bluuebunny/crossref_metadata_2025 huggingface dataset:
Pros and cons of teaching dead languages to black screens
Authors:   Inland Norway University of Applied Sciences, Norway, Haugan Jens
Published: September 2021

The discussion in this paper is based on the presentation “Teaching Old Norse on Zoom: The Black Death and black screens – the dark age of Covid” (Haugan 2021) held at the 3rd ERL Online Session in March 2021 where the overall topic was “Covid – A Source of threats or opportunities for linguistic education?”. While most of the approaches to language teaching within the ERL context are concerned with “living” languages and maybe preferably English as a second language, I would like to draw the attention to the teaching of so-called dead languages, i.e. languages that are no longer used as a first language and that have no active, natural speech community. In a Western educational context, Latin and Ancient Greek would be the most prominent candidates for so-called dead languages that are still taught today. Even though the historical element has been constantly reduced within Norwegian as a school subject, basic knowledge of Old Norse (Medieval Norwegian) may still be a part of teacher education in Norway. Teaching a language as a second language or as a foreign language obviously faces challenges during a pandemic where most or all teaching is reduced to online teaching. However, maybe there are some positive aspects of teaching online, too. This paper will discuss some pros and cons of teaching Old Norse and Norwegian language history online./ Keywords: language teaching, language learning, online teaching, online learning, Covid
Intercultural communication in solving a current global problem: the COVID pandemic
Authors:   Slovak University of Agriculture in Nitra, Slovakia, Pechočiaková Svitačová Eva
Published: September 2021

Intercultural communication is a type of social interaction in a multicultural society, which can help to solve problems related to the coexistence of cultures, as well as global problems that affect all people on Earth, regardless of cultural affiliation. Currently, such a problem is the COVID pandemic. In an effort to find solutions that respect the rights and interests of members of all cultures, this paper first introduces the policy of multiculturalism, but it focuses mainly on the importance of intercultural communication in the multicultural society which, among other things, helps the members to realize that fighting against this pandemic and dealing with its consequences is a common good for all of them. They should work together for this good to respect the interests of all people and cultures in the world. At the same time, the COVID pandemic becomes a challenge for ethics to strengthen the cohesion and cooperation of cultures and, from its point of view, to predict a solution for the benefit of everyone./ Keywords: COVID pandemic, cultures, multiculturalism, intercultural communication, common good, ethics
Fostering function of speaking talk as performance
Authors:   Constantine the Philosopher University in Nitra, Slovakia, Horváthová Božena , Galbová Martina ,   Základná škola s materskou školou Žabokreky nad Nitrou, Slovakia
Published: September 2021

The paper deals with the function of speaking Talk as Performance, which requires special teaching approaches. The theoretical part provides information about adolescent language learners and guidelines for teaching them. The age of the learners at this level, the basic characteristics, the proficiency level based on Common European Framework of References for Languages (CEFR) and International Standard of Classification (ISCED) are discussed as well. Further on, attention is paid to the language skill speaking and basic methodological approaches to speaking are tackled. Finally, the function of speaking Talk as Performance and its implementation to in-class teaching is discussed. The research focuses on the application of three research methods content analysis, observation and interview, the purpose of which is to find which activities promote the function Talk as Performance in two different textbooks used by teenage language learners and to investigate how the function is taught in two different English classes by two different teachers. Subsequently, the research results are analysed within each method. / Key words: adolescent language learner, speaking skill, functions of speaking, talk as performance, TEFL, content analysis, observation, interview
INDIVIDUAL EDUCATIONAL TRAJECTORY OF STUDENTS IN THE PROFILE SENIOR SCHOOL OF ART AND AESTHETIC FIELD OF TRAINING
Authors:   Institute of Pedagogy of the National Academy of Pedagogical Sciences of Ukraine, Alekseeva Svitlana
Published: September 2021

