Модель професійної фортепіанної освіти в музичних закладах вищої освіти Китаю
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2020
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СумДПУ імені А. С. Макаренка
Анотація
У статті розроблено модель фортепіанної освіти на основі аналізу сучасних тенденцій у галузі професійної підготовки піаністів-виконавців у китайських закладах вищої освіти. Модель містить три компоненти: філософський блок (філософські традиції: раціоналізм, емпіризм, прагматизм; філософські орієнтири), блок принципів викладання (потреба виховувати в учнів здатність висловлювати емоції та ідеї; значення піаністів для створення продуманої та відповідної тональної якості; важливість розвитку уяви та виховання творчості; необхідність заохочення та стимулювання в навчанні й дотримання якості викладання) та методологічний блок (техніка; стиль; запам’ятовування; практика; гострі навички слухання (або розширення слухових здібностей); і етап подолання страху), які знаходиться у відносинах взаємозалежності.
The article develops a model of piano education based on the analysis of current trends in the field of professional training of pianists-performers in Chinese higher education institutions. The model contains three components: philosophical block (philosophical traditions: rationalism, empiricism, pragmatism; philosophical guidelines), block of teaching principles (the need to educate students to express emotions and ideas; the importance of creating a thoughtful and appropriate tonal quality; the importance of imagination and education creativity; the need to encourage and stimulate teaching and adherence to the quality of teaching) and methodological block (technique; style; memorization; practice; sharp listening skills (or hearing); and the stage of overcoming fear), which are interdependent. To achieve the goal of the study, a number of research methods were used, namely: source-study, analytical, comparative, historical and theoretical methods, as well as methods of inductive-deductive processing of material and modeling. It is proved, that three philosophical directions have a significant impact on piano education. In particular, rationalist ideas include: knowledge comes from rational analysis; the importance of understanding music in a historical context; conducting a theoretical analysis of the musical score. Empiricism requires piano education to focus on experience: sensory, life, teacher experience and work experience; and the belief that good practice is based on experiment and observation; and finally, the sense of hearing, which in this context is called sharp listening, has an obvious significance in music education. From pragmatism comes the belief that nothing is permanent (this can be seen, for example, in the changing nature of the practice of performance and different interpretations of the score); the belief that students should be taught to be independent and solve problems; and the need for an individual approach, which means that no methodological approach fits all students. It is concluded that the presented model of professional piano education in higher education institutions in China proves the importance of taking into account philosophical ideas, principles of teaching and methodology in the process of training pianists-performers in art institutions of higher education in China. The issues of methodological support of professional training of pianists in higher education institutions of China and implementation of leading methods in the process of music education in higher education institutions of Ukraine deserve further consideration.
The article develops a model of piano education based on the analysis of current trends in the field of professional training of pianists-performers in Chinese higher education institutions. The model contains three components: philosophical block (philosophical traditions: rationalism, empiricism, pragmatism; philosophical guidelines), block of teaching principles (the need to educate students to express emotions and ideas; the importance of creating a thoughtful and appropriate tonal quality; the importance of imagination and education creativity; the need to encourage and stimulate teaching and adherence to the quality of teaching) and methodological block (technique; style; memorization; practice; sharp listening skills (or hearing); and the stage of overcoming fear), which are interdependent. To achieve the goal of the study, a number of research methods were used, namely: source-study, analytical, comparative, historical and theoretical methods, as well as methods of inductive-deductive processing of material and modeling. It is proved, that three philosophical directions have a significant impact on piano education. In particular, rationalist ideas include: knowledge comes from rational analysis; the importance of understanding music in a historical context; conducting a theoretical analysis of the musical score. Empiricism requires piano education to focus on experience: sensory, life, teacher experience and work experience; and the belief that good practice is based on experiment and observation; and finally, the sense of hearing, which in this context is called sharp listening, has an obvious significance in music education. From pragmatism comes the belief that nothing is permanent (this can be seen, for example, in the changing nature of the practice of performance and different interpretations of the score); the belief that students should be taught to be independent and solve problems; and the need for an individual approach, which means that no methodological approach fits all students. It is concluded that the presented model of professional piano education in higher education institutions in China proves the importance of taking into account philosophical ideas, principles of teaching and methodology in the process of training pianists-performers in art institutions of higher education in China. The issues of methodological support of professional training of pianists in higher education institutions of China and implementation of leading methods in the process of music education in higher education institutions of Ukraine deserve further consideration.
Опис
Ключові слова
фортепіанна освіта, модель, музичні заклади вищої освіти, Китай, піаністи-виконавці, piano education, model, music institutions of higher education, China, pianists-performers
Бібліографічний опис
Ван Боюань Модель професійної фортепіанної освіти в музичних закладах вищої освіти Китаю [Текст] / / Ван Боюань / Педагогічні науки: теорія, історія, інноваційні технології : науковий журнал / МОН України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; [редкол.: А. А. Сбруєва, М. А. Бойченко, О. А. Біда та ін.]. – Суми : СумДПУ ім. А. С. Макаренка, 2020. – № 8 (102). – С. 431–442. – DOI: 10.24139/2312-5993/2020.08/431-442.