Formation of conducting and orchestral competence of future teachers musical art

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Formation of conducting and orchestral competence of future teachers musical art

Cherkasov Volodymyr Fedorovych -

doctor of pedagogical sciences, professor, professor of the department of musical art of the Communal Institution of Higher Education «Academy of Culture and Arts» of the Transcarpathian Regional Council

ЧЕРКАСОВ Володимир Федорович

Формування диригентсько-оркестрової компетентності майбутніх учителів музичного мистецтва

У статті доведено формування диригентсько-оркестрової компетентності майбутніх учителі музичного мистецтва. Формула успішної діяльності оркестрового колективу багато в чому залежить від фахової підготовки керівника колективу, сформованості його диригентсько-оркестрової компетентності, до якої входять певні якості, з-поміж яких комунікативні навички, які виконують безліч важливих функцій в розвитку особистості. Доведено, що у науковому середовищі виділяють кілька видів комунікативних навичок, а саме: інформаційно-комунікативні, регуляційно-комунікативні та афективно-комунікативні.

Ключові слова: диригентсько-оркестрові компетентності, майбутні вчителі музичного мистецтва.

CHERKASOV Volodymyr Fedorovych. FORMATION OF CONDUCTING AND ORCHESTRAL COMPETENCE OF FUTURE MUSIC TEACHERS

The article proves the formation of conducting and orchestral competence of future music teachers. The formula for the successful performance of an orchestra largely depends on the professional training of the leader of the group, the formation of his conducting and orchestral competence, which includes certain qualities, among which are communication skills, which perform many important functions in the development of the individual. It is proven that several types of communicative skills are distinguished in the scientific environment, namely: informational- communicative, regulatory-communicative and affective-communicative.

It has been established that the conducting and orchestral competence of future music teachers is formed in the process of working on an orchestral score under the conditions of introducing certain qualities into the rehearsal and stage-performance process.

In the process of working on an orchestral score, the conducting and orchestral competence of future music teachers is formed in the process: analysis of the orchestral score of a musical work; detailed analysis of a musical work; works on fragments of musical works; improvement of conducting technique skills; reading orchestral parts; fixation of musical material.

It has been proven that the formation of conducting and orchestral competence of future music teachers is realized in the process of individual classes and independent work of students of higher education. At the same time, the following teaching methods are introduced, such as: practical classes, counseling, the method of reading from a letter, the method of artistic context, the method of emotional drama, the method of working in an orchestra, the interpretation of a musical piece, the method of working on the orchestral score of a musical piece.

Keywords: conducting and orchestral competences, future teachers of musical art.

Statement and justification of the relevance of the problem

On January 17, 2018, the European Parliament and the Council of the European Union approved the updated Key Competences Framework for Lifelong Learning (2018 European Framework of Reference for Key Competences for Lifelong Learning) [17]. In accordance with the updated key competences that regulate the activities of modern higher music and pedagogical education, there is the training of professionally competent music teachers capable of self-analysis, self-discovery, constant selfimprovement, productive performance of professional tasks in the New Ukrainian School with the help of knowledge, skills, skills, experience, as well as competences that enable musical-theoretical and practical preparation for work with orchestral ensembles that function in general educational institutions and institutions of aesthetic education, music schools and art schools subordinate to the Ministry of Culture and Information Policy of Ukraine.

Under such a situation, the formation of conducting and orchestral competence of future teachers of musical art within the framework of a higher educational institution of artistic direction is relevant and timely.

Analysis of recent research and publications

The problem of the formation of professional competence of future music teachers has been investigated by such scientists as: A. G. Bolgarskyi, L. V. Gavrilova, N. I. Hrychanyk, M. O. Moroz, T. D. Puhalskyi, S. V. Svitailo, N. G. Tararak and others. Scientists B. A. Brilin, S. S. Horbenko, A. V. Kozyr, V. M. Labunets, A. K. Martynyuk, O. O. Matveeva, O. V. Mykhailychenko, N.G. Mozgalova, Smirnova, E. Z. Tynel, V. I. Fedoryshyn, V. F. Cherkasov, O. P. Shcholokova, highlight various aspects of the formation of professional competence in the process of theoretical and musical performance training of students of higher musical and pedagogical education.

The purpose of the article is to characterize the process of formation of conducting and orchestral competence of future music teachers.

Presentation of the main research material

conducting orchestral teachers musical art

In the scientific environment, there are different approaches to defining the essence and interpretation of the concept of conductor-orchestral competence. Based on this, we consider it appropriate to define the essence of the concept of «competence» as the ability to apply acquired knowledge and skills in practice in a certain field of activity.

The study of scientific literature proves that competence (from the Latin competens (competentis) - appropriate, appropriate), according to the materials of the dictionary of foreign words, means awareness, awareness, authority [14, p. 282]. The compilers of the Dictionary of the Ukrainian language prove that «competent is one who has certain powers; full- fledged, full-power» [15, p. 250].

