchestra group and practice prove, that unity of actions of orchestrators cannot be achieved by mechanical fulfilment of requirements of the conductor. It is possible under conditions of establishing effective relationships in the orchestra, aimed at harmonizing the play technology, the subordination of individual feelings and emotions. It is recognized that the organization of creative activity (and the functioning of the orchestra as a whole) is directly dependent on the interaction between the conductor and its participants. Therefore, without reaching conductor professional qualification, it is impossible to solve creative tasks with the team. The basis of the conductor’s communication process is the establishment of mutual mental contacts and communications with the performers, the exchange of the information between the partners of the creative act, as well as interaction and psychological influence. All of these components are inextricably interconnected and cannot exist separately.&nbsp;Establishing a psychic contact with an orchestra cannot be a “mechanical” transfer of attention from one object to another. The communicative process requires considerable intellectual tension and wilful effort, as a large number of people are involved in the creative process. Psychological contacts are heterogeneous in structure, nature, and content. Conditionally they can be divided into «external» and «internal».&nbsp;External ones are built on «controlling attention» and aimed at solving «organizational tasks», creating channels of mutual circulation of information, exercising control and regulation of the orchestra’s actions. At the same time, internal contacts (actually psychological ones) cover the subtle intellectual realm that is associated with the creative process.&nbsp;Internal contact is a way of grasping the musician’s spiritual world, penetrating his «creative self». Such communication, overcoming on its way the outer shell of the «visible», encompasses all the subtle nuances of the artist’s deep creativity.&nbsp;Thus, communicative interaction is born in the process of perception by the performers of the real sound of the whole team, the actions of partners, the instructions of the conductor. Comparison of this information with the real sound is the basis for its correction both by the conductor and the artists: their timely reaction to the requirements of the conductor, the results of the analysis of the partners’ actions performed by the correction of personal performance, emotional response to the artistic influence of music is a basic prerequisite for effectiveness musical interaction.&nbsp;Basing on the unified understanding of the music composition essence, interpreting tasks and the content of performing operations, the orchestra participants form identical aesthetic evaluations of the work, adequate emotional attitude to the music. Consequently, communicative interaction aims at reconciling both - performance technology, feelings and emotions.</p> Yaroslav Sverliuk Copyright (c) 2019 Sverlyuk Y. V.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 45 50 10.31392/NPU-nc.series14.2019.27.07 Normative framework for professional training of future music teachers within the context of the New Ukrainian School concept tasks <p><strong>Relevance of the study.</strong> The article shows the results of the analysis of normative documents of secondary schools and higher education institutions for the purpose of their consistency with the conceptual tasks of the New Ukrainian School.&nbsp;<strong>Literature</strong> <strong>review</strong>. The article focuses on the concept “emotional intelligence” being the key one in a new innovative type of learning – social and emotional learning (SEL) – which developed countries initiate and actively introduce to the national education systems worldwide. The development of emotional intelligence among students as joint cross-cutting skills belongs to one of the goals set by the New Ukrainian School Concept, and it serves to respectively guide the professional training of a future teacher and to raise his/her readiness to ensure the actual application of the up-to-date ideas of the state educational policy at a secondary school.&nbsp;<strong>Purpose</strong>: to analyze normative documents of general and higher education institutions that train specialists under the “Secondary education (Music)” program (program code 014) to assess the documents’ consistency with the conceptual tasks of the New Ukrainian School.&nbsp;<strong>Research</strong> <strong>methods.&nbsp; </strong>The methodology and methods of scientific research used a set of theoretical methods: study of scientific literature, analysis of the terminological apparatus and of the legal framework of general secondary and higher music and teacher education, citation. The comparative analysis revealed insufficient consistency and some contradiction between the conceptual tasks of the modern Ukrainian school and the content of educational and professional training programs for future teachers of music.&nbsp;<strong>Results.</strong> The analysis of the State Standard of Primary Education, a typical educational program, has helped define the notion of emotional intelligence as a joint skill for all the competences which pupils have to master according to the normative documents. Analysis of Ukraine’s Law “On Higher Education”, and of the educational and professional training under the “Secondary education (Music)” program (code 014) related to the “Education/Pedagogy” field (code 01), as of the normative documents that regulate the educational process of higher educational institutions, has shown that actual training of the specialists in this field only partially touches upon the targeted and systematic formation of emotional intelligence as a personally and professionally important skill of a teacher, as evidenced by the list of specific competencies.&nbsp;<strong>Conclusions.</strong> The study concludes that the existing contradiction between the need to introduce reforms into the educational process of the modern Ukrainian school and the lack of the appropriate normative framework that would allow the future teachers of music to undergo the respective training necessitates an urgent need to adjust the content of the current educational and training programs for the specialists in the mentioned field.</p> Lyudmyla Rakityanska Copyright (c) 2019 Rakityanska L. M.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 51 56 10.31392/NPU-nc.series14.2019.27.08 Contents of musical and educational activities of master students in higher education institutions <p>This publication discusses the notion of performing and educating undergraduate students of art institutions of higher education, which not only requires professional playing skills and abilities, but also includes elements of educational activities. Thus, for the modern professional preparation of the undergraduate student, organic unity of performance of musical works and verbal communication with the listening audience becomes essential. He or she should learn to be proficient in fluency and lively words. Add to this the ability to prepare emotionally rich and engaging conversations for different audiences, find appropriate music material that may interest the listener as a whole. Within the framework of higher music education, there are a number of important functions inherent in the modern master-educator: cognitive-heuristic, creatively-reproducing, organizational, communicative-emotional. Therefore, for the undergraduate students of art institutions of higher education it is extremely important to develop artistic and volitional qualities aimed at the ability to speak publicly to an audience with the interpretation of musical works. The specificity of the instrumental and performing training of the undergraduate students is that already at the stage of processing a piece of music, they must “see” in front of those listeners with whom they will share the material. Thus, performing and enlightening skills of undergraduate students are acquired as a result of certain actions formed as a result of repeated repetition. They are necessary for the realization of musical education and are characterized by a high degree of mastering. Such skills include: selection and necessary didactic processing of theoretical material; perfect processing of musical material in the performance activity; formed oratorical skills; developed communication skills. The analysis of educational activity gives us the opportunity to define the meaning of the concept of performing and educational skills of undergraduate students of arts ZVO as didactically expedient ways of action, which provide independent mastery of musical material at the performing and verbal levels with the possibility of its transformation into musical activity.</p> Oleh Palazhenko Hennadiy Fiskov Copyright (c) 2019 Palazhenko O. P., Fiskov H. M.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 57 61 10.31392/NPU-nc.series14.2019.27.09 Characterization of the structure of performing mobility of future music-teachers <p>The article considers the phenomenon of executive mobility of a music teacher is investigated by formalizing its meaningful structural characteristics, by identifying and organizing individual elements, which are combined into four components: information-required, operational-technological, emotional-evaluative and creative-communicative.