A hermeneutic approach to the development of creative skills of youth in Estonian educational institutions aesthetic education in educational institutions of Estonia

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Communal Institution of Higher Education «Academy of Culture and Arts» of the Transcarpathian Regional Council

A hermeneutic approach to the development of creative skills of youth in Estonian educational institutions aesthetic education in educational institutions of Estonia

Cherkasov Volodymyr Fedorovych - doctor of pedagogical sciences, professor, professor of the department of musical art

Анотація

ЧЕРКАСОВ Володимир Федорович. ГЕРМЕНЕВТИЧНИЙ ПІДХІД ДО РОЗВИТКУ ТВОРЧИХ ЗДІБНОСТЕЙ МОЛОДІ В ОСВІТНІХ ЗАКЛАДАХ ЕСТОНІЇ

У статті за допомогою гемневтичного підходу узагальнено та обґрунтовано систему художньо-естетичного виховання молоді в освітніх закладах Естонії та акцентовано увагу на розвитку творчих здібностей молоді як на уроках музики так і в процесі позакласної роботи, участі в різних формах музикування.

Ключові слова: розвиток творчих здібностей, художньо-естетичне виховання, освітні заклади Естонії.

Abstract

Using a hemneutic approach, the article summarizes and substantiates the system of artistic and aesthetic education of young people in educational institutions of Estonia and emphasizes the development of creative abilities of young people both in music lessons and in the process of extracurricular work, participation in various forms of music making.

In 2014, the Ministry of Education and Science of Estonia developed and approved state programs in the field of «Artistic creativity» for primary schools and gymnasiums. Annually, these programs are adjusted and released for each class. Music is taught on the basis of the concept proposed by the Estonian Methodists Riho Pjats and Haino Kalyushte, created on the basis of the integration of modern educational knowledge and experience and the music-pedagogical systems of Karl Orff and Zoltan Kodai.

According to Estonian teachers, the main type of activity in music lessons is vocal and choral work, which takes a significant part of the time and represents work on vocal exercises and works of the school song repertoire. Solo and choral singing develops special skills and fosters love for the Motherland in schoolchildren. Students learn and perform Estonian folk songs and children's songs written by Estonian and European Union composers.

In the context of the generalization of the system of music education within general educational institutions of Estonia, it is worth noting that the country has developed a concept and is operating a program of involving children and youth in national and pan-European musical values. In order to intellectually and creatively develop students by means of musical art, teachers use interactive technologies and innovative teaching methods. Young people are involved in active forms of music making, perception and creation of music. Undoubtedly, children are given the opportunity to show their individuality and the necessary conditions are created for the further development of musical and creative abilities, aesthetic education and self-education both in lessons and in the work of artistic and aesthetic circles.

Keywords: development of creative abilities, artistic and aesthetic education, educational institutions of Estonia.

Statement and justification of the relevance of the problem

The globalization of the sociopolitical and socio-cultural life of society requires new approaches to the generalization and study of the problem of artistic and aesthetic education of youth in the member states of the European Union. Under such a situation, the research and substantiation of artistic and aesthetic education in educational institutions of Estonia, the development of creative abilities of schoolchildren in music lessons and in extracurricular activities is relevant and timely. artistic aesthetic education ability

Analysis of recent research and publications

Research on the organization of artistic and aesthetic education of the younger generation is carried out by leading domestic scientists, among them: B. Brilin, N. Guralnyk, A. Martynyuk, O. Mykhailychenko, M. Mykhaskova, N. Mozgalova, G. Nikolai, O. Oleksyuk, O. Otych, G. Padalka, V. Palamarchuk, I. Poluboyaryna, O. Rudnytska, T. Smirnova, I. Stashevska, V. Cherkasov, S. Ship, O. Shcholokova, and others. The content of our article complements the research of scientists and enables the definition and justification of the development of creative abilities of young people in the process of artistic and aesthetic education in educational institutions of Estonia.

The purpose of the article is to substantiate the main approaches to the development of creative abilities of young people in the process of artistic and aesthetic education in educational institutions of Estonia.

Presentation of the main research material

In Estonia, which is in the top three of the PISA rating, the educational process in general education institutions is based on the following values, namely:

responsibility, when students realize that learning and self-development is their own choice and is based on responsibility;

of necessity, when education is determined by the interests and abilities of students, corresponds to its development and takes into account the needs of the labor market;

opportunities when the training system guarantees high-quality, modern and mobile training.

