(2016) Science and education, 1, 37-41. Odessa.

Iryna Levytska,
PhD (Candidate of Pedagogical Sciences), senior lecturer,
Department of Music and Instrumental Training,
South Ukrainian National Pedagogical University named after K. D. Ushynsky,
4, Fontanska Doroha Str., Odesa, Ukraine

PECULIARITIES OF DIALOGIC INTERACTION IN THE EDUCATIONAL PROCESS OF FUTURE MUSIC ART TEACHERS 

The article deals with the review of peculiarities of dialogic interaction in the educational process of future Music Art teachers. The essence of the term “dialogue” as well as its significance in music education have been revealed. A dialogue is considered to be a specific form of personal interaction and a kind of relations, when a partner is regarded as an equal free subject with his/her own interests, values and inner world. It has been emphasized that a dialogue should be based on openness, humanism, tolerance, kindness, activeness, readiness to accept others’ opinion, etc. A music pedagogical dialogue is characterized by the process of spiritual cooperation of a compositor, a teacher and students. It has been also noted that a dialogue, in which the exchange of not only knowledge but also personal senses and collaboration take place, is provided by democratic style of communication in the system “teacher-student”, where equal significance of partners is of special importance. Dialogism in the process of music education is implemented in the following forms: a dialogue between a student and a teacher during one-to-one tuitions, a dialogue between a student and a music composition, as well as a virtual dialogue with a composer-an author of a music composition, a dialogue between students acting as performers-interpreters and students-listeners during concerts, seminars; a macrodialogue between cultures, when a musician performs compositions of different epochs. That is why the main purpose of dialogic interaction in the educational process of future Music Art teachers is to develop their creative and personal potential, teach them to understand music and contribute to their self-realization

dialogue, dialogic interaction, music pedagogical dialogue, future Music Art teachers. 

1. Bochkareva, O. V. (2008). Didakticheskiy dialog v professionalno-pedagogicheskoy podgotovke uchitelya muzyki v vuze [Didactic dialogue in professional pedagogical preparation of a Music teacher at school]. Extended abstract of Candidate’s thesis. Yaroslavl. Retrieved from: http://vak.ed.gov.ru/common/img/uploaded/files/vak/anno uncements/pedagogicheskie/3-11- 2008/BochkarevaOV.doc [in Russian].
2. Bratchenko, S. L., Leontiev, D. A. (2007). Dialog [Dialogue]. Ekzistentsialnaya traditsiya: filosofiya, psikhologiya, psikhoterapiya – Existential customs: philosophy, psychology, psychotherapy, 2 (11), 23- 28 [in Russian].
3. Volkova, N. P. (2006). Profesiino-pedahohichna komunikatsiia: navch. posib. [Professional pedagogical communication: textbook]. Kyiv: Akademiia [in Ukrainian].
4. Zimina, O. V. (2006). Dialog v professionalnoy deyatelnosti uchitelya muzyki [Dialogue in professional work of a Music teacher]. Uchebnoe posobie k kursu «Teoriya muzykalnogo obrazovaniya» - Textbook for the course “Theory of music education”. Tambov, TGU [in Russian].
5. Abdullin, E. B., Nikolaeva, E. V., Tselkovnikov, B. M. (2006). Metodologiya pedagogiki muzykalnogo obrazovaniya: uchebnik dlya stud. vyssh. ped. ucheb. zavedeniy [Methodology of pedagogy of music education: textbook for university students]. Abdullin, E. B. (Ed). (2 nd ed., rev.). Moscow: Izdatelskiy tsentr «Akademiya» [in Russian].
6. Gritsanov, A. A. (Ed). (2003). Noveyshiy filosofskiy slovar [New philosophic dictionary]. (3 rd ed. rev.). Minsk: Knizhnyy Dom [in Russian].
7. Oleksiuk, O. M. (2006). Muzychna pedahohika: Navchalnyi posibnyk [Music pedagogy: tetxbook]. Kyiv: KNUKiM [in Ukrainian].
8. Padalka, H. M. (2008). Pedahohika mystetstva (Teoriia i metodyka vykladannia mystetskykh dystsyplin) [Pedagogy of art (Theory and methods of teaching art subjects)]. Kyiv: Osvita Ukrainy [in Ukrainian].
9. Rudnytska, O. P. (2005). Pedahohika: zahalna ta mystetska: Navchalnyi posibnyk [Pedagogy: general and artistic: textbook]. Ternopil: Navchalna knyha – Bohdan [in Ukrainian].
10. Senko, Yu. V., Frolovskaya, M. N. (2007). Pedagogika ponimaniya: ucheb. posobie [Pedagogy of understanding: textbook]. Moscow: Drofa [in Russin].
11. Semina, L. I. (Ed). (2002). Uchitel i uchenik: vozmozhnost dialoga i ponimaniya [A teacher and a student: possibility of a dialogue and mutual understanding]. Moscow: Izd-vo «Bonfi» [in Russian].

(2016) Science and education, 1, 42-47. Odessa.

