Формування художньо-смислових уявлень майбутніх учителів музичного мистецтва: експериментальна перевірка методики
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Дата
2018
Назва журналу
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Назва тому
Видавець
СумДПУ імені А. С. Макаренка
Анотація
У статті висвітлено перебіг і результати експериментальної перевірки ефективності методики формування художньо-смислових уявлень майбутніх учителів музичного мистецтва. Розкрито логіку розгортання методики відповідно до етапів формування означених уявлень. Обґрунтовано методи та прийоми, які застосовувалися на тлі впровадження певних педагогічних умов, з урахуванням динаміки фазових змін у художньо-смислових уявленнях у процесі роботи над твором музичного мистецтва.
The article reveals the main content of the experimental verification of the methodology of formation of the musical-semantic ideas of the future musical art teachers in the process of piano learning. The experimental methodology was carried out step by step, orienting the methodological complex to the purposeful influence of the corresponding component. So, at the first, artistic-analytical stage, the music-information component was influenced. For this purpose, the first pedagogical condition was activated: a phased and purposeful expansion of the musical-semantic fund of the personality. This provided the skills to identify the artistic- semantic content of musical works, their artistic and socio-cultural contexts. The aim of the second - experimental-accumulative - stage was to influence the elements of the experimental-associative component. This was done by enriching the tactile- sensory information, forming the basis of standards-stereotypes based on perception, apperception and activation of the asociative-search activity in the work on the musical work. A second pedagogical condition was introduced: the accentuation of the associative- apperceptive experimental standards and their extrapolation to work on new musical works. The aim of the third - design-semantic stage - was formation of exercises of the performing-interpreting component on generalization of semantic representations, their embodiment in the performing process, definition of the strategy of personal meanings and practical use of artistic-semantic ideas both during the performance of the musical work and in the process of pedagogical activity. At this stage, the third pedagogical condition was implemented: orientation to the semantic context of the artistic synthesis of artistic-aesthetic, musical-stylistic, musical-intonational (auditory), visual-semiotic, sound-timbral ideas. Monitoring of the effectiveness of the used methodological tools has shown that significant changes were observed in students' abilities to operate flexibly with artistic- semantic ideas in independent interpretation work on a musical work using the entire poly¬modal creative resource in various forms of activity (during rehearsal work, pedagogical practice, concert performances).
The article reveals the main content of the experimental verification of the methodology of formation of the musical-semantic ideas of the future musical art teachers in the process of piano learning. The experimental methodology was carried out step by step, orienting the methodological complex to the purposeful influence of the corresponding component. So, at the first, artistic-analytical stage, the music-information component was influenced. For this purpose, the first pedagogical condition was activated: a phased and purposeful expansion of the musical-semantic fund of the personality. This provided the skills to identify the artistic- semantic content of musical works, their artistic and socio-cultural contexts. The aim of the second - experimental-accumulative - stage was to influence the elements of the experimental-associative component. This was done by enriching the tactile- sensory information, forming the basis of standards-stereotypes based on perception, apperception and activation of the asociative-search activity in the work on the musical work. A second pedagogical condition was introduced: the accentuation of the associative- apperceptive experimental standards and their extrapolation to work on new musical works. The aim of the third - design-semantic stage - was formation of exercises of the performing-interpreting component on generalization of semantic representations, their embodiment in the performing process, definition of the strategy of personal meanings and practical use of artistic-semantic ideas both during the performance of the musical work and in the process of pedagogical activity. At this stage, the third pedagogical condition was implemented: orientation to the semantic context of the artistic synthesis of artistic-aesthetic, musical-stylistic, musical-intonational (auditory), visual-semiotic, sound-timbral ideas. Monitoring of the effectiveness of the used methodological tools has shown that significant changes were observed in students' abilities to operate flexibly with artistic- semantic ideas in independent interpretation work on a musical work using the entire poly¬modal creative resource in various forms of activity (during rehearsal work, pedagogical practice, concert performances).
Опис
Ключові слова
смисл, художньо-смислові уявлення, майбутні вчителі музичного мистецтва, експериментальне дослідження, педагогічні умови, meaning, artistic-semantic ideas, future musical art teachers, experimental research, pedagogical conditions
Бібліографічний опис
Лі Ює Формування художньо-смислових уявлень майбутніх учителів
музичного мистецтва: експериментальна перевірка методики [Текст] / Лі Ює // Педагогічні науки: теорія, історія, інноваційні технології : науковий журнал / Міністерство освіти і науки України, Сумський державний університет імені А. С. Макаренка ; [редкол.: А. А. Сбруєва, М. А. Бойченко, О. Є. Антонова та ін.]. – Суми : Вид-во СумДПУ імені А. С. Макаренка, 2018. – № 4 (78). – С. 123–134.