The Estonian education system guarantees the effectiveness and equality of the education system. Students in Estonian schools perform better in the main three PISA indicators, namely mathematics, reading and science. In recent years, the percentage of children who get too high results has increased significantly, and the number of students with below- average results has decreased. Estonian primary schools provide equally high-quality education regardless of the child's place of residence, be it a student in a metropolitan school or a rural school, from a well-to-do family or from a family with financial difficulties. Students are convinced that intellectual and creative development and intelligence are factors that they themselves influence, and whether you will become an intellectual or an intellectual depends on the students themselves. Estonia has the most democratic education in Europe, and Tartu is considered the educational capital, the nation's intellectual capital. The European Union helps Estonia, finances educational programs. And Estonian educators believe that the more educated a nation is, the stronger the country's economy. Currently, university education in the country, which includes 23 universities, is also free [1].

Children come to study in secondary schools according to their place of residence. Parents independently choose the second language of instruction. Instead, the percentage of classes with English as the language of instruction is increasing every year. General school education in Estonia is divided into three levels:

-1 level, primary school - from 1st to 3rd grade;

II level, primary school - from 4th to 6th grade;

III level - secondary school - from 7th to 9th grade.

Educational services are provided on the basis of two

State educational programs:

State curriculum for primary school;

a simplified curriculum of general education.

After graduating from primary school, students take three final exams: Estonian language, mathematics, the third - at the choice of the graduate. In addition, creative work is prepared and defended. After passing the final exams, students continue their studies in a gymnasium or a vocational educational institution.

In the gymnasium, the educational process is structured in such a way that high school students study compulsory and optional subjects. After completing the curriculum and passing practice, graduates take state exams and receive the right to enter a higher educational institution.

The Ministry of Education and Science of Estonia has developed and approved State Curriculum for Primary School and State Curriculum for Gymnasium [5], which emphasize:

State educational programs of primary school and gymnasium differ according to the purpose and tasks. Age characteristics and capabilities of students are taken into account, methods of personally-oriented learning are introduced, attention is emphasized to the physical, moral and spiritual development of the individual. The teacher is given the possibility of a creative approach to the organization of education and upbringing, taking into account the interests of students, the possibilities of the school and local resources.

The educational programs provide for the integration of educational disciplines both in the primary school and in the gymnasium. Disciplines are combined into certain blocks and provide for the internal and external integration of training courses and the introduction of cross-cutting topics.

According to the curriculum, music lessons in primary, primary and secondary schools are compulsory for all students and are held from the first to the twelfth grade at the rate of: 1-3 grades for two hours a week; 4th grade - one hour; 5-9 classes - one hour; Grades 10-12 - one hour per week. Music lessons are conducted by specialists who have graduated from higher educational institutions in the field of art and have a bachelor's or master's degree in music.

In 2014, the Ministry of Education and Science of Estonia developed and approved state programs in the field of «Artistic creativity» for primary schools and gymnasiums. Annually, these programs are adjusted and released for each class. Music is taught on the basis of the concept proposed by the Estonian Methodists Riho Pjats and Haino Kalyushte, created on the basis of the integration of modern educational knowledge and experience and the music-pedagogical systems of Karl Orff and Zoltan Kodai.

According to the current programs, the purpose of the lessons is that in the process of communicating with music, children receive joy, develop creative abilities and aesthetic tastes, can appreciate music, think creatively and express themselves in the process of musical activity, apply knowledge, skills and abilities in musical activity . In addition, support the traditions of national culture and treat other national cultures with respect, know famous Estonian composers and musicians, and appreciate the cultural traditions of their country.

It should be noted that the music program is based on the following principles: formation of aesthetic values by means of musical art; respectful attitude to singing, folk music, national cultural traditions; encouragement and support of creative self-expression in the process of communicating with works of musical art in order to develop and enrich sensory and intellectual perception; stimulating the desire to create music.

It is appropriate to emphasize that the main types of work in the lessons are listening to music, vocal and choral work, studying the theory and history of music, improvisation, movements to music and playing musical instruments. Perception based on listening to vocal and instrumental musical works requires students to know the history of music and the basics of music theory. Listening to music develops sensory abilities, attention, analytical abilities and skills of comparison. In the process of listening, students are involved in the artistic and pedagogical analysis of a musical piece, which is the result of the deep potential of the student's personality, ensures continuous expansion and deepening of their emotional and aesthetic experience. Artistic and pedagogical analysis makes it possible to express one's vision and feeling of stage action. Emotional and figurative perception of a musical piece, observation of the development of a musical action is a necessary condition for the development of students' intellectual and creative abilities and the enrichment of communicative experience.

Estonian teachers possess the methods and techniques of artistic and pedagogical analysis of a musical piece, present positive experience of involving children in the world values of musical art and the introduction of interactive technologies and innovative teaching methods. For this, they use dictionaries of emotional and figurative definitions of music, offer students to draw a suitable plot, give a written description of the listened work in the format of an interview, review, announcement.