&nbsp;In the basis of the formation of the system by musical-theoretical knowledge is the basis for the development of musical thinking of the instrumentalist musician. This knowledge is necessary for the understanding of the laws of musical art, understanding of the musical form, which will facilitate the cultivation of active musical hearing and musical memory. In general, music-theoretical knowledge allows one to regard musical art as an integral artistic form. In addition to that very important for the teacher musician to have the skills of ensemble performance: building in the ensemble of a general performance plan, achieving a scientific and dynamic balance.&nbsp;The information-required component forms the basis for the development of musical thinking, contributes to the understanding of the laws of the musical-historical process, informs about the peculiarities of technological processes of performance, regulation of the psychophysical state of the performer. The operational and technological component envisages the use of future music teacher of his professional abilities, characterized by his instrumental and performing skills, including in ensemble and concertmaster activity.&nbsp;This emotional-evaluative component determines the need to understand, understand and provide emotional experience of the composer's author's intention, provides the student-instrumentalist's ability to respond to different emotional states of the partners, assesses and corrects the course of the performing activity, making conscious self-regulation in the creative direction.&nbsp;The creative and communicative component makes it possible for the future music teacher to make individual transformations in the author's text, characterizing the openness of contacts that determine the willingness to interact with music part and listeners, ensures the speed of its entry into the professional environment, gaining professional experience.&nbsp;So, the conducted analysis provides a scientific explanation of the essence, specificity and significance of each of the constituent elements of the studied structural characteristics.</p> Oleksandra Kalishuk Copyright (c) 2019 Kalishuk O. D.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 62 67 10.31392/NPU-nc.series14.2019.27.10 The content of integral competence of future music art and choreography teachers <p><strong>Relevance of the study.</strong> The focus of the educational process on the training of highly qualified professionals draws the attention to the problems of forming the expert knowledge of future specialists. Among the basic skills, the governing documents highlight the role of integral (professional) competence, the one which provides professional ability to effectively put into practice the knowledge formed in the educational process. In this context, the study examines the integral competence (hereinafter referred to as IC) of future Music Art and Choreography teachers, as a qualification metaconstruct, which functional role is to coordinate the processes of actualization and formation of competence in compliance with the goals and objectives of the variative-creative process of art education.&nbsp;<strong>Literature Review.</strong> An analysis of relevant scientific research has established that in the contents of the IK of future specialists in various branches, scientists identify the ability to provide integration processes and the application of professional and general competence.&nbsp;<strong>Purpose.</strong> The main aim of the study is to specify the content of the integral competence of future Music Art and Choreography teachers.&nbsp;<strong>Research methods.</strong> The study uses methods of analysis of literature sources, comparison and generalization of information, theoretical synthesis in order to create a synthetic representation of the content of IR future Music Art and Choreography teachers.&nbsp;<strong>Results.</strong> In order to give concrete expression to the content of the future Music Art and Choreography teachers, I analyzed the theory of taxonomic construction of educational goals by B.&nbsp;Bloom and co-authors (Bloom, Engelhart, Furst, Hill, &amp; Krathwohl, 1956), as well as a review of this concept, carried out by a creative team of cognitive psychologists and educators, led by L.&nbsp;Anderson (Anderson, et al., 2001). In the last of the above-mentioned works, it was determined that the competence sphere has a two-dimensional structure, which consists of the process of cognition and knowledge as such. At the same time, along with factual, conceptual and procedural knowledge, metacognition (knowledge about knowledge) functions in it, which determines the ability to control the processes of formation and updating of knowledge, skills and abilities. In this regard, metacognition is considered as the content of IR future Music Art and Choreography teachers. It was found that the functioning of the metacognition within the specified construct is ensured by the awareness of the future specialist about the classification and updating of the necessary complex of specialized professional, pedagogical and transversal competence.&nbsp;<strong>Discussion.</strong> This study is based on L.&nbsp;Andersen's and co-authors (Anderson, et al., 2001) concept, within which metacognition is seen as the coordinating over-component of the competence area. The above-mentioned function of metacognition in the content of IC contributes to the implementation of the latter's intended purpose, which consists in integrating competencies into integral complexes, with their subsequent updating. The presented theoretical concept differs from the concepts proposed by scientists. As mentioned above, the authors suggest that the content of IC consists of the ability to put into practice complexes of general and professional competence, without specifying the nature and content of such abilities.&nbsp;<strong>Findings.</strong> The presented work contains a theoretical study of the integral function of metacognition, the implementation of which contributes to the process of structuring competence complexes and their application in order to solve the problems of the artistic and educational process. It is determined that during such process, these goals are formed correlatively under the influence of various factors, such as the level at which the student must master artistic knowledge and skills. So, the formation of performing skills requires the teacher to update the performing-methodological, performing-creative, valeological competency. The development of aesthetic perception and general culture, the expansion of the emotional and aesthetic horizons, the formation of creative skills are more global tasks of Art education, the implementation of which provides for the updating of interpretation-hermeneutical, musical-theoretical, verbal-pedagogical, organizational and creative competency. <strong>Originality.</strong> The novelty of this work lies in the study of the content of future teachers of musical art and choreography – a qualification metaconstruction that did not become the subject of scientific interest of other authors. Innovative, also, is the study of the function of metaknowledge in the content of the competence of the mentioned specialists.&nbsp;<strong>Conclusions.</strong> As a result of the study, it was found that the content of the future Music Art and Choreography teachers is determined at two levels – procedural and productive. At the procedural level, such content is comprised of skills and abilities shaped in the process of achieving taxonomically structured goals of the artistic and educational process. At a productive level, metaknowledge is systematized into meaningful domains. In particular, the domain of “strategic knowledge” embraces metacognitive skills to structure competency complexes from professional, pedagogical, and transversal competencies. The domain “knowledge of cognitive tasks” is responsible for the functioning of competence complexes in the context of taking into account the individual characteristics of students and the goals of the artistic and educational process. The domain "self-knowledge" provides the ability to adjust the content of competency complexes taking into account personal characteristics and the competency level of the teacher. The domain "assessment of goals" provides the ability to evaluate the effectiveness of the mentioned processes in the context of performing tasks of the artistic and educational process. <strong>Significance.</strong> Concretization of the content of the IC of future Music Art and Choreography teachers is necessary to determine the forms and methods of its formation in order to train highly qualified specialists in the field of Art education.</p> Inha Khmelevska Copyright (c) 2019 Khmelevska I. O.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 68 75 10.31392/NPU-nc.series14.2019.27.11 Formation of musical thinking of future music teachers in the course of applying competency-based approach <p>The article explores the peculiarities of the implementation of a competency-based approach to the formation of the thinking activity of future music teachers in the process of music education in general and during the improvement of the musical-intonational vocabulary. We understand competence as a set of interrelated personality traits, a set of knowledge, skills, abilities, and practices. We also give emphasis to the concept of competence as the possession of a person's relevant competence, which contains his or her personal attitude to the object of activity. A competency-based approach to education is linked to a person-centered and activity-based approach to learning, as it is based on the individual's personality and can only be implemented and tested in the course of performing a set of actions.