The formula of the New Ukrainian School consists of nine key components, one of which is a personality-oriented model of education based on the child-centered ideas. This implies the maximum approximation of education and upbringing of a particular child to his essence, abilities and life plans, providing moral and psychological comfort, refusal to focus the educational process on the «average» student. Therefore, today in pedagogy the problem of individual educational trajectory of youth is actively discussed, which makes it possible to create conditions for the harmonious development of the individual, to meet his educational needs. In general, the concept of individualization of the educational trajectory of students is associated with the process of identifying and developing their abilities, the realization of their own educational goals that meet the needs, opportunities, motivation, interests of modern youth. The purpose of the article is to reveal the features of the formation of the individual educational trajectory of the student in the profile senior school of artistic and aesthetic field of training. Artistic and aesthetic field of specialized training is connected with the core of creative industries (literature, music, fine arts, cinema, television, radio, video and computer games, advertising, architecture, design, fashion, etc.), so it is important to personalize educational path of gifted students with a focus on unleashing their creative potential. The formation of individual educational trajectories of students of the artistic and aesthetic field of specialized education begins with the definition of their life plans, hopes for the future and consists of four stages. The first stage is the study of needs, interests, requests, personal characteristics of students. The second stage is associated with the creation of an individual educational program, which involves the definition of long-term goals; conceptual strategies and approaches to creative development, indicators of their achievements, as well as the selection of content and forms of training. Within the third stage there is a correction of pedagogical influences, creation of a positive pedagogical environment around students, elimination of organizational shortcomings, psychological and pedagogical support of senior students’ creative development is carried out. The fourth stage is related to pedagogical monitoring, which is carried out in order to ensure the quality of this process.
SPIRITUAL AND PHYSICAL FOUNDATIONS OF MUSICAL PERCEPTION
Authors:   Mogilev State University named after A. A. Kuleshov, Reva Valentin
Published: September 2021

Perception of music is auditory-motor in nature, accompanied by active bodily responses. It would be a gross methodological mistake not to take this intoaccount in the practice of art education. The effects of music, recorded not only by the ear, but also by the body, and by the vibrations of the muscles, indicate a unified musical perception. Sensorimotor skills saturate it with bodily associations, become fixed in memory, become artifacts of co-creation, solidary intonation-bodily empathy. Attempts to separate the bodily reactions of perception from consciousness, to bring them into the realm of the unconscious, which creates obstacles to perception, should be considered as untenable. Auditory-motor actions, including gestures, facial expressions, pantomimics, kinesics, and other bodily manifestations, are nothing more than the unified languages of music, the techniques of nonverbal sound communication peculiar to humans. The system «music-body-consciousness» generates intonation-sound associations of an artistic type, emphasizing the synergetic essence of musical perception, openness to self-completion, resonant spiritual response, actualizing auditory attention. Motor reactions are an essential factor in the emergence of artistic associations, musical thinking, and reflection. The mechanisms of musical perception linked with sensorimotor responses to the intonation of music. In this case, muscle activity acts as a mediating link between sensory responses and emotions transmitted in music. They are associated with the simplest semantic elements of musical perception. Musical perception is based on the synthesis of thought and feeling, spiritual and physical, and aesthetic experiences do not arise spontaneously, like physiological reactions. They are the result of painstaking spiritual and physical work, a symbiosis of artistic imagination and creative imagination, which determine the culture of musical perception of a person. It is impossible to find the experience of empathy, emotional responses to the meaning of music as self-expression of another person's soul, without working them through the mechanisms of bodily perception, which, in fact, is the main pathos of music education. Spiritual and bodily perception of music provides a unique opportunity to feel the present, the real presence in it, the coordination of personal life aspirations with the humanistic attitudes of art culture. Pedagogical comprehension of spiritual and bodily processes expands the possibilities of educating musical perception in secondary schools, overcoming the deficit of theoretical knowledge about music, skills of analysis of musical works, saturation of classes in search of personal meanings in art.
THE PROCESS OF FORMATION OF VALUE ORIENTATIONS PERSONALITIES IN PRACTICAL TRAINING
Authors:   Volodymyr Vynnychenko Central Ukrainian State Pedagogical University, Sveshchynska Natalia
Published: September 2021

