Professional culture of musical art masters

Размещено на http://allbest.ru

Sumy State Pedagogical University named after A. S. Makarenko

Professional culture of musical art masters

Olha Yeremenko

Abstract

The problem of the professional culture of musical art masters as an integral part of universal and national practices has been updated. Pedagogical, musical, and cultural-creating aspects are considered as defining components of the professional culture of art masters, the effectiveness of which depends on the extent to which they can be integrated in a single process of training highly qualified teachers-musicians.

Key words: musical art, masters, professional culture, common human assets, national practices.

Introduction

Peculiarities of the modern stage of the emergence of intellectual and information civilization necessitate new approaches in the study of the problem of professional training of future specialists, in particular in the system of higher education of the music-pedagogical profile. Due to the integrative nature of professional activity, as a component of common human and national practices, culture appears in the form of innovative changes.

Analysis of current research. The effective aspect of the interpretation of the concept of professional culture in our study is the analysis of scientific work, which indicates an increased interest in the problem of training highly qualified specialists, filling it with professional and cultural content.

The term “culture” (cultur) in translation from Latin means “processing” by a person of a set of material and spiritual values. G. Hegel's opinion remains relevant: “reflection directed at drives, imagining, evaluating, comparing them with each other, and then with their means, consequences and with their integral satisfaction - with happiness, brings formal generality to such material and purifies it in such external way from its brutality and barbarism. The absolute value of culture lies in this discovery of the generality of thinking”.

A philosophical approach to the study of culture as a complex and multifaceted phenomenon takes into account the results of its study by specific sciences. The study of culture is mediated by the specifics of philosophy and consists in understanding reality through a generalized view of the world, a person's place and role in it, as well as through knowledge of the general laws of the development of nature, society, and thinking. Through the prism of a philosophical worldview, culture is considered in generalized characteristics as a form, result, way of connecting a person with reality, self-affirmation of a person, manifestation and affirmation of the essential forces of humanity. Since work is the way of human existence, it is the main source of culture. From this point of view, culture is the process and result of the realization of a human goal in nature in accordance with the laws of nature, the sphere of mastering nature and its humanization.

Therefore, culture is the sphere of formation, development, and socialization of a person. The interpretation of culture as a kind of norm of the socio-historical process in the understanding of its human, humane and creative content, where objective knowledge and laws obey the human purpose, satisfy human needs, promotes the establishment of a person as an intelligent being, develops his essential powers, abilities, elevates the personality (Philosophical encyclopedic dictionary, 2002). Undoubtedly, the normal functioning of culture directly implies the realization of life, the openness of values for a person.

Understanding culture as a process of cultivation makes possible the basic provisions for defining the concept of “culture”, refers to its humanistic essence and reflects the value of each person as a creative and spiritually developed individual, capable of self-realization and selfexpression in the surrounding environment.

Important in the context of our research is the interpretation of the essence of professional culture, which includes, in addition to positions based on the ideas of activity and personal approaches, axiological guidelines aimed at perception, assimilation, transfer, reproduction, interpretation of universal values in the system of professional training.

In the context of the activity approach, the idea of pedagogical activity affects the development of self-knowledge through the acquisition of pedagogical experience; pedagogical tact and pedagogical technique are justified by the components of pedagogical culture; and creative pedagogical thinking in the process of pedagogical practice - as a necessary prerequisite for future professional activity.

Pedagogical technique is considered by I. Ziaziun as a form of organization of the teacher's behavior, which is based on two groups of skills: 1) the ability to control oneself, language technique; 2) the ability to cooperate with each student and the entire class in the process of solving pedagogical tasks (Ziaziun, 2000).

In addition, the concept of professional culture helps to understand not only the specific professional orientation, but also the universal human values of the teacher's activity. So, I. Ziaziun emphasizes that the high title “teacher” acquires its true meaning only when it is united with calling of culture.

In the field of music pedagogy, the closest to this understanding is the separation of two functions of professional culture by O. Rudnytska, of which the self-serving function is “focused on the general cultural spiritual development of the teacher, and the instrumental function shows the level of his professional training”. Considering the influence of the process of forming musical perception on the formation of the teacher's pedagogical skills, O. Rudnytska pays special attention to pedagogical proficiency as a component of professional activity (Rudnytska, 2002).