&nbsp;We consider the volume of musical thinking in terms of the development of the music-intonation vocabulary of future teachers, whose refinement creates the basis for forming the ability to combine individual musical impressions into a holistic picture of musical art, and the creative expression of the teacher in music.&nbsp;Thinking as a process of knowing objects or phenomena involves searching for connections: external and internal, essential and insignificant. In the art of music, the connection of phenomena in motion, variability in the ratio of sound elements is especially important.&nbsp;In the article, we identify the intonation dictionary not as a dictionary of musical terms, but as a “stock” of liked musical intonations was remembered.&nbsp;It needs to transform the content of education, to transform it from a model that exists objectively, for "all" teachers, to the subjective attributes of one teacher who can be measured. The competency-based approach focuses on the results of education, and the result of education is not the amount of information learned, but the ability of a person to act in various problematic situations.</p> Oleksandr Ziza Copyright (c) 2019 Ziza O.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 76 80 10.31392/NPU-nc.series14.2019.27.12 Heuristic methods for forming the art perceptions of future teachers of music and choreography <p><strong>Relevance of the study. </strong>Сhanges in the pedagogical theory and practice of the educational process in art higher education institutions are aimed at stimulating students to acquire professional competencies, and giving them independent work of creative, problematic and research character. It should be emphasized that each year of the new century, we are increasingly asserting that we are on the threshold of a new era, which has completely new qualitative characteristics in all areas of human life. In this connection, the problem of formation of artistic and figurative perception of future music teachers and choreography by means of plastic intonation, which provides the opportunity for emotional influence on students, instilling in them interest in music-performing choreographic activity, expansion of artistic world outlook becomes more relevant.&nbsp;<strong>Aim and Objectives.</strong> The purpose of the article is to analyze the effectiveness of the use of heuristic teaching methods in the process of formation of artistic and figurative perception of students of the faculties of arts of pedagogical universities. Objectives of the article: To consider the use of heuristic teaching methods in the professional development of future teachers of music and choreography; to analyze the use of heuristic methods of teaching in the process of forming artistic and figurative perception of students of the faculties of arts of pedagogical universities; to consider the influence of the use of heuristic teaching methods on the process of formation of artistic and figurative perception of future teachers of music art and choreography by means of plastic intonation.&nbsp;<strong>Research methods.</strong> The article investigates the effectiveness of the introduction of heuristic teaching methods for the formation of artistic and figurative perception of students of the faculties of arts of pedagogical universities. On the basis of the study of scientific works and the available pedagogical experience, heuristic methods of teaching are directed to the formation of artistic and figurative perception of future teachers of music art in the process of professional education in a higher pedagogical institution.&nbsp;<strong>Results. </strong>The use of heuristic methods of teaching in the process of forming the artistic and figurative perception of students of the faculties of arts of pedagogical universities was carried out in complex during the conduct of music-pedagogical practice of future teachers of music and choreography with students. Among the effective heuristic teaching methods are the following: methods of activating students’ perceptions in music lessons; a method of understanding cause and effect relationships method of appropriate solutions of creative problems; inductive method of establishing the cause and effect dependence of the choice of educational materials for involving schoolchildren in plastic intonation and use of educational clarity; a method of producing emotional-evaluative reactions to the perception of works of art, etc. Тhe complex of heuristic methods envisaged to provide students of the faculties of arts with the ability to use the heuristic approach in activating the students’ artistic perception in the lessons of musical art and in extra-curricular work in the conditions of work of the vocal-choreographic ensemble.&nbsp;<strong>Conclusions. </strong>Under the available conditions, the effectiveness of the use of heuristic teaching methods is envisaged in the process of formation of artistic and figurative perception of students of the faculties of arts of pedagogical universities and in their future musical and pedagogical activity.</p> Andriana Dzhumelia Copyright (c) 2019 Dzhumelia A. Z.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 81 86 10.31392/NPU-nc.series14.2019.27.13 The principles of vocal training methodology for prospective music art teachers in higher teacher training institutions <p>The article under consideration reveals the specifics of training methodology implementation in the corresponding teaching conditions; it also covers the issue of arrangement and content of prospective Music Art teacher’s vocal training in higher teacher training institutions. The appropriateness of implementing several science and pedagogical principles in vocal training process was justified, such as: the principle of scientific character; the one of consciousness; the personification one; the one of integrating artistic and technical components; the one of methodological focus of learning.&nbsp;Taking the necessity of upgrading the teaching/learning process quality, as well as seeking new forms and techniques of transferring the training information and practical experience to the students into consideration, there appears an issue of perfecting prospective Music Art teacher’s professional, i.e. vocal skills. The principles of student’s vocal training methodology under the conditions of obtaining professional education in higher teacher training institutions require reconsidering; thus, our goal to attain is justifying the principles of effective vocal training methodology for prospective Music Art teachers within their learning process.&nbsp;The key characteristics of Music Art teacher’s prospective professional activity presuppose the specifics of his/her vocal skills implementation, shaping the core professional competences (vocal inhale training; obtaining singing phonation facilities; proficient elocution and articulation; the grasp of music voice-leading and phrasing methods; intonation clarity, etc.). The prospective Music Art teacher is to acquire up-to-date knowledge and techniques of shaping a child’s singing voice and protecting it.&nbsp;The expert’s vocal training presupposes solving the issues within vocal pedagogy, singing teaching theory and methodology domain. The difficulty of the solution predetermines the need for updating the principles of vocal training methodology for prospective experts in higher institutions.&nbsp;The principle of scientific character in student’s vocal training presupposes scientific knowledge implementation in various sciences’ domain (Anatomy, Physiology, Psychology, Art Study) for the efficient work of their vocal apparatus. The principle of scientific character also reflects the focus of student’s vocal and theoretical skills, as well as deepening the knowledge of the essence of vocal phenomena, in order to perfect their own vocal and performance skills and to implement them in their further work with young learners.&nbsp;The principle of consciousness reflects the students’ determination to work actively and autonomously; to solve learning issues; to achieve their personal success; to implement independent monitoring of their development and training results. This principle includes motivation, the student’s conscious attitude to the learning process, activeness and personal will-power; the prospective experts’ intention to attain top results in their vocal training.&nbsp;Awareness of every student’s uniqueness in terms of their artistic and performance skills and individual abilities causes following the personification principle of learning. Implementation of this principle is predetermined by the distinctness of physiological, anatomic, psychological and special musical development of each vocal training individual. This explains the necessity of diversifying the teaching methodology for each learner. Thus, the principle involves considering individual features of the student’s personal development; singing practice characteristics; intellectual, psychic emotional specifics that influence their learning process and its effectiveness accumulatively; focuses on seeking variable and modifiable constituents of its management and pedagogical impact methodology for their vocal training.