The article considers the process of formation of personality value orientations in practical activities during higher education, identifies the stages of this process, analyzes each stage, offers a theoretical analysis of practical activities for the formation of personality value orientations in the educational process. The phenomenon of culture as a second nature, which is created by man and in turn is its product, constantly brings to life many theories that try to understand the diversity of cultures, to determine the patterns of its development. They explain the features of the cultural-historical process, the role played by art and its integrative part – music, which is a necessary component of knowledge and value understanding of the world around us. The mechanisms of value orientation formed in pedagogy contradict the regulatory activity of teachers, who continue to offer means of mastering the world «in the finished form», which hinders the development of the process of ascent of the individual to the values ​​of life and culture. Practical activity on the formation of personality value orientations in music pedagogy can be defined as the formation of a creative personality, which strives for a holistic understanding of the musical space, occurs in several stages, each of which corresponds to the periodization of the process of personality value orientations. The formation of value orientations of the individual in practice is based on the concept of dialogic communication and is based on the formation of value orientations of the individual in the development of modern music, is built through the use of associative, genre-style and intonation-style approaches. The set of these approaches forms an evolutionary-synergetic method, which treats the object of study music culture – as a self-developing system, and the subject– the emerging personality – as a self-developing and self-tuning system. The formation of the mechanism of orientations is at the same time the formation of the mechanism of self-adjustment, which allows empathy, and this opens the way to co-creation.
EXISTENTIAL APPROACH AS A MEANS OF CONCEPTUAL MODERNIZATION OF MODERN HIGHER MUSIC EDUCATION
Authors:   National Pedagogical Dragomanov University, Kholodenko Viktoriya
Published: September 2021

The article is devoted to the study of the substantive characteristics of the existential approach. Its fundamental positions, principles, scientific interpretations of key concepts are analyzed: existence, existentialism, existential. Peculiarities of modern understanding of existential knowledge and their practical application in existential pedagogy are investigated. According to researchers, the application of an existential approach in modern education is necessary and inevitable; life-affirming ideas of existentialism as a continuation of humanistic traditions in philosophy and psychology can serve as excellent support in substantiating the existential-value orientations of educational activity and constitute a methodological, theoretical and practical construct of the humanistic educational paradigm. It was found that to meet the need of modern education in a new open knowledge about man, expanding ideas about the development of a particular person, his inner world, meaning, deep experiences in communication with another person can existential pedagogy. It is determined that the main ideal goal of existential pedagogy is the formation of a person who is able to live his life optimally, making the most of his potential and realizing himself in socially significant activities. The opinion is expressed that the goal of modern higher music education, which is based on the principles of existential pedagogy, should be the formation of the existential sphere of personality. It is noted that the leading existences of the approach – the recognition of man as the main creator of his personality, the uniqueness of each individual, focus on personal growth, self-actualization, freedom of choice, etc. – successfully correlate with the demands of art education. It is proved that the existential approach has significant potential in the modernization of modern higher music education.
DEVELOPMENT OF VOCAL-PERFOMANCE SKILLS OF FUTURE TEACHERS-MUSICIANS IN THE STUDY OF EDUCATIONAL DISCIPLINE «METHODOLOGY OF WORK WITH FOLKLORE ENSEMBLES»
Authors:   Volodymyr Vynnychenko Central Ukrainian State Pedagogical University, Shevchenko Inha
Published: September 2021

The professional development of a future teacher-musician involves not only the acquisition of knowledge, skills and abilities, but also personal self-improvement. The formation of a new type of teacher is possible only if the higher education approaches to real professional and pedagogical activities. Tasks of training of pedagogical staffs that meet modern requirements actualize the problem of development of vocal and performing skills of the future teachers-musicians during their studies at a higher education institution. To implement this task various forms of collective musical performance, aimed at integrating different areas of artistic life, are created. Among them vocal ensemble is one of the leading varieties of musical creativity. Educational discipline "Methodology of work with folklore ensembles" laid out for the master's students-degrees of musical separation of artistic faculty. Students can learn to manage their own voice, to develop creativity and have prospects for self-expression. Participation in the folk vocal ensemble helps not only to understand the musical material, but also learn to control voice, gestures, facial expressions, plastic body. In the process of activity of folk vocal ensemble developed the logical and creative thinking, musical talent, created some artistic images. Musical and theatrical activity contributes to the disclosure of the individual student identify his individual qualities, raising efficiency and discipline. Work on the culture of sound, breath, a sense of musical phrases possession of the breast and the main cavity, smoothing transitions register, development of natural sounding voice in contrast to imitate him – the basis of vocal and choral singers. This activates the creative process contributes to the education of various technical and performing skills, developing artistry, ability to transform in the performance of music of different genres, styles and character.
FORMATION OF VALUE ORIENTATIONS IN STUDENTS-VOCALISTS
Authors:   Ushinsky South Ukrainian National Pedagogical University, Bitko Natalia
Published: September 2021