According to the definition of O. Shevniuk, pedagogical culture acts as a subjective manifestation of the general cultural experience of the teacher in the conditions of professional activity, which determines the process of translation, interpretation and creation of knowledge, values and methods of activity in the educational process and reflects the level of personal and professional maturity of the specialist. The structure of pedagogical culture is defined as a system in the unity of cognitive, axiological, communicative, praxeological subjective components (Shevniuk, 2002).

The meaningful content of each specified component became the basis for justifying the structure of the professional culture of masters. The cognitive component, according to O. Shevniuk, involves the accumulation of historical and modern forms of culturally significant knowledge about nature, society, and man in their systemic interaction, as well as the experience of interpreting this knowledge in its pedagogical projection on the plane of forming students' worldviews in conditions of constant transformation of the information flow and world-building coordinate systems. The axiological component involves the assimilation of the main value-semantic and normative-regulatory guidelines of world national cultures, aimed at introducing students to the world of universal values and providing them with support in choosing an individually significant system of value orientations and meanings in the dynamic flow of constant changes in dominant values.

The aim of the article is to highlight the peculiarities of the professional culture of masters in the system of art education.

Research methods. Comparative-structural analysis of primary sources and classification for the purpose of processing works of philosophical, psychological-pedagogical and art studies orientation as well as for clarifying the key definitions of the work.

Results

The communicative component involves mastering the historical and modern forms and means of social communication, the leading principles of dialogue (polylogue) communication through the mastery of its basic codes in society, aimed at the translation of the mechanisms of interaction in society in the process of professional pedagogical communication with students.

The praxeological component makes it possible to master the principles of the professional functioning of a person as a subject of social practice, the experience of ways of human transformative activity in society, the development of evaluation criteria, the principles of selecting socially acceptable forms, technologies and results of activities with the aim of professional and pedagogical translation and the production of socially effective forms of life in individual experience of students.

The subject component provides mastery of methods of selfregulation of personal and professional development, means of productive activity, methods of independent increase of general cultural and professional knowledge in their focus on socio-cultural formation and self-identification, intellectual and activity organization of students.

The subject component of the teacher's pedagogical culture organizes other components into a systemic integrity, since the teacher's productive activity in the model of his professional development enables implementation and functioning of its other components. music teacher pedagogical education

Based on the analysis of various approaches to clarifying the essence of the professional culture of an individual, we offer the following definition.

By the professional culture of masters of music-pedagogical profile, we understand the synthesis of spiritual and professional assets, which reflect the level of their preparation for pedagogical-teaching, music-performance and scientific-research activities. “Professional culture” is understood in many different ways. The professional culture of masters in the system of music-pedagogical education reflects the degree of assimilation of general cultural values, the humanistic orientation of one's own professional vigilance, as well as the experience of awareness of pedagogical, musical and scientific research activities. Professional culture characterizes the ability of master's degree students to realize their creative potential, therefore, it can be interpreted as a measure and method of creative self-realization of a future specialist in scientific-research, practical-pedagogical, and artistic-professional areas of work.

In the presentation of the concepts of “pedagogical culture” and “professional culture”, their interpretation in the pedagogical direction is observed, which is, in general, of significant importance.

An organic fusion of special pedagogical knowledge, abilities and skills with a high quality level of personality development creates the professional culture of the future musician-pedagogue. At the same time, the separation of pedagogical and the whole training of students from the professional one makes the professional sense of learning in pedagogical institutions of art education impossible. In this context, neglecting the general cultural growth of students destroys the professional foundation of training.

Recognizing the essence of professional culture, we emphasize that pedagogical, musical, and cultural components make up the unity of this phenomenon. Undoubtedly, the indirect interpenetration of these components characterizes the content of professional culture. Let's consider the specified elements, taking into account the fact that the tax of separation is conditional and caused by the peculiarities of theoretical analysis.