&nbsp;The effectiveness of prospective Music Art teacher’s vocal training depends on following the principle of integrating artistic and technical components in the teaching process. This principle, which is specific for Music teaching, is targeted at attaining the top level of performance artistry in terms of revealing artistic expression of music compositions to the audience via technical skills grasp of vocal performance facilities. The principle under consideration reflects the consistency of artistic and figurative, technical and performance components of voice production. Vocal activity is constantly being under control of the singer’s tuneful ear, as well as of psychic conscious and even subconscious intuitive processes. Furthermore, expressiveness, emotionality and artistic persuasiveness of phonation depend directly on the grasp of sound production technical methods.&nbsp;The principle of methodological focus of learning acquires specific significance for the Music Art teacher’s further professional practice; the learners’ vocal training presupposes obtaining the methodologies of shaping their singing voice and various-aged pupils’ voices. Thus, the student’s vocal training is chiefly aimed at shaping the practical singing skills, as well as at the grasp of teaching methodology for perfecting the young learners’ voice apparatus.</p> Jing Xia Copyright (c) 2019 Xia Jing; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 87 93 10.31392/NPU-nc.series14.2019.27.14 Essential characteristics and specifics of students’ vocal training in Ukrainian and Chinese higher pedagogical institutions <p>The article under consideration refers to the issue of revealing the specifics of managing and providing the prospective Music teachers’ vocal training in Chinese and Ukrainian higher pedagogical institutions. The comparative analysis results show that the students’ vocal training syllabus in Chinese higher institutions is predetermined by: artistic and aesthetic characteristics of national world outlook; specifics of modal and mental fundamentals of Chinese <em>melos</em>; phonetic-constituting, declamation and articulation characteristics of the Chinese’s vocal and speech culture; focus on the prospective vocal and performance vs. vocal and teaching activity. Vocal education in Ukrainian pedagogical institutions is based on the traditions of national singing culture and European vocal performance training schools.&nbsp;The goal of the article is predetermined by the fact that within the context of facilitating the Ukrainian-Chinese interaction, there appears an issue of interpreting the specifics of managing and implementing Music and Pedagogy major experts’ training in the aforementioned countries, alongside with considering the national and historical, mental and practical, socio-educational aspects of its focus. The foreign students’ grasp of vocal skills characteristics promotes their better adjustment to the conditions (factors), requirements and content of the training activity.Recently, the number of Chinese students obtaining professional Music education in most European countries has grown considerably. This tendency, on the one hand, is predetermined by increasing the role of global integration processes within science and manufacturing, humanitarian, culture and educational, information and technological, artistic interchange and cooperation domain; on the other hand, China is still experiencing the lack of teaching human resources, notwithstanding an increasing number of Chinese students studying in Europe, in particular, in Ukrainian higher institutions.&nbsp;When defining the national achievements within the field of Music and Teacher Training Education, Chinese scholars reveal certain key issues requiring immediate resolution, i.e.: insufficient education profiling and its re-directing from Music and performance focus to Music and Pedagogy one; the need of creating the environment for shaping the students’ music and general culture; the non-efficient implementation of advanced and innovation teaching technologies, in particular, of European background; solving the question of expanding and updating Psychology and Pedagogy syllabi, as well as perfecting the students’ methodological background.&nbsp;Substantial impact on the content and focus of students’ vocal training in Chinese pedagogical universities is implied via national solo singing traditions, the specifics of modal composition of music, alongside with speech culture characteristics.&nbsp;In accordance with European tradition, Ukrainian Vocal Pedagogy is targeted at the students’ implementing the whole complex of body resonators, which contributes to shaping the profound, consistent and well-flavoured voice production (sounding). Chinese lecturers focus the students on implementing chiefly head-register and nasal voice (resonators) securing the specific <em>metal </em>force and raucous timbre for both men’s and women’s voice; however, nowadays Chinese Vocal teachers implement quite effectively the methodology of shaping all the singers’ resonators (chest, nasal, cranial ones, and others).&nbsp;Ukrainian and Chinese Vocal teachers lay special emphasis on an important issue of diction functioning and sounds articulation. The Chinese’s speech specifics are related to the persistent work of the mouth cavity organs, especially the tongue and the lips. Special attention refers to distinct consonants articulation at the beginning of words. Ukrainian and European speech traditions, in their turn, require a distinct, full-toned (sonorous) and smooth sounding, while the verbal text specifics make a considerable concession to efficient vocalisation alongside with the aesthetics of the artistic voice <em>presentation, </em>etc.</p> Liang Haiye Copyright (c) 2019 Haiye Liang; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 94 100 10.31392/NPU-nc.series14.2019.27.15 Pedagogical potential of vocational training for forming vocal and performing experience of future music teachers <p><strong>Relevance of the study</strong>. The article deals with the urgency of the problem of pedagogical potential of vocational training in the formation of vocal and performing experience in the context of improving the quality of art education in order to give future teachers of music art more qualification, which includes the presence of young professionals with professional experience in general and vocal performance. It is stated that vocal and performing experience allows the future teacher-musician to perform vocal-choral work at the proper level, to lead various forms of organization of collective music of schoolchildren, as well as to be able to conduct his own educational vocal-performing activity. The modern tendency of increasing the urgency of the problematic of potentials and reserves of professional training of students of the faculties of arts of pedagogical universities for forming vocal and performing experience has been determined.&nbsp;<strong>Purpose.</strong> The purpose of the article is to outline the research, theoretical substantiation and determination of the pedagogical potential of professional training of future music teachers for forming vocal and performing experience.&nbsp;<strong>Research methods. </strong>On the basis of the analysis of scientific-theoretical literature, the concept of "vocal-performing experience" is specified as a personal-professional characteristic of the future teacher of music art, which synthesizes knowledge, skills and skills in the field of vocal performance, ability to evaluate and reflexively analyze the results as one’s own activity, as well as concert performances by other vocalists, as well as the ability to account for and correct mistakes.&nbsp;<strong>Results.</strong> It is established that the pedagogical potential of professional art education involves the functions of such artistic education as motivational and educational, cultural, cognitive, hedonistic, communicative, creative and stimulating, as well as the function of psychological detachment. It is stated that the formation of future vocal teachers of vocal-performing experience requires the introduction of pedagogical guidelines in the process of vocational training, including: an integrative approach to the educational process in higher music-pedagogical educational institutions, which allows the formation of vocal and vocational training students of educational disciplines who have the ability to directly vocal performance, but also during the acquisition of training courses that possess consciousness indirectly vocal and performing activities; introducing into the disciplines that do not have direct vocal and performing activities, a vocal and performing element that can carry functional and illustrative load, psychological discharge, etc.; the purposefulness of the process of professional training of future music teachers to pedagogically mobilize all possible reserves of training courses on the systematic conduct of music-performing activities in general and vocal-performance activities in particular.&nbsp;<strong>Conclusions.</strong> The pedagogical potential of professional training of future music teachers in forming vocal and performing experience as a complex of pedagogical possibilities of this process, which operate with methodical tools on motivation of students in the systematic conducting of vocal and performing activity as the main source of vocal acoustic, skills and skills necessary for the development of intellectually creative personality traits that provide consistently high quality level of vocal performance.