Principles of the development of artistic and aesthetic ideas of students in solo singing classes

Abstract

The article reveals the problem of the development of artistic and aesthetic ideas of the future artist as the basis of his/her professionalism. The authors have processed and analyzed the scientific and methodological literature that highlights the essence of artistic and aesthetic ideas, their specificity and components, as well as the basic principles of the formation of this phenomenon by the future singers in solo lessons. It has been found that vocal and performance training has a powerful potential for the general artistic and aesthetic development of a student vocalist, including the development of artistic and aesthetic ideas of the future singer, as it contains a significant list of different types of work that contribute to the accumulation of artistic and aesthetic experience, the acquisition of the necessary value orientations necessary for the formation of the right artistic and aesthetic tastes and ideals. The authors outline the basic essential characteristics of ideas as a mental formation, provide their classification and define their functions. In the course of scientific research on the main concept of the study, the problem of distinguishing between the aesthetic and the artistic is considered, the essence of aesthetic ideas and artistic ideas is clarified, and the distinctive features of these phenomena are determined. The authors understand the artistic and aesthetic representations of the future singer as a complex set of auditory-visual-motor images formed as a result of the students cognitive, emotional and sensory experience in the process of vocal performance. The importance of the breadth of artistic outlook and artistic erudition as indicators of the development of artistic and aesthetic ideas of a vocal student is emphasized. The principles of the development of artistic and aesthetic representations of a student-vocalist are formulated, including: creating a positive attitude of students-vocalists towards “communication” with works of art; stimulating students’ personal evaluation of the best examples of art and promoting the expansion of the artistic outlook of future singers in the course of vocal work on works of an individual program. The introduction of each of the proposed principles into the educational process is theoretically substantiated. The necessity of dialogic principles, an atmosphere of trust and friendliness, and ensuring empathic learning in solo singing classes is emphasized.