The musical component is ensured by free mastery and mobile use by master's degree students of a set of developed special knowledge, abilities and skills that enable the implementation of musical tasks and training of participants in the educational process.

In this context, the development of artistic competence is envisaged not just as professionally oriented knowledge, abilities and skills, but as a unity of knowledge and aesthetic experiences, an inseparable connection between the expansion of artistic awareness and the development of the emotional culture of the individual. “To know art in the variety of its genres and styles means to have a large stock of aesthetic impressions, a wide experience of intellectual and emotional awareness of the figurative content of works, to have a colorful palette of the ability to artistic thoughts and feelings” (Padalka, 2008).

A. Kozyr emphasizes that “the peculiarity of music-pedagogical activity is the solution of pedagogical tasks by means of music, and artistic-creative parameters become the main and official activity of a musician-pedagogue” (Kozyr, 2008).

In addition, the scientist considers the specific qualities of a music teacher in a close relationship with general pedagogical ones, asserting that “artistic, musical abilities help a more original and creative embodiment of pedagogical activity only under the condition of a sufficient level of development of general pedagogical abilities” (Kozyr, 2008).

For our research, the position of S. Sysoieva regarding the creative pedagogical activity of the teacher, the formation of his need to analyze his own pedagogical experience and implement the pedagogical experience of others, taking into account his creative individuality, is important. From this point of view, A. Kozyr determines that, traditionally, the structure of pedagogical activity includes the professional activity of the teacher, aimed at solving the tasks of development and education of the younger generation. The educational process, both in terms of content and forms of organization and conduct of classes, should be constructed as a process of development, and mastering knowledge, skills and abilities should be considered as a constituent element of development, as its main means. In this regard, the structure of the teacher's pedagogical activity will be filled with new content.

From this point of view, the problem of the adequacy of the content of the creative activity of master's degree students to the chosen one and the direction of future professional practice arises. Mental abilities, which characterize the quality side of educational and scientific activity, are naturally manifested in the assimilation and application of various systems of general fundamental and specialized knowledge, but their level is not equated with the application of knowledge, abilities and skills.

Summarizing scientific approaches to defining the essence of professional culture, it is expedient to emphasize the fact that the activation of creative approaches is one of the effective ways of its development.

Each of the types of creativity is characterized by the diversity of material and spiritual life, as well as the difference in interests and professional orientation of the subjects of creativity. The teacher's creativity unites and synthesizes scientific, technical and artistic creativity. Therefore, their development becomes important in the context of our research.

It is common knowledge that at various stages of pedagogical action, a teacher must demonstrate skills as well as the ability of a scientist to forecast, analyze, generalize, and the ability of a writer to create a figurative story, and the ability of an actor to convey his mood, to reincarnate depending on the pedagogical situation.

The acquisitions of world (F. Diesterweg, J. Comenius, J. Pestalozzi and others) and domestic (H. Skovoroda, V. Sukhomlynskyi, M. Lazarev, S. Sysoieva, and others) pedagogy allow us to generalize that creativity dialectically is connected with pedagogical proficiency and is an important condition for it, just as proficiency contributes to the growth of real human abilities of an individual.

In addition, the introduction of hermeneutic approaches to the art education of master's degree students in order to develop professional culture contributes to the formation of a personal position regarding the evaluation of the results of the artistic activity of composers, poets, artists, and the activation of practical skills in the interpretation of life phenomena recorded in artistic images (Padalka, 2008).

Observations of practice prove that neglecting the laws of emotional and figurative perception of art, encouraging students to associate images between which it is impossible to find emotional and figurative commonality confirms the lack of true culture among such teachers.

Thus, the realization of the cultural component of the master's degree students' professional culture should take place in the conditions of correlation of specialized artistic education with poly- artistic education, taking into account the artistic and stylistic features and historical laws of art development.

In addition, purposeful implementation of the cultural component of professional culture involves development of students' ability to evaluate the results of the artistic activity of artists.

This is why the introduction of hermeneutic approach to art education is of particular importance, which will contribute to the activation of students' practical skills in the interpretation of life phenomena recorded in artistic images.

