Педагогічна інтерпретація творів авангардистської музики у підготовці вчителя музичного мистецтва (на прикладі фортепіанних п'єс Арнольда Шенберга)
Ескіз недоступний
Дата
2024
Автори
Назва журналу
Номер ISSN
Назва тому
Видавець
СумДПУ імені А. С.Макаренка
Анотація
Метою статті є оцінка можливостей залучення артефактів музичного авангардизму до процесу підготовки майбутніх вчителів музичного мистецтва. Головні методи дослідження – це герменевтичний підхід до процесу музичновиконавської підготовки майбутніх учителів музичного мистецтв і теоретичний аналіз художнього твору. Практичне значення полягає у можливості впровадження методики аналізу авангардистського твору в процес підготовки майбутніх вчителів музичного мистецтва. Головним результатом є встановлення педагогічних можливостей герменевтичного аналізу музичного твору, спрямованого на виявлення його авангардистської специфіки. Перспективою подальшого дослідження проблеми є встановлення засобів експериментальної апробації зазначеної методики.
The purpose of the article is to assess the pedagogical potential of musical avantgardism and to identify some methods of including avant-garde works in the educational process, in particular, in the practice of musical art bachelors and masters raining. The methodological basis of the study is a categorical analysis of the musical poetics phenomena; a hermeneutic approach to the process of musical art teachers professional training; principles of theoretical analysis of art works, statements of musical intonation language, texture and composition theory. The practical significance of this study lies in the possibility of familiarization musical art teachers with avant-garde music, and introducing the methodology of the musical avant-garde works analyzing into the educational process.The work asserts that avant-gardism is a phenomenon that should find its proper place in music education, in particular in the musical art teachers training. The pedagogical value of avant-gardism is determined by a number of factors. In particular,without the representation and assimilation of this phenomenon in the educational process, it is impossible to form a holistic and truthful image of the twentieth century musical culture; it is also impossible to imagine the factors and stages of creative musical practice development which have led to its current state, in particular to the so-called "postmodernism". The inclusion of avant-garde music in the process of music education requires a comprehensive theoretical justification and experimentally verified methodological support. One of the corresponding methodology pillars should be pedagogical hermeneutics. The essence of the pedagogical hermeneutic approach lies in the attitude to musical works as texts (sign artifacts) that are accessible to meaningful interpretation. The use of verbal and artistic interpretation provides real opportunities for influencing the perception and understanding of avant-garde works, opens the way to the use of new norms of musical language, composition techniques, and the possibilities of creative thinking in educational practice. A necessary component of the proposed approach to avant-garde music is hermeneutic analysis. Using the example of the first piece from Arnold Schoenberg's piano cycle op.11, the article demonstrated the main properties of hermeneutic analysis. A promising direction for further research into the pedagogical approach and methodological principles of introducing avant-garde music into the educational process is the development of interactive and creative methods, when a piece is considered as a source of intonation ideas, images, poetic devices, or as an object of collective comprehension, a reason for game actions, etc.
The purpose of the article is to assess the pedagogical potential of musical avantgardism and to identify some methods of including avant-garde works in the educational process, in particular, in the practice of musical art bachelors and masters raining. The methodological basis of the study is a categorical analysis of the musical poetics phenomena; a hermeneutic approach to the process of musical art teachers professional training; principles of theoretical analysis of art works, statements of musical intonation language, texture and composition theory. The practical significance of this study lies in the possibility of familiarization musical art teachers with avant-garde music, and introducing the methodology of the musical avant-garde works analyzing into the educational process.The work asserts that avant-gardism is a phenomenon that should find its proper place in music education, in particular in the musical art teachers training. The pedagogical value of avant-gardism is determined by a number of factors. In particular,without the representation and assimilation of this phenomenon in the educational process, it is impossible to form a holistic and truthful image of the twentieth century musical culture; it is also impossible to imagine the factors and stages of creative musical practice development which have led to its current state, in particular to the so-called "postmodernism". The inclusion of avant-garde music in the process of music education requires a comprehensive theoretical justification and experimentally verified methodological support. One of the corresponding methodology pillars should be pedagogical hermeneutics. The essence of the pedagogical hermeneutic approach lies in the attitude to musical works as texts (sign artifacts) that are accessible to meaningful interpretation. The use of verbal and artistic interpretation provides real opportunities for influencing the perception and understanding of avant-garde works, opens the way to the use of new norms of musical language, composition techniques, and the possibilities of creative thinking in educational practice. A necessary component of the proposed approach to avant-garde music is hermeneutic analysis. Using the example of the first piece from Arnold Schoenberg's piano cycle op.11, the article demonstrated the main properties of hermeneutic analysis. A promising direction for further research into the pedagogical approach and methodological principles of introducing avant-garde music into the educational process is the development of interactive and creative methods, when a piece is considered as a source of intonation ideas, images, poetic devices, or as an object of collective comprehension, a reason for game actions, etc.
Опис
Ключові слова
музична освіта, педагогічна інтерпретація, герменевтика, методика, вчитель, музичне мистецтво, авангардизм, модернізм, аналіз, музичний твір, music education, pedagogical interpretation, hermeneutics, methodology, teacher, musical art, avant-garde, modernism, analysis, musical work
Бібліографічний опис
Хуан Ятін Педагогічна інтерпретація творів авангардистської музики у підготовці вчителя музичного мистецтва (на прикладі фортепіанних п'єс Арнольда Шенберга) [Текст] / Хуан Ятін // 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, 2024. – № 4 (138). – С. 172–187. – DOI: 10.24139/2312‐5993/2024.04/172-187