It is worth noting that the main type of activity in music lessons, according to Estonian teachers, is vocal and choral work, which takes up a significant part of the time and represents work on vocal exercises and works of the school song repertoire. Solo and choral singing develops special skills and fosters love for the Motherland in schoolchildren. Students learn and perform Estonian folk songs and children's songs written by Estonian and European Union composers.

In elementary grades, students are involved in acapella singing, i.e. singing without accompaniment, which positively affects the development of harmonic hearing, helps to achieve purity of intonation, and effectively affects the development of other vocal and choral skills. The work begins with the singing of simple canons, where each student of the class must listen to himself and the sound of the whole class. In grades 4-6, more and more attention is paid to singing two-part choral works with different voice movements. So, singing choral works a cappella and with accompaniment forms not only vocal and choral skills and skills, but also contributes to the general musical development of children and young people, involves them in active musical activities.

In Estonia, musical folklore is treated with great respect. It is not by chance that the program includes monophonic calendar-ritual, lyrical and lyrical-epic songs written in couplet form, major, less often in minor scales with a functional-harmonic basis.

The study of music theory is necessary for mastering the school repertoire, and knowledge of the history of music will help to expand the understanding of genres, forms and styles of music, will enable the formation of skills in the interpretation and analysis of a musical work using the main means of musical expressiveness. It is considered valuable that teachers try to form in students the need to study music theory, to understand basic concepts and key competencies that positively affect the formation of musical literacy of an individual. In addition, the program provides students with the work of Estonian and European composers, listening to their works, and knowledge of genres and styles of music.

Without a doubt, this type of activity in the school program is characterized by the fact that students must be familiar with the main means of musical expression (melody, rhythm, tempo, dynamics, structure of a musical work); to know the differences in the character of march, waltz, polka; distinguish the sounds of folk musical instruments, such as: zither, Hiiu zither, accordion, bagpipe, horn and fife; describe, using musical terminology, the mood and character of the music they listen to.

Therefore, it is quite natural that in music lessons, students acquire competences in the field of theory and history of music, which predispose to high-quality theoretical training, appropriate musical literacy, namely: read sheet music and sing in 2/4, %, 4/4, 3/ 8, 6/8, 9/8, etc.; know major and minor keys, use them to create music; know musical terminology and introduce it to characterize the sound of a symphony orchestra, chamber orchestra, string orchestra, jazz orchestra; know the genres of music: opera, operetta, ballet, musical, symphony, instrumental concert, spiritual and gospel; to navigate in the forms of music: rondo and variations, pop and rock music, jazz music and classical music.

According to the school curriculum, students focus on the fact that Estonian music, both composer and folk, is connected with the culture of the Baltic- Finnish peoples. From the teacher's story, they learn that in the 18th-19th centuries, secular amateur music-making was actively developing, polyphonic choral singing was heard in religious peasant communities, which attracted choristers to the majorminor scale system. The beginning of professional music in Estonia was laid by A. Kunileid's patriotic choral songs on sl. L. Koidula (1869). Many Estonian musicians studied at the St. Petersburg Conservatory. From 1869 in Tartu, and then from 1896 in Tallinn, all-Estonian singing festivals began to be held, which marked the beginning of this tradition in Finland, Latvia, and then in Lithuania.

The program provides students with the musical culture of the 20th and early 21st centuries, representatives of which were: composer, founder of the Estonian national opera Evald Aav (1900-1939), composer Artur Kapp (1878-1952), founder of the modern Heino school of composers in Estonia Eller (1887-1990), choir conductor, composer, publicist, teacher Gustav Ernesaks (1908-1993), world- renowned musician, author of symphonic, vocal, instrumental works, church Lutheran hymns Kirillus Kreyek (1889-1962 ), conductor and composer Johan Simm (1885-1959), composer Eduard Tubin (19051982), composer, folklorist, musical ethnographer Velo Tormis (1930-2017) and others.

It is appropriate to note that students are interested in the music of Estonian composers of the second half of the 20th century. It was during this period that chamber-instrumental and chamber-vocal music actively developed. The chamber works of Velo Tormis and Ester Magi, written on the basis of examples of Estonian and Finno-Hungarian folklore, are becoming popular. In addition, students listen to works of the vocal-symphonic genre written by Eino Tamberg and Kuldar Sinka.

Pupils independently prepare presentations on the work of composers of the 70s and 80s of the 20th century, namely: Erkki-Sven Tjuura, Lepo Sumera, Raimo Kangro, Rene Ejespere, Urmas Sisaska. Computer technologies, video presentations of concert programs, performances of world-class symphony orchestras are being introduced.

