Методика формування художньо-смислових уявлень майбутніх учителів музичного мистецтва в процесі навчання гри на фортепіано
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Дата
2018
Назва журналу
Номер ISSN
Назва тому
Видавець
СумДПУ імені А. С. Макаренка
Анотація
Дисертація є комплексним дослідженням у галузі теорії та методики музичного мистецтва щодо проблеми формування художньо-смислових уявлень майбутніх учителів музичного мистецтва в процесі навчання гри на фортепіано. У роботі розкрито сутність феномену уявлень та поняття «смислові уявлення» в науковій літературі. Обґрунтовано зміст та побудовано структуру художньо-смислових уявлень майбутніх учителів музичного мистецтва в процесі навчання гри на фортепіано. Розроблено методику формування художньо-смислових уявлень майбутніх учителів музичного мистецтва в процесі навчання гри на фортепіано. Визначено критерії та показники оцінювання художньо-смислових уявлень майбутніх учителів музичного мистецтва в процесі навчання гри на фортепіано, схарактеризовано їх рівні. Експериментально перевірено ефективність пропонованої методики формування художньо-смислових уявлень майбутніх учителів музичного мистецтва в процесі навчання гри на фортепіано.
The thesis is a comprehensive study in the field of theory and methods of musical art concerning the problem of forming artistic-semantic representations of the future musical art teachers in the process of learning piano playing. The essence of the phenomenon of representations and the concept of “semantic representations” in scientific literature are revealed. It is proved that phenomenology of representations is correlated with various mental processes of the personality and acquired experience. It is noted that representations are determined by three-dimensionality (practice, mentality, theory). The content of the concept of “semantic representations” is defined, which is understood as the process and the result of sensually and intellectually processed information obtained by various ways of cognition. It is proved that artistic-semantic representations are professional-cogitative, operational formations in the musical consciousness of the performer; are figurative-conceptual attributes of artistic thinking that arise in the musical consciousness of the performer at the stage of the initial general comprehension of the meaning of the work and accompany the process of work on its interpretation. The content is substantiated and the structure of artistic-semantic representations of the future musical art teachers in the process of learning piano playing, consisting of musical-information, experimental-associative, performing- interpretation components, is developed. The methodology of forming artistic-semantic representations of the future musical art teachers in the process of learning piano playing based on cognitive- reflexive, acmeological, artistic-semiologic and hermeneutical scientific approaches, takes into account creative, artistic-figurative aspects of the interpretation of musical works and the specificity of musical piano performance. The methodology is based on the pedagogical conditions: phased and purposeful expansion of the musical-semantic fund of the personality; actualization of associative-apperceptive experience standards and their extrapolation to new works; orientation to the semantic context of artistic synthesis: artistic-aesthetic, musical- stylistic, musical-intonational (auditory), visual-semiotic, sound-timbral representations. The criteria (cognitive-textual, experiential-associative, performing-creative) and indicators of evaluation of artistic-semantic representations of the future musical art teachers in the process of learning piano playing are determined, their levels are characterized. Qualitative and quantitative characteristics of the levels of formation of artistic-semantic representations of the future musical art teachers are determined: high – interpretive-context, medium – experiential-analytical, low – reproductive-stereotypical. The effectiveness of the proposed methodology of the future musical art teachers’ artistic-semantic representations formation in the process of learning piano playing has been experimentally tested.
The thesis is a comprehensive study in the field of theory and methods of musical art concerning the problem of forming artistic-semantic representations of the future musical art teachers in the process of learning piano playing. The essence of the phenomenon of representations and the concept of “semantic representations” in scientific literature are revealed. It is proved that phenomenology of representations is correlated with various mental processes of the personality and acquired experience. It is noted that representations are determined by three-dimensionality (practice, mentality, theory). The content of the concept of “semantic representations” is defined, which is understood as the process and the result of sensually and intellectually processed information obtained by various ways of cognition. It is proved that artistic-semantic representations are professional-cogitative, operational formations in the musical consciousness of the performer; are figurative-conceptual attributes of artistic thinking that arise in the musical consciousness of the performer at the stage of the initial general comprehension of the meaning of the work and accompany the process of work on its interpretation. The content is substantiated and the structure of artistic-semantic representations of the future musical art teachers in the process of learning piano playing, consisting of musical-information, experimental-associative, performing- interpretation components, is developed. The methodology of forming artistic-semantic representations of the future musical art teachers in the process of learning piano playing based on cognitive- reflexive, acmeological, artistic-semiologic and hermeneutical scientific approaches, takes into account creative, artistic-figurative aspects of the interpretation of musical works and the specificity of musical piano performance. The methodology is based on the pedagogical conditions: phased and purposeful expansion of the musical-semantic fund of the personality; actualization of associative-apperceptive experience standards and their extrapolation to new works; orientation to the semantic context of artistic synthesis: artistic-aesthetic, musical- stylistic, musical-intonational (auditory), visual-semiotic, sound-timbral representations. The criteria (cognitive-textual, experiential-associative, performing-creative) and indicators of evaluation of artistic-semantic representations of the future musical art teachers in the process of learning piano playing are determined, their levels are characterized. Qualitative and quantitative characteristics of the levels of formation of artistic-semantic representations of the future musical art teachers are determined: high – interpretive-context, medium – experiential-analytical, low – reproductive-stereotypical. The effectiveness of the proposed methodology of the future musical art teachers’ artistic-semantic representations formation in the process of learning piano playing has been experimentally tested.
Опис
Ключові слова
методика, формування, уявлення, художньо-смислові уявлення, майбутні учителі музичного мистецтва, процес навчання гри на фортепіано, methodology, formation, representations, artistic-semantic representations, future musical art teachers, process of learning piano playing
Бібліографічний опис
Лі Юе Методика формування художньо-смислових уявлень майбутніх учителів музичного мистецтва в процесі навчання гри на фортепіано [Текст] : автореф. дис. ... канд. пед. наук : спец. 13.00.02 – теорія та методика музичного навчання / Лі Юе ; МОН України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; наук. керівник О. Є. Реброва. – Суми, 2018. – 20 с.