Contemporary trends of music education in the leading countries of the world and the prospects of their implementation in the Ukrainian pop vocal pedagogy

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CONTEMPORARY TRENDS OF MUSIC EDUCATION IN THE LEADING COUNTRIES OF THE WORLD AND THE PROSPECTS OF THEIR IMPLEMENTATION IN THE UKRAINIAN POP VOCAL PEDAGOGY

T.О. Kulaha

Annotation

The article offers an analysis of native and foreign theoretical and methodological research on issues the main tendencies of modern non-formal music education in the leading countries of the world and appropriate prospects and proposals for updating of contemporary Ukrainian vocal pedagogy. The research methodology bases on the principle of cultural conformity, and the foundations of holistic-emergent and praxiological approaches. The main problems of Ukrainian pop vocal education are noted, namely: the lack of theoretical and methodological basis and educational and textbook for institutions of specialized art education; inconsistency with contemporary trends in world music culture and personal desires of students; insufficient material and technical support of music schools. The main trends of world music education are highlighted, such as: the priority of practical and independent forms of musical activity and active methods of learning; combination of traditions and innovations; rapprochement of national musical cultures and various arts; focus on creative self-realization of students and communication; introduction of innovative approaches and the technologies to learning. Such prospects of introduction of world tendencies in Ukrainian pop vocal pedagogy are outlined as: active involvement of students in independent creative exercises, interpretation and improvisation; equal use of Ukrainian and world classical and non-classical music of various styles and genres, jazz and blues; participation in group interaction; use of the innovative technologies and ICT. The author's principles which are directed on optimization of educational process according to modern tendencies and prospects are offered. Emphasis is placed on the expediency of using the experience of informal music education in institutions of specialized art education.

Key words: cultural conformity, non-formal education, specialized art education, music school, pop vocal pedagogy, problems, trends, prospects, principles.

Анотація

СУЧАСНІ ТЕНДЕНЦІЇ СВІТОВОЇ МУЗИЧНОЇ ОСВІТИ ТА ПЕРСПЕКТИВИ ЇХ ВПРОВАДЖЕННЯ У ВІТЧИЗНЯНУ ЕСТРАДНУ ВОКАЛЬНУ ПЕДАГОГІКУ

Т. О. Кулага

У статті запропоновано аналіз вітчизняних та зарубіжних теоретико-методологічних досліджень з питань основних тенденцій сучасної неформальної музичної освіти у провідних країнах світу та відповідних перспектив та пропозицій щодо оновлення сучасної української вокальної педагогіки. Методологія дослідження базується на принципі культуровідповідності та основах холістсько-емерджентного та праксіологічного підходів. Відзначено основні проблеми української естрадної вокальної освіти, а саме: відсутність теоретико-методологічної бази й підручників та посібників для закладів спеціалізованої мистецької освіти; невідповідність сучасним тенденціям світової музичної культури та особистим бажанням учнів; недостатня матеріально-технічна підтримка музичних шкіл. Висвітлено основні тенденції світової музичної освіти, такі як: пріоритет практичних та самостійних форм музичної діяльності та активних методів навчання; поєднання традицій та новацій; зближення національних музичних культур та видів мистецтв; орієнтація на творчу самореалізацію учнів та комунікацію; впровадження інноваційних підходів та технологій навчання. Окреслено такі перспективи впровадження світових тенденцій в українську естрадну вокальну педагогіку, як: активне залучення учнів до самостійних творчих вправ, інтерпретації та імпровізації; рівноправне використання української та світової класичної та некласичної музики різних стилів та жанрів, джазу та блюзу; участь у груповій взаємодії; використання інноваційних технологій та ІКТ. Запропоновано авторські принципи, спрямовані на оптимізацію навчального процесу відповідно до сучасних тенденцій та перспектив. Акцентовано увагу на доцільності використання досвіду інформальної музичної освіти у закладах спеціалізованої мистецької освіти.

Ключові слова: культуровідповідність, неформальна освіта, спеціалізована мистецька освіта, музична школа, естрадна вокальна педагогіка, проблеми, тенденції, перспективи, принципи.