According to J. Raven, competence is «a specific ability necessary for the effective performance of a specific action in a specific subject area, containing highly specialized knowledge, special subject skills, ways of thinking, as well as an understanding of responsibility for one's actions» [10, p. 6].

I.A. Zyazyun interprets competence as «the ability to solve professional tasks of a certain defined class, which requires the presence of real knowledge, abilities, skills, and experience» [5, p. 14]. Other scientists, in particular O. A. Dubaseniuk and N. G. Sydorchuk, also propose to consider competence as a complex integral characteristic of the individual, detailing it through «the ability to solve problems and typical tasks that arise in real life situations, in various spheres of activity based on the use of knowledge, educational and life experience in accordance with the acquired value system» [7, p. 40; 13, p. 80].

I.A. Zimnya defines competence as «an actualized, integrative, knowledge-based, intellectually and socioculturally determined personal quality that manifests itself in a person's activity, behavior, and interaction with other people when solving various tasks» [6, with. 21]. In the writings of H. Selevka, we find the following: «competence is understood as an integral quality of the individual, which is manifested in the general ability and readiness for activity, which is based on knowledge and experience gained in the process of learning and socialization and oriented towards independent and successful participation in activities» [ 12, p. 139].

M.S. Golovan interprets «competencies» as an integrative personality formation that combines knowledge, abilities, skills, experience and personal qualities, research competence is understood as a set of knowledge, abilities and skills of research activities, interests, aspirations, value orientations and motives for self-realization personality [3, p. 5562]. T. M. Baybara notes that competence is «the student's possession of competence, which is combined with his personal attitude towards it and the subject of activity» [1, p. 98].

Thus, based on the generalization of the essence of «competency» by foreign and domestic scientists, we can define the content of conductor-orchestral competence of future teachers of musical art, as a dynamic combination of conductor-orchestral knowledge, abilities, skills, ways of thinking, views, values, methodical and interpretive qualities that determine the ability of the leader of the orchestra to successfully conduct professional activities and socialize in a cultural and educational environment.

In the 19th century, the famous French composer and conductor G. Berlioz formulated the necessary set of knowledge, abilities and skills that the conductor of an orchestra should have for successful rehearsal and concert performance activities. Among which the composer names: mastery of the art of instrumentation, knowledge of the range and phantom sound zone of each instrument, mastery of the technique of working on an orchestral work, ability to read a score, mastery of communication skills and skills of tolerant attitude towards members of the orchestra.

An important role in the activities of the orchestra is played by communication skills, which enable the ability to communicate effectively, the ability to understand what the interlocutor means and be understandable to him, the ability to negotiate, to achieve one's goal through communication. This type of skill performs many important functions in personality development:

* ensures the psychological comfort of the members of the orchestra;

* allows you to organize joint activities in accordance with the requirements of the conductor and the methodology of conducting rehearsal work;

* satisfies the natural need of team members to communicate using basic means of musical expressiveness;

* helps to assert oneself as a musician- performer, to realize one's creative abilities in mastering a musical instrument and ensemble musicmaking skills;

* makes it possible to respond to the conductor's requirements, navigate the conductor's gesture and feel his role in the creation and interpretation of the content of a musical work.

In the scientific environment, several types of communicative skills are distinguished, namely: informational-communicative, regulatory- communicative and affective-communicative.

Information and communication skills mean the ability to communicate with the members of the orchestra, to navigate interlocutors and situations that arise in the process of working on the score, to correlate different ways of communication (verbal/non-verbal). This category includes the following skills:

* express requests or wishes in the process of interpreting a musical work;

* treat each member of the orchestra with respect, communicate politely and explain the role of each in the overall sound of the musical work;

* observe the rules of behavior with colleagues, management, children, etc.;

* understand the communication situation, the intentions and motives of the members of the orchestra, their interests and preferences;

* the ability to listen and understand the behavior of members of the orchestra;

* use both polite words and the language of conducting gestures, as well as facial expressions and gesticulations;

* adequately express their thoughts and emotions in the process of working on orchestral parts and during concert and stage performances.

Regulation and communication skills mean the ability to coordinate one's own actions and words in accordance with the interpretation of the intonation- figurative content of a musical work, trust, provide support, help, use conducting skills in the process of collective music making, adequately and positively evaluate the results of collective creativity and collective performances on concert stage. This group of communication skills includes:

* controlling one's playing and the playing of members of the orchestral part;

* trying to combine one's sound in an orchestral part;

* determination of effective methods of joint performance of individual episodes and parts of the work;

* the ability to give in to one's convictions and try to play in an ensemble and achieve unity of sound;

* critical assessment of one's performance and that of peers, fulfillment of the conductor's requirements by members of the orchestra.

Affective-communicative skills are the ability to share one's own feelings and interests in the process of working on the intonation-figurative content of a musical piece, to evaluate the emotional behavior of members of the orchestra, to show empathy (to be sensitive, to empathize, to care).

