The Readiness of the Musical Art Teacher to use Modernist Music in the Educational Process

Abstract

Based on the concepts of general pedagogy and pedagogical psychology, which reflect the phenomenon of the teacher’s readiness for professional activity, on the ideas of aesthetics and art-criticism about modernism in musical art, on the scientific method of conceptual modeling, author examines the possibilities of forming the readiness of music teachers to use modernist music in the educational process. This readiness is understood as a potential ability to execute a given pedagogical task and is modeled as a complex of theoretical concepts, empirical knowledge, interpretative skills and motives for pedagogical activity. The structural components of the model of this readiness are: 1) a systemic and holistic understanding of modernism in art; 2) the ability to understand works of modernist musical art; 3) the ability to verbally and music-sound interpretation of modernist music works; 4) interest in modernist music and motivation to use works of this art tendency in educational practice. The developed model provides theoretical grounds for further research of the topic, in particular, for establishing pedagogical approaches, principles, methods and conditions for familiarizing future teachers of musical art with the phenomenon of modernist art, introducing modernist music into the educational process. Particularly promising in this regard are the cultural, hermeneutic and polyartistic pedagogical approaches; principles of developmental learning, unity of artistic and technical activity, integrity and diversity of types of actions; interactive methods and forms of work that activate creative thinking, etc. The theoretical model of readiness presented in the work allows us to determine the criteria and indicators for experimental assessment of the level of readiness. Thus, for example, the specified components of readiness can be assessed by epistemological (the level of art history and cultural knowledge), poetic (the level of proficiency in the language and rhetoric of modernist music), performative (the level of ability to perform and verbally explain the artistic and figurative meaning of works) and axiological criteria. This aspect of the research requires further development in the direction of preparing a formative pedagogical experiment.