</p> Ming Gao Copyright (c) 2019 Gao Ming; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 101 105 10.31392/NPU-nc.series14.2019.27.16 Art-axiological culture of art teacher as a subject of research <p><strong>The relevance of the study</strong> motivated by the social importance of the artistic and axiological culture of the teacher in the artistic development of the students, the formation of which is an important factor in the renewal of music and pedagogical education.&nbsp;<strong>The analysis of recent studies</strong> shows that the problem of axiological orientation of future teacher's professional training has received some consideration. The works of contemporary authors investigate the aesthetic dimensions of the value attitude to art, the relationship between the value orientations of the individual and his humanistic potential, the influence of the axiological direction of learning on his creative activation. At the same time, the problem of the artistic-axiological culture of the art teacher as a component of his professional competence has not found scientific consideration.&nbsp;<strong>The purpose of the article</strong> is to determine the essence, content, structure of the art-axiological culture of the art teacher.&nbsp;<strong>Research methods</strong> included a critical comprehension of the scientific literature; comparison; structuring; modeling; theoretical analysis and generalization of conclusions.&nbsp;<strong>Presenting main material</strong>. The artistic and axiological culture of the art teacher is a personal integrative education characterized by a high level of professional skill based on a deeply motivated value attitude to art and pedagogical activity. The structure of the artistic and axiological culture of a teacher of music art includes a number of components. The motivational and cognitive component of artistic and axiological culture orients the teacher to evaluate attitudes toward the depicted, expressed, and reproduced in artistic images. Knowing the work of art, its figurative essence, the teacher at the same time gives them a certain interpretation. At the same time, aesthetic landmarks perceived as an organic component of pedagogical activity. The analytic and argumentative component characterizes the teacher's ability to grasp deeply the artistic content and form of the works of art, the reasoned awareness and clarification of his artistic position. It is important for the teacher to understand the purpose of analytical analysis of the work as a means of ensuring the aesthetic experience of children. The interpretive-creative component focused on the teacher's identification of his evaluative attitude in the process of interpretation of a work of art. The task of the interpreter-teacher is to not only deeply understand and disclose the concept of the composer, but also to reproduce in performance his own attitude towards music. The reflexive-effective component directs the evaluative consciousness of the music art teacher to self-observation, to censorship of his own artistic and pedagogical activity. The action of this component permeates the various facets of professional activity – both perception, imagination, and creativity.&nbsp;<strong>The novelty, originality</strong> of the presented material is to determine the essence, content and structure of artistic and axiological culture as a necessary component of the professional training of a teacher of music art.&nbsp;<strong>The significance of the research results</strong> is to outline the ways of further development of the theory and practice of art education of future teachers.</p> Tinting Hu Copyright (c) 2019 Hu Tinting; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 106 111 10.31392/NPU-nc.series14.2019.27.17 Fundamentals of mastering national artistic traditions by the future teachers of music and choreography <p><strong>Relevance of the study</strong> is due, first of all, to the contradiction between the objective need of society for the preservation and development of national artistic traditions, on the one hand, and the low efficiency of the corresponding methods of mastering the aesthetic consciousness of students, on the other hand.&nbsp;<strong>Literature Review</strong>. The author relies on classical works devoted to the development of cultural tradition in music and choreographic education (B. Bartok, E. Balchitis, E. Bashich, K. Vasilenko, V. Verkhovinets, V.&nbsp; Dzhulyanu, V. Kovalyv, Z. Koday, M Lysenko, F. Lisek, K. Orff, B. Trichkov). The experience of using national artistic traditions in the practice of training teachers of music and choreography at pedagogical universities is taken into account (D. Sharikov, L. Androshchuk, A. Maksimenko, G. Nikola, T. Razumenko, O. Tarantseva, O. Chepalov).&nbsp;<strong>The purpose</strong> of this article is to determine pedagogical approaches, principles and methods of mastering national artistic traditions by future teachers of music and choreography&nbsp;<strong>Methodology</strong>. The methods of categorical analysis of the concept of “tradition”, of generalization and classification of specific approaches and principles of teaching are used. The method of explication of the concepts and provisions of philosophy, cultural studies, general art criticism, semiotics, hermeneutics in the field of training methodology for music teachers and choreography have been implemented.&nbsp;<strong>Results</strong>. An important mission of modern mass art education is to contribute fully to the preservation and development of the traditions of native national art, the formation of young people artistic sensitivity to the art of other peoples of the world, educating young people in the spirit of tolerance and respect for the cultural values of humanity. Modern teachers of music and choreography should be ready to fulfill this civilization mission. This implies the need to ensure that pedagogical universities have an effective process of mastering by future teachers of art a wide range of national artistic traditions.&nbsp;This task should be served by a technique based on organically inherent in the material itself and approaches that are natural for the set pedagogical purpose. These include: multicultural, artistic and integrative (polyartistic), hermeneutic and activity approaches. The methodology is based on the pedagogical principles of the dialogue of cultures, semiotic understanding of works of art as separate artistic signs and integral texts, contextual analysis of the semantics of works, a variety of forms and types of educational activity; developmental education concept. The practical implementation of these approaches and principles involves an appeal to the methods of culturological comprehension of traditional artifacts of art, comparative analysis, genre modeling of art culture, interactive learning, methods of pedagogy of cooperation.&nbsp;The general characteristic of the methodology provided in the article requires further development, in particular, concretization of the forms of the educational process, a description of methodological techniques, identification of pedagogical conditions for the optimal application of the methodology, establishment of selection criteria for artifacts representing specific national artistic traditions.</p> Yu Zhan Copyright (c) 2019 Zhan Yu; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 112 120 10.31392/NPU-nc.series14.2019.27.18 Computer technologies in the method of formation of creative self-realization of masters <p><strong>Relevance of the study</strong>. Today a new system of music education is emerging in Ukraine. Changes in the pedagogical theory and practice of the educational process are aimed at stimulating students to acquire professional competencies, and to give them independent work of creative, problematic and research character. In addition to traditional music-pedagogical technologies, computer technologies are also used to promote the intellectual skills of undergraduate musicians, their musical abilities, and creative self-realization in teaching. <strong>The purpose</strong> of the article is to analyze the peculiarities of the use of computer technologies in the method of formation of creative self-realization of undergraduates of musical art. Objective of the article: to consider the possibilities of computer technologies in the professional development of undergraduates of musical art; to analyze teaching methods on vocal and choral development of pupils in music lessons using computer technologies; to develop author’s educational methods of forming the creative self-realization of undergraduates of musical art. <strong>Research methods</strong>: theoretical, empirical. <strong>Results</strong>. Educational methods of forming the creative self-realization of undergraduates of musical art include educational methods that involve the use of modern computer technologies, namely: the method of fragmentary data processing; method «Emotional curves»; problematic method; method of professional-problematic reflection; method of purposeful influence on the process of students’ perception of choral works; the Creative search method; method of solving creative problems; a method of integrated use of modern computer technology. <strong>Discussion</strong>. The issue of using multimedia and modern computer technology in the preparation of undergraduate music students is not sufficiently