Introduction of the issue

The Art School, in accordance with the latest edition of the Law of Ukraine "On Extracurricular Education", is a specialized art education institution that provides initial art education and is one of the links of extracurricular education [16]. In accordance with the International Standard Classification of Education the extracurricular education in the world system is formulated as "non-formal education" and is used as a universal term. Music education in music schools of Ukraine is acquisition of partial qualifications of 0-3 levels of the National Qualification Framework, which includes forming the ability to perform educational tasks of secondary complexity according to certain algorithms according to the established time and quality standards [8].

In accordance with international regulations, in particular, the Declaration on the "World Fit for Children" (2002), the Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005), the Incheon Declaration "Education 2030: Ensuring Comprehensive and Fair Quality Education and Continuous Education" (2015) and others the problem of non-formal education takes up one of the most important places in the world education system. Ukrainian normative legal acts and resolutions on these issues are also based on the general civilization principles, namely: The Concept of a New Ukrainian School (2016), The Law of Ukraine on Education (2017), The Concept of the Development of Pedagogical Education (2018), etc.

Current state of the issue

Issues of musical education of schoolchildren in different countries of the world are devoted to research by R. Crawford, L. Green, G. Gvozdevskaya, O. Demyanchuk, R. Edwin, Hargreaves, D. Hedden, D. Henley, N. Ilinitska, P. Jones, L. Koval, L. Masol, C. Mitchell, O. Mykhailychenko,G. Padalka, O. Rostovsky, L. Sbitneva, Smyth, T. Turchin and others.

English Minister of Culture and Creative Industries E. Vaizey & Secretary of State Education M. Gove designate, that "quality music education can improve self-confidence, behavior and social skills, as well as improve academic attainment in areas such as numeracy, literacy and language" [6: 3].

New Music Standards (2014) of the American National Coalition for Basic Art Standards are aimed at learning in the process of musical activity, in contrast to previous ones, focused on the acquisition of knowledge and skills [7]. To date, 24 countries adopt or adapt these standards and are using them in the planning and design of learning programs [3: 3].

According to G. Gvozdevskaya, the Japanese traditional system of musical learning "iemotoseido" aims primarily at preserving traditions rather than the development of individual creative abilities. It is seen as the moving behind the Teacher who, as in many countries of the East, is perceived as a carrier not so much educational information as philosophical and spiritual values [5].

It should be noted that a certain distance between the philosophy of musical and pedagogical systems of the West and the East determines the direction of our further study to the methodological projection of ideas of musical education, which determine the content of American and European educational space.

Unlike the traditional musical education, which was begun in the times Ancient Greece and is the scientifically grounded and methodological tested for many centuries, the problems of pop vocal pedagogy in the world began to be theoretically considered only in the late 20th century and mostly concerned of choral activities, higher and general education. Contemporary vocal in choir and ensemble singing are researching D. Babich, T. Cassidy, S. Cheernikova, P. Freer, A. Izyurova, C. Jennings L. Lyons, A. Schumacker, N. Woodruff. Also, Yu. Cherenkov, O. Clipp, B. DeSilva, O. Dovgan, N. Drozhzhina, R. Fleming-DeBerger, N. Illarionova, L. Koval, J. LoVetri, G. Postevka, T. Rooney, I. Sakhnova, K. Salsbury, L. Semina, Y. Stepniak, G. Tszinhen, N. Yushchenko, E. Weekly and others devote their researches pop vocal education in higher art education institutions. The issues of the use of pop vocal in Ukrainian institutions of general education is covered by O. Mamikina, L. Kamenetska, D. Kharicheva, P. Sviridov and others. There are also methodical manuals on specific issues of vocal pedagogy by A. Karyagina, V. Korobka, L. Krymova, V. Malishava, S. Riggs, L. Romanova, B. Stoloff that offer practical advice for pop singers and do not have theoretical and methodological justification.

Despite the fact that there is a certain scientific experience in considering tendencies and perspectives of musical and vocal pedagogy, it should be noted that the issue of pop vocal pedagogy in non-formal education remains beyond the scientific attention what reflecting the contradiction between the great demand for mastering the art of pop singing among students of music schools and the lack of systematic knowledge on the issues of contemporary pop vocal pedagogy. The aforementioned contradiction actualizes the problem of our study, which we formulated as the necessity of holistic systemic knowledge concerning of the theory and methodology of teaching pop vocal in music schools taking into account the evolutionary perspectives of holistic development of individual by means of music art and of the personal value of its practical musical and performing achievements.