According to the program requirements, students get acquainted with light and popular music of the 20th century. Emphasis is placed on the fact that during this period jazz began to revive and rock music began to develop in Estonia. The Modern Fox Orchestra was successful, performing dance hits of the 30s and 50s; in the field of Estonian pop music of the 80s, the most popular performers were Anne Veski, Maryu Ljanik, Ivo Linna, Gunnar Graps, rock bands «Ruya», «Rock Hotel», «Orange», «Vitamin», «Radar».

In order to get acquainted with modern music and modern composers, teachers give students the opportunity to independently familiarize themselves with the creative achievements of composers known in Estonia, including: Rene Eespere, Urmas Sisask, Erkki-Sven Tuur and others. Teenagers select works that are most popular among young people, organize their listening in circles of music lovers, discuss them, and include them in projects of educational activities.

A very valuable type of work in lessons in Estonian schools is improvisation, which has a positive effect on the development of children's musical and creative abilities. Improvisation is a creative act of creating an artistic work directly in the process of its performance. In the process of improvisation, students show their imagination, reproduce associative impressions of events, circumstances, and most importantly - relationships between people, convey their attitude to the surrounding environment. Instrumental improvisation contributes to the formation of skills in playing a musical instrument, and vocal improvisation expands students' understanding of the purity of melody intonation, and also stimulates the formation of vocal and choral skills. Instruments for improvisation are mostly guitar or piano.

Movements to music develop the skills of feeling metrorhythm, and plastic intonation allows to express emotional feelings of individual perception of harmony and form. Plastic intonation is also accompanied by music, where recordings of ancient musical instruments are used, including: bowed sevenstringed kannel, bowed four-stringed hiyukannel, wind instruments - karyapasun, sarv, vilepill, as well as bagpipes, violin, multi-stringed kannel.

The state curriculum states that students should perceive and reproduce the content, mood and structure of music through movement and dance in Estonian singing games and round dances. In addition, students should be able to create a simple rhythmic accompaniment using percussion instruments and xylophones; to introduce melodic models in a simpler accompaniment; create simpler texts: at the expense of rhymes, poems, songs, etc.; use creative movement to reproduce the mood of music [6].

And finally, as for playing musical instruments, percussion or noise instruments, on instruments with a certain pitch, such as: pipes, pipes, pipes, metallophones, xylophones, this type of activity is widely introduced in lessons both in elementary and middle classes. It develops playing skills and has a positive effect on the development of musical abilities of children and young people. To a large extent, teachers offer students to play in ensembles with different composition. In addition, they practice compositions, where some students play, and others sing a song, moving according to the nature of the melody. Other students in the class perform accompaniment on percussion or noise instruments, which contributes to the development of a sense of metrorhythm.

After completing the training, students must: orally or in writing justify their opinion regarding the analysis of a musical work, using musical terminology; sing in unison and polyphonic songs; participate in the work of the school choir; improve skills in playing musical instruments; improve musicmaking skills and improvisation skills.

There is no doubt that, according to the plans of educational work, music teachers organize excursions to theaters and museums, as well as organize visits to theaters and concert halls, in order to expand and deepen their knowledge of various types of art and to familiarize themselves with musical performances and musical works of competitive concert programs. . Collective viewing of artistic and cultural events leads to a joint discussion of the artistic possibilities and performance style of the stage presentation of this or that piece of music or a certain musical composition.

It is appropriate to emphasize that the European Union finances the creation of scientific and educational and artistic and cultural centers with the help of educational programs and grants. Thus, in 1997, the AHHA project with a scientific and entertainment center was established at the University of Tartu, the area of which is more than three thousand square meters. There are three halls working here: the hall of living nature, the hall of changing exhibitions and the hall of technologies. The same projects include children who are engaged in artistic creativity: they play musical instruments, write songs, perform their own works for their friends. The government of Estonia values human potential, creativity and freedom, moving forward in the organization of youth leisure and their involvement in artistic values.

Conclusions and prospects of further exploration of the direction

Against this background, in the context of the generalization of the system of music education within the general educational institutions of Estonia, it is worth noting that the country has developed a concept and is operating a program of involving children and youth in national and pan-European musical values. In order to intellectually and creatively develop students by means of musical art, teachers use interactive technologies and innovative teaching methods. Young people are involved in active forms of music making, perception and creation of music. Undoubtedly, children are given the opportunity to show their individuality and the necessary conditions are created for the further development of musical and creative abilities, aesthetic education and selfeducation both in lessons and in the work of artistic and aesthetic circles.

Prospects for further scientific research may be related to the generalization of the experience of organizing artistic and aesthetic education in other countries of the European Union.

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