presented in scientific pedagogical materials. <strong>Findings</strong>. The necessity of mastering music undergraduates was revealed by the teaching methods, which involve the use of opportunities of multimedia, computer technologies, involvement of students in heuristic educational activity. The hypothesis that the use of computer technologies in music training will increase students’ motivation for creative self-realization both in teaching and in future music-pedagogical activity is substantiated. <strong>Originality</strong>. The author’s educational methods of forming the creative self-realization of undergraduates of musical art have been developed. <strong>Conclusions</strong>. Thanks to the presented teaching methods, which are included in the method of forming the creative self-realization of the undergraduates of music art, students learn to submit educational material to students in music art lessons in electronic form, using the compactness of educational visual material, as well as the possibility of involving students in interactive educational activities. By mastering certain teaching methods, undergraduates of musical art learn to intensify the process of mastering students vocal and choral skills, to encourage them to music and creative activity. <strong>Significance</strong>. The author’s educational methods of formation of creative self-realization to conductor-choral training of undergraduates of musical art are introduced.</p> Limin Wei Copyright (c) 2019 Wei Limin; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 121 126 10.31392/NPU-nc.series14.2019.27.19 Synergetic approach: the nature and characteristic features of the use of art pedagogy in scientific research <p>The article considers the problem of using the synergetic approach in modern studies of pedagogy of art as an important factor in introducing elements of innovation in all areas of pedagogical science with the aim of forming the personality of the teacher – a conductor of quick and effective changes in secondary and higher education institutions. The synergetic approach is outlined as one of the methodological foundations that direct modern pedagogical research in the direction of evolutionary development and self-organization of complex systems, allow us to identify a new paradigm of modern pedagogy of art, direct it to the development of creative personality. The concept of “synergetic” is defined as an interdisciplinary direction of scientific research in the field of evolving systems. It has been established that the synergetic approach actualizes such a direction in the development of pedagogical science as pedagogical synergetic. It has been examined that synergistic approach and its potential regarding the development of the future music teacher’s motivational sphere to teaching and performing were revealed in the process of instrumental preparation. A set of specific categories characteristic of the synergetic approach is outlined. Some of these categories are considered in the context of the formation of students of the faculty of arts of pedagogical universities motivation for learning and performing activities as the basis for further professionalism of an art teacher. The essence and characteristic features of the synergetic approach are specified. The strategic orientation of the synergetic approach to the creative self-development of a person based on the principles of the development of complex evolving systems was stated.</p> Ge Qu Copyright (c) 2019 Qu Ge; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 127 130 10.31392/NPU-nc.series14.2019.27.20 Piano reliability of students of art faculties of pedagogical universities in the psychological and pedagogical aspect <p>The article discusses the essence of the piano reliability of students of art faculties of pedagogical universities. The urgency of the problem is determined in the context of a clearly defined educational trend in the field of permanent optimization of professional training for future musician teachers, the activation of innovative technologies in the field of pedagogy of art, and the constant methodological updating of pedagogical science. It has been established that the inability of future music educators to quality piano performance can lead to unjustified losses and shortcomings directly in the process of future professional activity. As a result of the analysis of scientific and theoretical literature on the issue of research, the reliability of musical performance is outlined as an integral part of the performing skills of an instrumental musician. The definition and content of the performing reliability of students of art faculties of pedagogical universities by leading modern scientists is given and analyzed. The influence of stressful situations on the quality of the piano playing in the process of public performance has been investigated. It is proved that the reliability of student performance of piano works depends on his psychological and emotional sphere, which is responsible for the stage behavior of a person, adapting it to the emotional conditions of demonstrating the results of previous work. The content of two main varieties of emotional stress is disclosed - eustress and distress. The basic steps of the formation of piano reliability in the plane of purposeful organization of student-oriented piano education of students are presented. The author’s definition of the phenomenon under study as an integral quality acquired in the process of piano training by students of the faculties of art at pedagogical universities is developed, which ensures the emotional and stressful conditions of a public piano game that fully and efficiently fulfil the task set during the previous piano training with the aim of revealing the artistic-figurative content of the musical works.</p> Wenfeng Chen Copyright (c) 2019 Chen Wenfeng; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 131 135 10.31392/NPU-nc.series14.2019.27.21 Polyphonic music form of XX century as a type of composing and a way of thinking <p><strong>Relevance of the study.</strong> The polyphonic principle of creating and comprehending art images is manifested in all kinds of art. Musical polyphony is a kind of polyphonic voices, where individual voices are equally important in independent intonational rhythmic development. This requires the polyphonic thinking of a future music teacher. Today it is known that independent analysis and study of polyphonic works cause some difficulties for students.&nbsp;<strong>Literature review</strong>. The theory of polyphony in the system of musical thinking was studed by Y. Aliyev, G. Helmholtz, A. Dmitriev, Z. Rinkyavichyus, M.&nbsp;Reiterstein, G. Poberezhnaya, O. Polataiko, M.&nbsp;Sibiriakova–Khikhlovskaya, Xiao&nbsp;Li, I. Chizhik, T. Shcherytsya, K. Yuzhak and others. The problem of the development of polyphonic hearing was studied by G. Dubinin, A. Kauzova, T.&nbsp;Kurasov, G.&nbsp;Meliksetian, S. Perminova, V. Spiridonova, L. Stepanova and others. Modern polyphony is the content of scientific interest of M. Lobanova, S.&nbsp;Pavlyshyn, L. Kiyanovskaya, O. Kozarenko, N. Gulyanytska, B.&nbsp;Suta and others.&nbsp;<strong>Purpose</strong> – to clarify and highlight the main types of polyphonic writing of XX century music as a form of polyphonic thinking.&nbsp;<strong>Results. </strong>Music develops according to the laws of modern life. Therefore, the changes affected writing techniques, musical expressive means. The use of classical structures and types of polyphony (sub–voice, imitation, contrast) was especially individualized in the work of the twentieth century composers. Deep philosophical concepts become the main images of musical works containing juxtapositions of frets, techniques, timbres, rhythms, harmony, polyphony, the use of chords and more. The new stage in the development of musical art was characterized by linearity, which found a striking manifestation in the dodecaphonic system with a reliance on old–school technique. Musical art used a new type of writing that contained the following types of musical text: 1) line: melodic, rhythmic, timbral; 2)&nbsp;dot (or stroke): sound, rhythmic, timbre; 3) complex: cluster strip, layer, block (spot). Counterpoint – the fundamental principle of polyphony has undergone radical changes, interacting with new principles of formation, rhythmic, timbre colours, configurations of musical space. Counterpoint and imitation are virtually inseparable in the polyphony of dots – a natural consequence of pointillism. The polyphony of sonar layers is a layer branch of various realizations, a complex layer of musical fabric. Each layer of sonar polyphony in the collective ad libitum technique consists of several individual batches. Polyphony of styles allows practically any combination of them, even dissonance of styles especially sharp when they are in one sound plane. A clear innovation in the polyphony of the twentieth century was the presentation of thematic material: the theme is exhibited not in the form of a unanimous melodic line, but in the form of several lines that are heterophone. The fugue in the twentieth century continues to retain its importance of higher polyphonic form.&nbsp;<strong>Conclusions. </strong>We have identified the main types of polyphonic writing and types of texture of the twentieth century. Studying and performing polyphonic works by composers of different eras will help to form the students’ polyphonic thinking.