Scientific and theoretical foundations of modeling art education subjects’ axiological attitude toward the opera singing culture

Abstract

The article substantiates the necessity and prospects of developing an axiological attitude of art education subjects toward the acquisition of singing experience and the perception of academic music of the opera genre, including the performing creativity of the outstanding vocalists of Ukraine and the world, masterpieces of musical culture, and their application in future specialists’ training as well as in independent vocal practice. It is determined that the process of forming a value-based attitude toward opera singing is complicated by the spread of postmodern musical trends, which may negatively affect the health of the vocal apparatus, the level of aesthetic development of youth, and their engagement with the masterpieces of world musical art. The study emphasizes that the growing popularity of singing as a form of artistic activity among young people necessitates particular attention to the artistic environment in which the axiological attitude toward academic and popular classical music is formed and developed. The content of the scientific and theoretical foundations of modeling the axiological attitude of art education subjects toward the opera singing culture is substantiated in the context of the semantic orientations of this phenomenon. The psychological theory of settings serves as the methodological basis for identifying key principles and for determining psychological and pedagogical mechanisms aimed at achieving the effectiveness of axiological attitude formation toward the opera singing culture. The research proposes a conceptual model of staged formation of the axiological attitude, grounded in the fundamental provisions of the setting theory. The corresponding levels of positive attitude development toward the opera singing culture are identified for both performers and listeners: from the “primary reaction under situational influence” (Stage I), through “situational orientation aimed at satisfying a need” (Stage II), to a “fixed set” toward the perception of opera masterpieces (Stage III). The results of the study contributed to enhancing future specialists’ awareness of the scientific and theoretical essence of opera art culture, deepening their understanding of its specificity, and fostering the need to engage with personalized examples of the performing creativity of distinguished vocalists from Ukraine and worldwide.