In the article the author investigates the problem of formation of value orientations of students-vocalists during their studies in a higher educational pedagogical institution. The author believes that the peculiarities of the training of future students-vocalists in the university are the specifics of the age of students associated with early professional orientation and self-determination in the profession; in the organization of the educational process itself, due to the fact that individual classes in music disciplines are held, in the priority development by future music teachers not of fundamental scientific knowledge, but of practically necessary professional skills and abilities. In modern conditions of socio-cultural development, the problem of formation of value orientations of students-musicians becomes especially actual. It is generally accepted that music plays a special role in the life of an individual due to its ability to have a profound impact on the spiritual world of man. This action becomes much greater if the music affects not only externally (passive or active perception), but is also directly reproduced by the performer. In the process of performing, a deeper comprehension of a musical work continues, depending on its cognitive complexity, there is a positive or negative impact on the currently formed hierarchy of personal values. The value orientations of students in the process of musical performance are a prerequisite for the disclosure of aesthetic potentials, adjust not only the musical and aesthetic interests, but also the needs, tastes, ideals, views of young people and more. Acquiring these qualities, the individual joins the accumulated by mankind true values of life, culture and professional activity. The modern stage of music education is the foundation in the spiritual and moral development of the student, when the problem of value orientations of the student is considered as the most important element of the internal structure of personality, which allows to orient in the material and spiritual culture of society.
USING ART-THERAPY FOR THE FORMATION OF EMOTIONAL STABILITY OF PRESCHOOL CHILDREN
Authors:   National Pedagogical Dragomanov University, Borshchenko Nataliia
Published: September 2021

Progress of science and technique, newest technologies, created in the world not only new possibilities, and also and new difficulties. The alarm level considerably increased yet and through a world pandemic to the coronaviruses. Last days in society spreads an idea about importance of forming the personal psychical and emotional health, beginning from preschool age, as bases of becoming of personality, the most valuable achievement of that is emotional prosperity, are mortgaged exactly in childhood. The purpose of the article consists in describing the problem of forming the emotional firmness of preschool children by art-therapy and maintenance the psychical health of children as a major factor of personality development. Art is the unique type of human activity that represents reality in certainly-perceptible offenses, combining two opposite worlds: the world of fantasy and reality. The first mentions about facilities of the art-therapy treatment was found, possibly, in the days of existence of primitive man. It is important to emphasize that a main task to the art-therapy is not developing creative flairs, but achievement of therapeutic purpose. Analysing potential using of art-therapy in preschool establishments of education with the aim of forming of emotional stability for children, the special attention displaces on the variety of forms of the realization, such as: music-therapy, fairy-tale-therapy, puppet-therapy, painting-therapy, photo-therapy, physical-therapy, drama-therapy. Application of methods of therapy by an art on employments provides development of creative potential of children, enriches the emotional sphere of preschool children, deepens their world view, activates imagination and thinking of children. Art-therapy helps children to find and understand itself, successfully to adapt oneself new environment, be able to influence relationships with children, teachers, parents. Using art-therapy methods in an educational process assists forming of the personality all-round developed and emotionally stability. The prospects for further researches in this area we see in determining the most effective art-therapeutic technologies for individual development and forming sustainable emotional well-being of preschool children.
FUNCTIONS OF ARTISTIC-PERFORMANCE SELF-EFFICIENCY OF A TEACHER OF MUSIC ART IN THE PEDAGOGICAL PROCESS
Authors:   National Pedagogical Dragomanov University, Wang Xia
Published: September 2021

The article considers the problem of the functions of artistic and performing self-efficacy of a music teacher in the pedagogical process. It is proved that the identification of the functions of performing and artistic self-efficacy plays a significant role in determining the theoretical and practical principles of improving the professional activity of a music teacher in modern conditions. Important functions of artistic and performing self-efficacy of a music art teacher are defined as: presentative-communicative, cognitive-evaluative, stimulating-developmental, constructive-transforming, reflexive-hedonistic. The presentative-communicative function is aimed at achieving the success of the teacher's professional activity, in particular the impact of his performance on the aesthetic education of students. The essence of this function is to demonstrate the teacher's creative personality while communicating with the student audience. In this sense, the artistic and performance presentation of the teacher is an important factor in achieving successful artistic and creative contact with students. Cognitive-evaluative function involves the teacher's ability to assess their performance, as well as the nature of the impact of music on the artistic and creative development of children. The stimulating-developmental function involves providing the teacher with the influence of art on the spiritual, aesthetic, musical development of students' personalities. The constructive-transforming function of the teacher's performance self-efficacy is to select a performance repertoire that would correspond to the teacher's artistic individuality, as well as correlate with pedagogical tasks. The reflexive-hedonistic function is focused on the teacher’s ability to objectively assess his performance skills, the ability to develop students ’listening abilities, and to enjoy communication with art. It is proved that the definition of the functions of artistic and performing self-efficacy of a teacher creates a theoretical basis for the development of methods of its formation at the art faculties of pedagogical universities
DEVELOPMENT OF AESTHETIC CULTURE OF A FUTURE MUSIC TEACHER WITH THE USE OF DIGITAL TECHNOLOGIES
Authors:   Borys Grinchenko Kyiv University, Vyshnevetska Maryna
Published: September 2021