</p> Xinyu Zhou Copyright (c) 2019 Zhou Xinyu; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 136 142 10.31392/NPU-nc.series14.2019.27.22 Historical and cultural concept of forming humane relationships in a children’s choir <p>The schoolchildren's participation in the choir is primarily aimed at the development of aesthetic needs, national consciousness, the affirmation of humane principles not only in collective relationships but also in life situations. In this context, the problem of humanizing relationships in the process of collective music activity becomes especially relevant.&nbsp;One of the main conditions for its implementation is the participation of children in active socially valuable activities, in the process of which the knowledge and practical experience are formed, which are important for the consolidation of humane views, ideas, feelings, relationships and behavior. The leading means of educational influence on children are school choirs. At the same time, it should be noted that in many choir collectives, the proper conditions of moral and aesthetic education, the forming of humane values, which affect the functioning of the educational process as a whole, are not yet provided.&nbsp;Humanism as a system of philosophical views and direction of public opinion originated in ancient times, formed in the Renaissance and has been developed in subsequent periods up to the present. It is known that in ancient times the basic principles of humane education were outlined. For example, Socrate’s creative heritage makes it possible to formulate such principles of humane learning as providing the conditions for positive mental development and self-development of the individual and, above all, his independent, active, creative thinking.&nbsp;In Ukraine for many years, a rather specific moment of humanization of the schoolchildren education can be considered as an appeal to extracurricular forms and means of educational influence. The main focus of our study is the humanistic approach to the perception of the student as a partner, the subject of communication with their specific characteristics and individual characteristics, as well as the factors influencing the relationships of children in the team.&nbsp;The most effective form of educational influence is the participation of children in choral groups. Approaching the world of beauty happens in the process of their active musical activity in terms of creative communication with peers under the guidance of the choirmaster. Such an approach is especially important in the difficult contemporary context of the devaluation of general norms of culture when it is necessary to create an atmosphere of cooperation between the caregiver and the pupil, which promotes the process of self-knowledge, self-improvement of the child.&nbsp;Summarizing the above, we emphasize that humane relationships in extracurricular music-creative activity are presented to us as a complex emotional-value formation, which is determined into reflexive relationships, forming new qualitative interests that cause motivation to manifest.</p> Liliya Sverliuk Copyright (c) 2019 Sverliuk L. I.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 143 148 10.31392/NPU-nc.series14.2019.27.23 Formation of teenager’s artistic knowledge according to their age characteristics and needs <p>&nbsp;In recent years, there has been great interest among educators in development of the artistic knowledge of adolescent students. <strong>The purpose of the article</strong> is to highlight the basic age characteristics, through objective and subjective factors that influence the formation of artistic knowledge of teenagers when studying educational material in integrated music lessons and after-school activities.&nbsp;When teaching teenagers, it is important to take into account age characteristics that affect their learning. At the same time, you must consider how age impacts their cognitive ability which may assist or hinder learning.&nbsp;We discuss the following: Characteristics of adolescent learners; Effects of age on artistic knowledge; Different factors that influence formation of artistic knowledge.&nbsp;Updating and acquiring new artistic knowledge is closely linked to the cognitive processes of understanding, perception and thinking. The experience, consciousness, intelligence and worldview of the student play a significant role in these processes. In this context, it is important to develop the artistic knowledge of adolescent students, which has some differences due to age characteristics and the impact of art on the student. They have both direct and indirect impact on students’ learning of artistic knowledge. Such age-specific features are considered as a collection of information from different kinds of art, which is the result of the perception and understanding of artistic phenomena, reproduced in the mind of the teenager in the form of concepts, judgments and emotional-value relations and serve as a basis for the formation of an artistic picture of the world.&nbsp;School art education has been found to have a number of unresolved issues, one of which is related to the influence of age characteristics on the formation of adolescents’ artistic knowledge in the process of learning educational material in integrated music arts lessons. Changing the curricula of "Musical Art" and "Art", increasing / reducing and refining their content and reducing the hours in the school component complicates the formation of artistic knowledge and updates the topic of the article. In psycho-pedagogical and art literature the questions of age peculiarities and their influence on the formation of adolescent knowledge were considered by L. Vygotsky, O. Leont’ev, D. Elkonin, F. Dalto, I. Kulagin, T. Marakhovska, D. Kolesov and D. Myagkov, D. Feldstein, and Y.&nbsp;Cherkashina. Separate conclusions on this issue are found in the researcher L. Bozhovich. In the context of school education, the relevant concept of subcultures is considered by L. Lysenko and T.&nbsp;Strogal.&nbsp;<strong>As a result,</strong> in determining the basic features of adolescence, we want to distinguish subjective and objective factors having impact on the formation of adolescents’ artistic knowledge. Thus, among the objective ones, we can see the influence of mass culture; the impact of the environment (informal groups, families); the impact of information technology (Google effect). Subjective include the following: individual characteristics, age-related psychophysiological features and the presence of artistic and aesthetic experience.</p> Roksolana Spitsa Olena Polatayko Victoria Fizer Copyright (c) 2019 Shpitsa R. I., Polataiko O. M., Fizer V. S.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 149 154 10.31392/NPU-nc.series14.2019.27.24 The essence junior schoolchildren’s self consciousness <p>The article reveals the essence of consciousness as the basis for the consciousness of younger pupils. It is noted that the problem of self-consciousness of younger pupils is currently relevant, and one of the important scientific and practical tasks of today. The purpose of solving the problem of the formation of self-consciousness among younger pupils is also disclosed. The author points out that the concepts of consciousness and self-consciousness are close but not identical. A variety of perspectives on the nature of consciousness, formulated by researchers and scientists, have been revealed. It turns out that the concepts of consciousness and self-consciousness contain various structural elements of the mental activity of younger pupils, which are based on the self-esteem and the esteem of one’s background. The levels of consciousness and their elements are stated. It is determined that consciousness directs younger pupils to a higher degree of ability to perceive information. It is said that the development of consciousness, as well as of self-consciousness of younger pupils, is a process that requires help from outside.&nbsp;The author determines that self-consciousness, which is based on consciousness, owing to the step-by-step formation from the first years of the study of a junior schoolchild at the general educational institutions, should be oriented to the following: self-analysis, self-esteem, awareness of one’s own experience, knowledge, motives, thoughts, ideals, morals, feelings and aspirations, anxiousness, emotions, thinking, interests, values, desires, needs, motives of behavior, cognitive attitudes, activities, ability to report in one’s actions, experiences, thoughts and feelings. It has been pointed out that, before becoming an important internal determinant and the mechanism through which the influence of the environment is transformed, self-consciousness itself arises under the influence of that environment. In order to evaluate their own behavior, the elementary schoolchild must first learn the relevant norms, rules, and learn how to evaluate their compliance by the other people; only on this ground – by comparing oneself to one’s surroundings – will he/she gradually learn to evaluate his/her own actions and deeds. The results of the present study showed that consciousness is one of the important factors of self-consciousness, its formation is possible through the following: language, motivation, pedagogical influence, family, activity, spiritual life, reflexive orientation, awareness of feelings and aspirations, mental actions, and attention. The analysis of studies in philosophical and psychological aspect has shown that consciousness is the basis of self-consciousness, one of the important factors in the formation of self-consciousness of younger schoolchildren.