Зміст та структура темброво‐динамічного уявлення піаністів у контексті методики фортепіанної підготовки
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Дата
2023
Назва журналу
Номер ISSN
Назва тому
Видавець
СумДПУ імені А. С. Макаренка
Анотація
Стаття присвячена розгляду та визначенню змістових елементів темброво‐динамічних уявлень студентів, які опановують фортепіано.Визначено, що до наукового контенту темброво‐динамічного уявлення майбутнього учителя музики входять фізичні, психологічні та музикознавчі складові, які в однаковій мірі впливають на його виникнення та подальше методичне функціонування. У статті проаналізовані сучасні погляди на різні дуальні конструкти з уявлюваною складовою, їх смислові характеристики та структурні модифікації у залежності від конкретної методичної мети представлених досліджуваних понять, значення уявлення в кожній з них. Серед існуючих структур дуальних понять виокремлені звукообразні та музично‐слухові уявлення, темброво‐слухові та темброво‐динамічні уявлення.
In the new conditions of social development and development each individual personality in any field of art oriented to a high level of own preparation for future independent activity and other subjects of education, in our work as a musician as a performer and teacher of musical art. This article is devoted to the consideration and determination of the contents of student`s timbre‐dynamic representations, who master the piano. We have determined that the scientific content timbre‐dynamic representation future teacher of music includes physical, psychological components, which equally affects its emergence and further methodical functioning. In this work we analyzed the modern views on various chewing structures with the identified component, their semantic characteristics and structural modifications depending on the specific methodical goal, presented studied concepts, and the meaning of representation in each of them. Study and analysis of content elements of timbre‐dynamic representations, the identification of various components of the chewing structures of the investigated phenomenon with the imagined component made possible non‐oppositional unity of several semantic units, among which the musical and auditory activity of the pianist plays a leading role. The modification of the structural content of timbre‐dynamic representations as a whole category containing four components is determined: motivational‐experiential, imaginative‐associative, creative‐projective and executive‐interhretive components. The disclosure of timbre‐dynamic representation in the context of the methodology of piano training of future specialists in musical art was analyzed and understood, which are presented by some representatives of music pedagogy in their scientific and theoretical conclusions and practical solutions. The prospects of further investigations make it possible to deepen the study of dual imaginary structures in the psychological and pedagogical field, methods of their disclosure and formation in the process of piano training of students of higher musical and pedagogical education.
In the new conditions of social development and development each individual personality in any field of art oriented to a high level of own preparation for future independent activity and other subjects of education, in our work as a musician as a performer and teacher of musical art. This article is devoted to the consideration and determination of the contents of student`s timbre‐dynamic representations, who master the piano. We have determined that the scientific content timbre‐dynamic representation future teacher of music includes physical, psychological components, which equally affects its emergence and further methodical functioning. In this work we analyzed the modern views on various chewing structures with the identified component, their semantic characteristics and structural modifications depending on the specific methodical goal, presented studied concepts, and the meaning of representation in each of them. Study and analysis of content elements of timbre‐dynamic representations, the identification of various components of the chewing structures of the investigated phenomenon with the imagined component made possible non‐oppositional unity of several semantic units, among which the musical and auditory activity of the pianist plays a leading role. The modification of the structural content of timbre‐dynamic representations as a whole category containing four components is determined: motivational‐experiential, imaginative‐associative, creative‐projective and executive‐interhretive components. The disclosure of timbre‐dynamic representation in the context of the methodology of piano training of future specialists in musical art was analyzed and understood, which are presented by some representatives of music pedagogy in their scientific and theoretical conclusions and practical solutions. The prospects of further investigations make it possible to deepen the study of dual imaginary structures in the psychological and pedagogical field, methods of their disclosure and formation in the process of piano training of students of higher musical and pedagogical education.
Опис
Ключові слова
темброво‐динамічне уявлення, структура, звукообразність, музичний слух, методика, фортепіанна підготовка, учитель музичного мистецтва, викладач фортепіано, timbre‐dynamic representation, structure, sonority, ear for music, method, piano preparation, teacher of music art, piano teacher
Бібліографічний опис
Ма Цзе Зміст та структура темброво‐динамічного уявлення піаністів у контексті методики фортепіанної підготовки [Текст] / Ма Цзе // 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, 2023. – № 3 (127). – С. 72–83. – DOI: 10.24139/2312‐5993/2023.03/072‐083