The paper considers one of the relevant issues of introducing and using digital technologies by a future music teacher. It is proven that the realm of aesthetic culture of a future music teacher requires the introduction of innovative forms of education and their active application. It is substantiated that digital technologies are a means of professional development of future music teachers in the process of professional training and become an integral part of society at all levels and centers, and digital competence is recognized as one of the priorities in educational activities. The paper emphasizes that modern education is the mastery of electronic, multimedia textbooks and guides, e-courses, interactive complexes, therefore learning with the use of digital technologies is not a novelty but a requirement of the time. The structural components of aesthetic culture such as aesthetic consciousness, aesthetic activity, aesthetic self-organization are analyzed and singled out, and the author believes that such components are designed to implement strategic ideas in the field of education and culture into public life, to develop values, to apply and use modern technologies in professional activities, and this requires active skills in using ICT, as well as information, music and technological competencies, critical thinking, behavioral strategies, response to changing needs and interests of society. In this paper, the author considers digital, music and computer technologies as a means of professional development of a future music teacher in the process of professional training, because the use of such technologies increases motivation for professional activity and develops positive beliefs in selected music disciplines and areas of music research. The paper studies the SAMR approach that allows assessing the level of digital technologies use in educational institutions for teaching and learning. A review of current trends in digital technologies organization and application has identified their most common forms in the training of future music teachers and proven the effectiveness of their use, which affects the development of pedagogical mastery of music teachers.
INNOVATIVE METHODOLOGICAL ACTIVITY AS A BASIS FOR DEVELOPMENT OF CREATIVE POTENTIAL OF A FUTURE MUSIC TEACHER
Authors:   Borys Grinchenko Kyiv University, Datsenko Mariia
Published: September 2021

Education modernization in the process of intensive development of society in the country is aimed at nurturing each person’s inner need to generate and implement innovative ideas. Therefore, one of the main objectives in organizing academic and methodological work of a future music teacher is to develop a highly qualified, competent, competitive specialist, without whom it would be impossible to modernize education in Ukraine. In the current context, the professional competence of a teacher, their ability to learn constantly, their desire for self-improvement and self-actualization come to the fore. A future music teacher must be a person educated in culture, pedagogy, psychology and specific methods. Without this knowledge, a teacher loses their professional qualities, the main ones being the capability to pedagogical creativity, academic, methodological and experimental work, and interest in improving their skills. The use of innovative approaches to the organization of academic and methodological work is an important factor in stepping-up those processes. Currently, there is significant interest in the issue of developing the creative potential of students of various majors, including those related to the training of future music teachers, who will carry out the process of music education for schoolchildren in the future. Artistic innovative activity does not only reflect the specifics of updating the traditional education system through rationalization, introduction of innovative experience, or modernization, but also presents an individual creative style of a future music teacher. An important condition of this process is the optimal combination of external factors and the system of internal personal transformations, which allows students to become subjects of self-development, to achieve a certain level of personal and professional orientation from the moment of awareness of their abilities and opportunities in artistic activities. The need for a creative solution to life’s tasks is endless, it constantly motivates a person to search, and the successful, productive completion of creative searches causes satisfaction and a new wave of the need to test yourself in solving life’s tasks creatively, and to find self-fulfillment.
ON THE ISSUE OF HISTORICAL AND CULTURAL DEVELOPMENT OF CHAMBER AND VOCAL PIANO WORKS
Authors:   Mykolaiv Branch of Kyiv National University of Culture and Arts, Zorin Vasyl , Borovytska Olena ,   Mykolaiv Branch of Kyiv National University of Culture and Arts, Yuldasheva Iryna ,   Mykolaiv Branch of Kyiv National University of Culture and Arts
Published: September 2021