</p> Larysa Zaria Copyright (c) 2019 Zaria L. O.; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 155 160 10.31392/NPU-nc.series14.2019.27.25 Activating Chinese pianists’ artistic endeavour within the context of world performance culture <p>The article under consideration reveals the significant role of the piano as a powerful medium of music culture, including Chinese one, where piano musicianship has become a meaningful developmental factor. Chinese culture of pianoforte performance went through a complicated long-lasting formation stage. The issue of worldwide known Chinese pianists’ performance mastery level is being disclosed. This is confirmed with their remarkable achievements at International pianoforte competitions.&nbsp;The fact of a great many Chinese pianists’ integration in the world’s performance artistry, as well as Ukrainian music and teacher training institutions’ growing interest to supporting their musicians nationwide, are being revealed.&nbsp;The article suggests an analysis referring to specifics of revealing several Chinese musicians’ piano genius in the process of their artistic evolvement; the constituent elements of the phenomenon are also put forward. A number of case studies for further Chinese piano culture awareness are also being introduced, such as: Liu Shih-Kun, Li Yundi, Fou Ts'Ong, Zhu Xiao-Mei, Siqian Li, Wang Yuja, Chen Sa, Zhang Haochen, Zhang Shengliang, Anke Chen.&nbsp;The information of Liu Shih-Kun, Chinese and world influential teacher, the Second International Tchaikovskyi Competition Laureate, facilitator of thirty music schools in various Chinese cities, is provided. Due to this contribution, the number of pianoforte contests in China has increased for the recent decades; hundreds of young musicians perfect their skills and demonstrate them at international music competitions. Since the nineties, Chinese pianists have been given prestige awards at international contests.&nbsp;The progress of Li Yundi, one of the prominent pianists, is also rendered; at the age of seventeen the musician participated in Frederic Chopin competition (Warsaw, 2000) where he won the First Award. Fou Ts'Ong, another distinguished teacher and musician, was granted the Third Award at Chopin Competition in 1955.&nbsp;In the early 21<sup>st</sup> century, the development of Chinese pianoforte culture was marked with a significant event, i.e. the rise of Lang Lang, who was given the first awards at Shenyang and Beijing contests. Another outstanding profile is the one of Zhu Xiao-Mei’s, a Chinese pianist who has become one of the most honourable musicians of today, and who is a great devotee of Johann Sebastian Bach’s compositions. Tian Tsang, one of virtuoso pianists, the status he was credited with after his debut in Carnegie Hall in the late 20<sup>th</sup> century, is also presented.&nbsp;Background information of Siqian Li, Grand-Prix and special prize owner (International V.&nbsp;Krainev young pianists contest, Ukraine) and her performances that are highly evaluated in great many world pianists’ responses and recognised by prestigious Spanish, French, Egyptian festivals, is rendered in the article.&nbsp;By the end of the first decade of the 21<sup>st</sup> century, the names of Chinese pianists having started their career in China in their early years have become famous worldwide. Thus, Wang Yuja was granted the Third Award and young musician’s special prize at Japanese competition in 2001 when she was only fourteen; Chen Sa, whose successful career started with the First Awards in China, 2005 and being granted the Fourth Award at the Twelfth International Van Cliburn pianists competition, the USA. Zhang Haochen, Zhang Shengliang, Anke Chen, who started perfecting their skills in their early years and attained remarkable results in their music career, are given their due as well.&nbsp;The information and data presented in the article reveal the issue of activating Chinese pianists’ artistic endeavour within the context of performance culture, as well as the significance of their contribution in the world pianoforte domain.</p> Xinyuan Ma Copyright (c) 2019 Ma Xinyuan; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 161 167 10.31392/NPU-nc.series14.2019.27.26 Features of formation of vocal and performing skills of Chinese singers in China and in Ukrainian higher education institutions <p><strong>Relevance of the study.</strong> The article considers peculiarities of professional singing education, the foundation for which was laid in ancient China and outlines the possibility of their incorporation into the process of developing European style singing technique, which is relevant for the development of Chinese vocal art and improvement of the training of Chinese students in Ukraine.&nbsp;<strong>The purpose</strong> of the article is to analyze the peculiarities of previous singing and listening experience, singing and performance training of Chinese university applicants in order to include them in the singing educational process while studying at Ukrainian higher education institutions.&nbsp;<strong>Literature review. </strong>Various aspects of the peculiarities of Chinese students' preparation for vocal and professional activity in higher educational establishments of Ukraine were researched by N. Koehn, Lou Yankhua, Zhang Yanfen and others. Problems of modern vocal education in People’s Republic of China and ways of national and European tendencies interaction in the development of vocal education in China were considered by Liu Baosia, Yang Bo, Wu Yifang, Shen Xiang.&nbsp;<strong>Research methods.</strong> Methodological basis of the study lies in the retrospective analytical approach, which allows to reveal the features characteristic to the methodology of preparing singers for the national vocal genres performance, as well as in the comparative approach, on the basis of which a comparison of the European vocal training system and the search for modern specialists of China in the process of Chinese bel canto technique development is performed.&nbsp;<strong>Results.</strong> The author characterizes peculiarities of the folk song genre and the genre of the Beijing opera, as well as specifics of vocal and technical skills in the following genres: vocal breathing with support for the lower abdomen, involvement of the cranial and nasal resonators, singing in a high vocal formant, combined with neutral palate position, which brings to a glide nasal sound and a “flat”, sharp sound. Characterization is given to the new trends that emerged in the late XIX century in the field of Chinese vocal art in connection with a new cultural openness policy, a focus on updating national vocal art based on European traditions and combining them with specific features of Chinese vocal techniques. The range of tasks that require special attention in the process of teaching Chinese students at Ukrainian pedagogical universities is identified: expansion of vocal and stylistic basis; enrichment of auditory experience and ability to analyze and interpret vocal works independently; improvement of skills to solmizate and self-mastering the musical text of the work, its comparison with the accompaniment part; ability to analyze texture, features of harmonious language; stimulation of artistic thinking and creative activity independence, mastering the skills of articulation of works in foreign languages, the need for vocal and technical skills restructuring, in particular sound formation techniques, formation of high vocal position, involvement of all resonators, mastering legato singing skills.&nbsp;<strong>Discussion.</strong> The author considers the features of the modern higher vocal education system in China and the disadvantages manifested in insufficient number of specialized educational institutions, the limitation of the curriculum, the amount of hours allocated for individual vocal classes, the lack of highly professional singing teachers, which in general results negatively on the quality of bachelor students’ professional vocal training.&nbsp;<strong>Novelty.</strong> Outlines typical difficulties that Chinese master degree students face in the process of vocal and performing skills mastering at Ukrainian pedagogical universities. These difficulties relate to the problems of adaptive and psychological, generally cultural character (entering a different cultural environment), insufficient level of theoretical musical, instrumental, artistically performing and vocally technical training.&nbsp;<strong>Conclusions.</strong> Singing teachers of Ukrainian educational institutions must be aware of the existing differences between European and Chinese methods of teaching singing, and this awareness should facilitate a deeper understanding of the problems faced by Chinese university applicants and the development of effective methods for overcoming those problems.&nbsp;<strong>Significance</strong>. The solution of the outlined problems should contribute to increase of the Ukrainian vocal school competitiveness under the conditions of the world educational space internationalization, as well as to improve the vocal and performing artistry of Chinese singers.</p> Hengyuan Yu Copyright (c) 2019 Yu Hengyuan; Scientific journal of National Pedagogical Dragomanov University. Series 14. Theory and methodology of arts education 2019-12-27 2019-12-27 27 168 174 10.31392/NPU-nc.series14.2019.27.27