Thus, the famous conductor I. Musin singles out three main factors that determine the conductor's communication with performers:

* the first factor is the level of manual techniques;

* the second factor is the mastery of the conductor's rehearsal work, the methods and techniques by which he achieves the realization of the author's idea of a musical work;

* the third factor is the mental state of the conductor, the form of his behavior and manner of communication, as well as a positive reaction to certain situations in solving creative tasks.

N. Rakhlin, under whose instrument many works of Ukrainian composers were performed, namely: the third symphony of Borys Lyatoshynskyi, "Heroic Overture" of Viktor Kosenko, works of Vadym Homolyaka, Heorhiy Maiboroda, Lev Kolodub, etc. was defined by perfect conducting technique, which allowed him to reach a high musical level in work with the orchestra with a minimum of rehearsals. An artist of the expressive direction, N. Rakhlin was famous for his interpretations of large canvases by Beethoven and Tchaikovsky, symphonies by Dvorak, and symphonic poems by Liszt.

N. Rakhlin noted that the main features, without which the activity of a conductor is impossible, are the conductor's magical influence on performers, ability to hypnotic suggestion, possession of telepathic abilities, ability to convey thoughts by means of gestures.

Formation of conducting and orchestral competence of future teachers of musical art is realized in the process of individual classes and independent work of students of higher education. At the same time, the following teaching methods are introduced, such as: practical classes, counseling, the method of reading from a letter, the method of artistic context, the method of emotional drama, the method of working in an orchestra, the interpretation of a musical piece, the method of working on the orchestral score of a musical piece.

In the process of working on an orchestral score, the conducting and orchestral competence of future music teachers is formed in the process:

* analysis of the orchestral score of a musical work, where the dramaturgical concept of the musical work is reproduced, its artistic interpretation is created, which involves historical analysis of the musical work, music-theoretical analysis, analysis of dynamics, agogy and aftertacts, awareness of the content of the artistic content. In the work on the orchestral score, the technique of introductions and moving nuances in the conductor's gesture are worked out;

* detailed analysis of a musical work, namely: historical analysis of a musical work, music- theoretical analysis, analysis of dynamics and agogics, analysis of afterbeats, understanding of the artistic content of a musical work. Knowledge of harmony, analysis of musical forms, and musical literature is used in the work on the detailed analysis of the score;

* work on fragments of musical works that require the use of various conducting techniques and means of musical expressiveness, focusing on the accuracy of musical text reproduction, the appropriateness of the use of offbeats, the appropriateness of strokes, the independence of hands, and the achievement of artistic expressiveness. With this approach, the skills of conducting techniques are formed, namely: starting posture, timing, expressiveness of gestures, showing the introduction, working on overbeats, working out the main conducting schemes;

* improvement of conducting technique skills takes place in the process of repeating and improving the elements of conducting technique, practical skills, specifying the functions of the right and left hands, showing removal at the end of a piece of music, introduction and removal of sound in the middle of a piece of music;

* reading orchestral parts in different keys, where the conductor's attention is focused on the accuracy of musical text reproduction, the integrity of the texture, the correspondence of strokes, metro- rhythmic accuracy, artistic expressiveness;

* consolidation of musical material studied in classes by listening to audio and video recordings, selecting audio and video content, by means of comparative analysis, creativity of thinking, validity of opinion, own interpretation.

The formation of conducting and orchestral competence of future music teachers is possible under the conditions of introducing the following qualities into the rehearsal and stage-performance process:

* the ability to understand the artistic and aesthetic nature of orchestral activity, the interrelationship and interdependence between the theory and practice of collective music making;

* the ability to use knowledge about the main regularities and trends, modern achievements in the theory, history and methodology of orchestra performance, to use professional knowledge and skills in the process of creative activity in an orchestra;

* the ability to possess a scientific and analytical apparatus and use professional knowledge in the activities of an orchestral team, on the basis of which conduct conducting activities;

* the ability to understand the basic means of interpreting an artistic image, to apply basic knowledge of the leading musical-theoretical systems and concepts in the field of conducting and orchestral activity;

* the ability to use professional terminology, collect, analyze, synthesize artistic information and apply it in the process of practical activities with an orchestra;

* the ability to demonstrate basic business communication skills, to apply traditional and alternative innovative technologies of musicology, performance, composition, conducting, and teaching activities;

* the ability to consciously combine innovations with established national and world traditions in stage performance, musicology and music-pedagogical education.

Conclusions and prospects of further scientific investigations

The formula for the successful performance of an orchestra largely depends on the professional training of the leader of the ensemble, the formation of his conductor- orchestral competence, which includes certain qualities, among which are communication skills, which perform many important functions in the development of the individual. It has been proven that several types of communicative skills are distinguished in the scientific environment, namely: informational-communicative, regulatory-communicative and affective-communicative.

It has been established that the conducting and orchestral competence of future music teachers is formed in the process of working on an orchestral score under the conditions of introducing certain qualities into the rehearsal and stage-performance process.

Prospects for further scientific research may be determined by the formation of conducting and orchestral competence of future music teachers while working on the score of a musical piece.

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