One of the leading groups of genres in which the interaction of vocal and instrumental principles is possible is chamber-vocal works, where one of the participants in the creative dialogue is the piano. The development of chamber and vocal works demonstrated the vitality and leading importance of the genre for musical culture. In the context of the history of music, we can distinguish various forms of interaction between voice and piano. The field of chamber and vocal creativity has repeatedly attracted the attention of scientists. However, due to the fact that it has been developing since the XIX century, the period of its existence to this day often remains little studied. Accordingly, the question of the formation of chamber and vocal piano works is a problem that opens a significant field for studying aspects of the formation of this group of genres. The combination of vocal and instrumental principles has an extremely long history. For a long period of time, vocal was given priority over the instruments that accompanied it. Regarding the question of the unity of vocal and instrumental principles in one work, it was present as early as the times of ancient cultures. As a rule, the instrumental accompaniment played a secondary function in relation to the voice, providing support, tuning, shading the voice or simply filling in the pauses necessary for the rest of the vocalist. With the advent of the Renaissance and the development of various secular vocal genres, there are various works, both purely vocal (polyphonic) and vocal-instrumental. Among the polyphonic genres can be distinguished barcarole, villanelli, frottoli, madrigals, canzones. They are dominated by a polyphonic composition, which provides for «equality» of all voices. Chamber-vocal piano works occupy an important place in the singer's activity. The process of forming a duet of voice and piano had a long prehistory. The stage of the final formation of this genre falls on the XVIII century, and this is facilitated by a number of factors – the arrival of the piano to replace keyboard instruments, its predecessors, and the worldview of the Classicist era. A very important factor is the formation of dialogue between the instrument and the voice, which changes the priority of the vocals. During this period, a kind of summary of the achievements of previous centuries is carried out and conditions are laid for the following directions, in which chamber vocal-instrumental piano works will acquire a fundamentally different quality level.
THE DEVELOPMENT OF CREATIVE ACTIVITY OF TEENAGERS IN THE PROCESS OF VOCAL EDUCATION
Authors:   National Pedagogical Dragomanov University, Zotova Viktoriia
Published: September 2021

Here we revealed the peculiarities of the every day approach to the vocal education of teenage students, and referred to the contemporary trends of children’s vocal education as well as its transformation in the context of the current realities. We have studied theoretical approaches revealing the issue of our research from the perspective of new scientific achievements of the international vocal pedagogy, and have highlighted the most effective ones in terms of teaching vocals to teenagers. We have analyzed the current guidelines of organizing vocal practice with the use of interactive techniques and described how they can deploy the nature of teen’s creative activity especially in the sphere of art. Teenage students have a remarkable need in showing their skills especially if they have already achieved the level of high competence and are already the students of high school. The biggest authority for the teens is the approval of peers, and the moments of success are essential for such student’s self-esteem and further professional development, particularly in this age. On the other hand, our research views the creative activity as the basic component of the established education process where the teenager is the key actor. Interactive techniques are the effective tool of organizing such process. We have appealed to the experience of such acclaimed international schools as EVT (Estill Voice Training) of the american professor Jo Estill who accumulates creative potential of the teacher and student, thus enhancing and triggering the results of the acquired knowledge. Nowadays the traditional offline forms of delivering lessons are becoming secondary and outdated in the age establishing online education, they are considered less effective, less relevant and hardly able to stand the test of time and the global social-economic crisis. But owing to the crisis the new ways of creative thinking’s development are appearing, which fosters unleashing of the creative powers of the teacher and then of the teenage students, who tend to follow the teacher as the professional authority. The core essence of our work was to study the current and contemporary tendencies for developing teenagers’ creative activity in mastering vocals, therein lies the timeliness of the issue.
PSYCHOLOGICAL COMPONENTS OF DOMINANT ATTENTION AS THE LEADING PROFESSIONAL QUALITY OF THE ENSEMBLER
Authors:   National Pedagogical Dragomanov University, Klieshch Alina
Published: September 2021