Outline of the unresolved issues brought up in the article. The problem outlined points to the need for rethinking, supplementing and updating pop vocal pedagogy, while taking into account the contemporary world tendencies on the principles of cultural conformity and holistic-emergent and praxiological approaches to student development by means of pop vocal art in institutions of non-formal education.

Aim of research is to identify issues and outline the prospects of pop vocal pedagogy in the art schools of Ukraine in accordance with the contemporary trends of world music education.

Research methods

The change in socio-humanitarian paradigm of contemporary music education requires a scientific reflection that bases on the principle of cultural conformity which is reflected in the constructive "equilibration" of traditional and contemporary conceptual ideas that bases on the integration of the main senses of the holistic-emergent and praxiological approaches [14: 150]. The essence a holistic-emergent approach as one of the methodologies of the harmonization of the cultural and educational space is the self-organization of the mutual development of subjects of the educational process. This approach is positioned as the organization of continuously-updating interaction between the student and educational reality. In the center of the latter there is a student, in his wholeness, in an irreversible process of interaction with the world. This promotes the emergence of both expected results, as well as the occurrence of new, unpredictable properties, high-quality jumps - "emergents" and reveals itself in the principled continuity and unfinality of personal and cultural growth [13: 44]. Herewith, the «emergent» arise only in the process of holistic development of the person and are not characteristic of its particular components.

Axiological locus of the contemporary praxiological paradigm in the pedagogy of musical education is reflected in the pedagogical stimulation of a successful and personally valuable creative activity of a student, the system-forming factor of which is the purpose of the activity and a creative action itself becomes the mechanism of musical activity as an internally motivated form of the practically-valuable subj ect-subjective interaction [14: 154], which creates conditions for self-development, selfeducation, free choice, personal and practical progress [12: 373].

Results and discussion

Contemporary philosophical ideas, caused by the information revolution consist in achievement of human happiness; the separation of politics, state and morals from religion; the values of each person and expansion of his freedom; social justice; equality and legality; providing each human opportunity to achieve well-being. The leading motive at the beginning of the 21st century becomes the idea of a nonfatal crisis, which must be perceived as a new order and people should learn to use it. At this time in art there are processes of destruction of the integrity, unity of the artistic phenomena, blurring of its limits [11].

A. Sokhor, considering music as a sociological phenomenon, proves that the general trend for the contemporary era is: the process of rapprochement of national musical cultures; the need to take into account and use the peculiarities of each particular genre, because each of them suggests a certain atmosphere of sound and the syllable of performers; a rapprochement traditional arts with the new ones, a changing the usual circumstances of performing music in consequence of using new technical means of creating and distributing music [15].

The civilization process of rapprochement, interpenetration and interaction of different, sometimes quite distant, national musical cultures does the challenge the teachers who work in the field of art in general and pop vocal in particular. This can be confirmed by the statement of B. Winnie, who points out that the multicultural nature of contemporary music requires an appropriate understanding of cultural ideals and vocal qualities and diverse contemporary repertoire requires a different vocal approach than the standard western classical tradition [17: 1].

A. Bogdzevich, O. Ivanova, A. Nazina and M. Stepanov (2009) emphasize that in contemporary non-formal education the teacher replaces a trainer or moderator who supports and coordinates the learning process. The role of a trainer lies not in the transfer of knowledge, but in the creation and maintenance of conditions that contribute to optimizing the learning process [1: 10]. This is especially true of the artistic direction in general and pop art in particular, as one of the softest, most popular and most effective means of influencing the subconscious, especially in adolescence. It is very important to teachers, educators, parents and everyone from whom the formation of the young generation depends on in this process, on the one hand, to take into account the needs, preferences and desires of children, and on the other hand, carefully that not to scare and distract, facet them (as diamond) and if necessary correct and direct the vector of their development.

Table 1

The main differences between the informal and formal music education in England