Conclusions

Therefore, pedagogical, musical and culture-creating principles are the defining components of the professional culture of masters of art, the effectiveness of which depends on the extent to which they can be integrated in the unified process of training highly qualified teachers-musicians.

References

Зязюн, І. А. (2000). Педагогіка добра: ідеали і реалії. К.: МАУП (Ziaziun, I. A. (2000). Pedagogy of goodness: ideals and realities. K.: MAUP).

Козир, А. В. (2008). Професійна майстерність учителів музики: теорія і практика формування в системі багаторівневої освіти: монографія. К.: Вид-тво НПУ ім. М.П. Драгоманова (Kozyr, A. V. (2008). Professional skill of music teachers: theory and practice of formation in the system of multi-level education: monograph. K.: Publication of Dragomanov NPU).

Падалка, Г М. (2008). Педагогіка мистецтва (теорія і методика викладання мистецьких дисциплін). К.: Освіта України (Padalka, H. M. (2008). Pedagogy of art (theory and method of teaching art disciplines). K.: Education of Ukraine).

Рудницька, О. П. (2002). Педагогіка загальна та мистецька: навчальний посібник. К.: ТОВ «Інтерпроф» (Rudnytska, O. P. (2002). General and art pedagogy: a study guide. K.: "Interprof" LLC).

Філософський енциклопедичний словник (2002). К.: Абрикос (Philosophical encyclopedic dictionary (2002). K.: Apricot).

Шевнюк, О. Л. (2002). Принципи інтегральності та варіативності у культурологічній підготовці майбутнього вчителя. Педагогіка і психологія професійної освіти, 3, 131-140 (Shevniuk, O. L. (2002). Principles of integrality and variability in the cultural preparation of the future teacher. Pedagogy and psychology of professional education, 3, 131-140).

Анотація

Професійна культура магістрів музичного мистецтва

Єременко Ольга.

Актуалізовано проблему професійної культури магістрів музичного мистецтва як складової загальнолюдської та національної практик. Розглянуто педагогічні, музичні й культуротворчі аспекти як визначальні складові професійної культури магістрів мистецтва, дієвість реалізації яких залежить від того, наскільки вони можуть інтегруватися в єдиному процесі підготовки висококваліфікованих педагогів-музикантів. Культуру розглянуто через призму філософського світогляду в узагальнених характеристиках як форму, результат, спосіб з'єднання людини з реальністю, самоствердження людини, прояв та підтвердження суттєвих сил людства.

Доведено, що предмет компонента педагогічної культури вчителя організовує інші компоненти в системну цілісність, оскільки продуктивна діяльність вчителя в моделі його професійного розвитку дозволяє впроваджувати та функціонувати інших його компонентів.

Визначено поняття «професійна культура магістрів музично-педагогічного профілю» як синтез духовних та професійних активів, які відображають рівень їх підготовки до педагогічного викладання, музичної ефективності та науково-дослідницьких заходів.

Констатовано, що професійна культура магістрів у системі музичної педагогічної освіти відображає ступінь асиміляції загальних культурних цінностей, гуманістична орієнтація власної професійної пильності, а також досвід усвідомлення педагогічної, музичної та наукової дослідницької діяльності.

Аргументовано, що педагогічні, музичні та культурні компоненти складають єдність досліджуваного явища. Безперечно, непрямий взаємозв'язок означених компонентів характеризує зміст професійної культури.

Підкреслено той факт, що активація творчих підходів є одним із ефективних способів його розвитку.

Зазначено, що кожен із типів творчості характеризується різноманітністю матеріального та духовного життя, а також різницею в інтересах та професійній орієнтації предметів творчості. Творчість вчителя об'єднує та синтезує наукову, технічну та мистецьку творчість. Тому їхній розвиток стає важливим у контексті наших досліджень.

Доведено, що педагогічні, музичні та культурні принципи є визначальними компонентами професійної культури майстрів мистецтв, ефективність якої залежить від того, наскільки вони можуть бути інтегровані в єдиний процес навчання висококваліфікованих викладачів-музицій.

Ключові слова: музичне мистецтво, магістри, професійна культура, загальнолюдські надбання, національні практики.

Размещено на Allbest.ru