The article considers the psychological components that reveal the essence of the method of dominant attention in ensemble performance. The psychological factors concerning improvement of ensemble game are analyzed. Dominant in culture is identified with the main artistic ideas, values. In aesthetics – with the dominant ideal. In the literature – with ideas, context, concept, style characteristics. In design – with shape and space. In architecture – with the dominant element of the composition of space. Dominant – in music theory – V degree of the system relative to the main tone (tonic). The fifth degree of tonality is also called dominant. In European music, the dominant key has always been given a special role, the dominant meant a contrast to the main key. Among all related tonalities, the dominant was considered the dominant (hence the name), the most intense tone, which requires a solution. The professional qualities of an ensemble player are a system of appropriate psychophysiological and mental resources, namely attention, intuition, reflection, empathy, coordination, which is a chain of psychodial elements required for the formation of dominant attention as a generalizing link in the creative realization of a musician-ensemble player. Thus, the considered structural elements of dominant attention as the leading professional quality of the ensemble player, namely intuition, reflection, empathy, coordination are perceived by us as semantic unity. The components are analyzed in terms of content, and a chain of theoretical conclusions is presented, which embody the substantiation of the concept of «dominant attention» of a musician-ensemble player. Analysis of musical-cognitive processes and practical training of specialists contributes to the successful functioning of the dominant attention in the process of its creative realization. Further research may be related to the study of the intuitive component of the musician-ensemble.
BOLESLAV YAVORSKYI’S MUSICAL AND PEDAGOGICAL IDEAS
Authors:   Pavlo Tychyna Uman State Pedagogical University, Psheminska Larysa
Published: September 2021

The article is devoted to the research and generalization of Boleslav Yavorskyi's musical-pedagogical ideas, a famous pedagogue with encyclopedic knowledge, an organizer of musical education, a pianist, a composer, a musicologist, a conductor, a scientist, an author of the fricative rhythm, a developer of the unique methodological conception of the creative development of a personality. The analysis of B. Yavorskyi's pedagogical activity allows us to understand the significance of his contribution into the theoretical and practical development of mass musical education, allows to broaden the understanding of his experimental studies on the methodological conception of the creative education of a personality, which should be taught through performing and understanding of a music and its perception. In the course of the research the assertion that the introduction of the subject «listening to music» into the practice by B. Yavorskyi became a fundamental process in his system of music education was actualized. According to the scientist, listening to music has a significant impact on the consciousness and behavior of a personality. In the research the author defined and generalized the pedagogical ideas of B. Yavorskyi, which were aimed at the development of thinking and creative abilities of children through: 1) obligatory participation of an any-profile musician in the choir performance; 2) introduction of the subject «Listening to music» into the practice of all educational music establishments;3) acquaintance with the phase-epoch before analysing of the music composition; 4) analysis of the influence of music on the emotional condition of the pupil; 5) intonation and remembering of the main melody of the composition; 6) reproduction of the composition in the drawings and paintings, in literary activity and stagings or dramatizing, using the method of Art Synthesis; 7) selection of the best compositions for listening and analysis; 8) development of speech culture when expressing verbally one’s own impressions of the music composition;9) creation of personal compositions: musical (songs, miniatures for the piano), plastic, painting (drawings), literary (poems, small prose works). There has been made a conclusion that audio, motor, spoken and musical associations are laid into the basis of musical-pedagogical conception of B. Yavorskyi and that the creative approach of the pedagog to the organization of the lessons and the active role of young people in the different genres of art promotes formation of their intellect, outlook, aesthetic and ethical qualities. Summing up, it should be said that musical-pedagogical education at the beginning. XX century was enriched greatly innovative pedagogical ideas of B. Yavorskyi, whose creative method became the basis for the development of the musical-educational upbringing of children and young people in different countries of the world in particular in the pedagogical activity of M. Leontovych, who was a student and follower of B. Yavorskyi.
THEORETICAL ASPECTS OF MODERN TEACHING OF CLASSICAL DANCE IN HIGHER EDUCATIONAL PEDAGOGICAL INSTITUTIONS
Authors:   Volodymyr Vynnychenko Central Ukrainian State Pedagogical University, Syvokon Yuriy
Published: September 2021

The article presents an analysis of the methods of teaching classical dance as a backbone knowledge in the process of teaching students of choreographic areas of universities of culture. The main task of higher education in the field of choreography is the formation of a «complete» model of a graduate in the unity of performing and pedagogical qualities. At the same time, in the context of introducing standards for teachers, the main task of the training is the question «How to teach to dance?», which puts forward the tasks of scientific understanding of the teaching methods as an important condition for the formation of the pedagogical competence of future graduates. The main methodological setting of the research is the presentation of modern practice of choreographic education and teaching classical dance as a system in which all elements are conditioned and subordinated to performing and pedagogical tasks. The relevance of studying the methods of teaching classical dance in higher educational institution is determined by the conditions of the modern stage, which is characterized by the introduction of educational standards as an expected result of the quality of training of future choreographers; expansion of the nomenclature of profiles and directions of choreographic training; introduction of professional standards for teachers in the field of choreographic art. Classical dance at all stages of formation and development of choreographic education in universities is the foundation of training future professionals in the field of dance, a discipline that forms the performing practical skills and abilities of the dancer; «Lexical» basis of the future choreographer-producer, creator of choreographic combinations, sketches, compositions and performances; scientific and theoretical foundation of methods of teaching choreographic disciplines. The possibility of successful implementation of tasks in accordance with the requirements of modern educational standards of training students-choreographers in higher education is due, inter alia, reliance on internal prerequisites for development, which are determined by historical traditions of teaching classical dance methods A. Ya. Vaganova. XX – early XXI century. researchers stand out as the most important in the development of classical dance.
THE ROLE OF THE CHOREOGRAPHIC COMPONENT IN THE SYSTEM OF ARTISTIC DISCIPLINES OF THE EDUCATIONAL PROCESS OF ART SCHOOLS
Authors:   Poltava National Pedagogical University named V. G. Korolenka, Tkachenko Mariia
Published: September 2021

The system of artistic and aesthetic education with the help of various arts, elevation of rhythm and choreography in a bright pedagogical theory and practice was laid in the early 20's of the XX century. All the accumulated experience in this field contributed to the improvement of the content of choreographic training and led to the process of separating professional art education from amateur and the creation of appropriate educational institutions for children. Choreographic creativity is one of the means of comprehensive development of students studying at the school of arts. Performing cognitive and educational functions, choreographic art is inseparable from its aesthetic function: choreography lessons promote the development of visual, auditory and motor forms of sensory and emotional perception of the world. Students learn to convey the movements of the various nature of music, its dynamics, tempo, to change the movement in connection with the change of parts of a piece of music, to begin with the beginning of music. The success of artistic and aesthetic education of children by means of choreography is due to the synthesizing nature of choreography, which combines music, rhythm, dance, fine arts, theater and plastic movements. The educational program for the specialty «Choreography» (today) is designed for eight years of study. Choreographic training of students of the choreographic department includes the following profile disciplines: classical dance, folk-stage dance, modern pop dance, gymnastics. Elective disciplines can also be chosen: historical and everyday dance, concert number staging, sports and ballroom dancing, duet dance. Related subjects: drawing, music, art history. The basis of the content of teaching choreographic art, regardless of the type and genre of choreography, is the involvement of students in active motor activity, which by nature is divided into: executive, improvisational, creative [development potential]. Students have the opportunity to realize themselves in the creative laboratories of art schools - choreographic groups and ensembles.
CREATIVE AND PERFORMANCE TRAINING OF THE FUTURE TEACHER OF MUSIC ART IN THE CONTEXT OF THE HUMANISTIC PARADIGM OF EDUCATION
Authors:   Volodymyr Vynnychenko Central Ukrainian State Pedagogical University, Stratan-Artyshkova Tetyana
Published: September 2021

The article reveals the peculiarities of creative-performance training of a future teacher of musical art; analyzes the definitions of «creativity» and «performance»; proves the expediency and effectiveness of composer-performer activity in the formation of author ability, ability of a future specialist to self-expression and self-actualization in his own work. Music performance is undoubtedly a creative process, and creativity involves the creation of new products and does not exist without performance. Thus, creative-performance training of future teachers of musical art becomes significant and innovative, as it is based not only on the ability to creatively perceive, perform and interpret musical works (instrumental, vocal, choral), to express themselves in performing activities (co-creation), but also assumes the ability of future teachers to self-create, to be both the author and performer of their own work. The meaning of professional training, its qualitative characteristic is the creative and performing training of the future teacher of musical art, which is due to the theory and practice of musical education, the originality of musical and pedagogical activity and consists in solving pedagogical problems by means of musical art, is aimed at developing a personality capable of self-expression and self-realization, capable of perceiving new knowledge and experience, organizing the conditions necessary to express its subjectivity, uniqueness, unique essence.In the complex process of creative-performance activity based on artistic perception-interpretation, design of artistic image, musical work - to its creative presentation the self-expression and self-actualization of future specialists is carried out. This process implies self-realization of own forces, abilities, talents, opportunities, disclosure of all reserves of creative activity of personality, the whole complex of individual-personal qualities, objectification of essence forces in own production, various social activity, leads to transformation of personality into a subject of own life and profession.