Nataliia Ashikhmina,
PhD (Candidate of pedagogical Sciences), senior lecturer,
Department of Music and Instrumental Training,
South Ukrainian National Pedagogical University named after K. D. Ushynsky,
4, Fontanska Doroha Str., Odesa, Ukraine

ESSENCE AND COMPONENT STRUCTURE OF FUTURE MUSIC TEACHERS’ SPECIALTY CULTURE 

The article deals with the issue of the formation of university students-future Music teachers’ specialty culture in the process of studying at pedagogical universities. A theoretical review of scientific literature concerning this issue has been carried out. Special attention has been paid to the similarity and differences between the phenomena “professional culture” and “specialty culture”. It has been stated that the concept of professional culture is wider in itself. It characterizes the systems of professional ideas, professionally-axiological orientation and personal qualities, general ways of cognition and implementation of the technologies of professional activities. Specialty culture is considered by most scientists as a complex education of a personality, which reflects the level of the development of special knowledge, abilities, skills and qualities and is a personal professional basis for the successful performance of future professional duties. The author emphasizes the bonds between culture and special preparedness of future Music teachers, because culture is peculiar to music pedagogical activity and is considered as the characteristics of its quality. That is why the understanding of culture as a method of organizing special, including music, education can be a determinative methodological means for studying specific culture. The main structural subsystems of a future Music teachers’ specialty culture have been distinguished and they are the following: motivation and axiological, knowledge, artistic and interpretational, personally-emotional, creative, organizational and communicative, regulative. The structural components of future Music teachers are considered to be the following: motivation and axiological, cognitive and technological, reflexive and creative. The motivation and axiological component characterizes the manifestation of future Music teachers’ interest in special training, striving for obtaining special competences in Music, understanding the significance of studying and self-development, etc. The cognitive and technological component provides the acquisition of special knowledge and skills as well as abilities of adequate using the obtained special experience in practice. The reflexive and creative component characterizes the level of manifestation of music pedagogical orientation of special training, maturity of students’ creative thinking and capabilities for the analysis of special artistic and pedagogical activity.

culture, specialty, professional culture, specialty culture, special training, future Music teacher.  

1.Dremlyuga, I. E. Professionalnaya kultura uchitelya muzyki [Professional culture of a Music teacher]. Festival pedagogicheskikh idey «Otkrytyy urok» - Festival of pedagogical ideas “Demostration lesson”. Retrieved from: http://festival.1september.ru/articles/580654/ [in Russian].
2.Ivashchenko, V. Fakh – tse spetsialnist? Chy spetsialnist – tse fakh? [Is profession a specialty? Or is specialty a profession?]. Informatsiina dovidkova systema «Kultura movy na shchoden» - Information inquiry system “Everyday speech culture”. Retrieved from: http://kulturamovy.univ.kiev.ua/KM/pdfs/mix/51-19-57- 58-26.pdf [in Ukrainian].
3.Kogan, L. N. (1992). Sotsiologiya kultury : [Ucheb. posobie] [Sociology of culture: textbook]. Ekaterinburg : Izd-vo Ural. un-ta [in Russian].
4.Korіnniy, M. M., Shevchenko, V. F. (2003). Korotkiy entsiklopedichniy slovnik z kulturi [Brief encyclopedic dictionary in culture]. Kyiv: Ukraina [in Russian].
5.Avanesova, G. A., Bykova, E. V. (1994). Morfologiya kultury. Struktura i dinamika [Morphology of culture. Structure and dynamics]. Moscow: Progress [in Russian].
6.Novitskaya, E. N. (2002). Sistemnyy podkhod k formirovaniyu professionalnoy kultury studentov pedvuza: na materiale podgotovki uchitelya muzyki [System approach to the formation of professional culture of pedagogical university students: through the example of preparing Music teachers]. Extended abstract of Candidate’s thesis. Saratov [in Russian].
7.Prokhorov, A. M. (2014). Bolshoy entsiklopedicheskiy slovar [Great encyclopedic dictionaty]. (2nd ed. rev.). Saint Petersburg: Norint [in Russian].
8.Bilodid, I. K. (1970-1980). Slovnyk ukrainskoi movy: v 11 T. [Dictionary of the Ukrainian language]. (Vols. 10). Kyiv: Naukova dumka [in Ukraimian].
9. Shevchenko, I. L. (2008). Formuvannia profesiinoi kultury maibutnoho vchytelia muzyky [Formation of future Music teachers’ professional culture]. Extended abstract of Candidate’s thesis. Kirovohrad [in Ukrainian].

(2016) Science and education, 1, 47-50. Odessa.

Yulia Patyk,
assistant of the Department of Social Work and Personnel Management,
Odessa National Polytechnic University,
1, Shevchenko Avenue, Odesa, Ukraine

MOTIVATIONAL TENDENCIES OF FUTURE SOCIAL WORKERS

Motivation is the basis of the professional potential of social workers and is one of the most important factors of work efficiency. A worker is guided not by only one motive, but by several motivational tendencies, and this fact provides an alternative choice in decision-making. In the process of personality development one instills such motivational tendencies, which are recognized by the society as necessary and appropriate. Positive motivational tendencies control the behavior of a worker, prompt him/her to activity, professional growth, reflect axiological orientations and give an idea of the mission of life. That is why, motivational tendencies are a guarantee of the successful implementation of social work in general, and work with children with disabilities in particular. Future social workers’ motivation is formed of the needs, attitudes, interests, ideals, intentions, social norms, roles, values and stereotypes. When working with disabled children motivational tendencies provide the presence of positive emotional attitude in the process of interaction with these children; aspiration for cooperation with them and their families, understanding and perception of the special needs of such children; the desire for professional selfimprovement and organization, the orientation of professional work at goals achievement. In order to identify the motivational tendencies in future social workers the survey involving 27 students of 4-6 th courses, studying on the specialty «Social work», has been held in Odessa National Polytechnic University. The results of the survey have shown that the dominant motivational tendencies in the motivational structure of future social workers’ personality provide material, cognitive and work motivation; communicative, ethical, regulatory and motivation of positive attitude to people are considered to be not significant for the future social workers. The obtained results indicate the need for the purposeful development of motivational tendencies of future social workers in the course of their vocational training at higher educational institutions.

motivation, motives, motivational tendencies, professional motivation, social worker. 

1. Mylnychenko, A. O. (2014). Profesiina motyvatsiia yak peredumova efektyvnoi profesiinoi diialnosti pratsivnykiv prokuratury [Professional motivation as a prerequisite for effective professional activity of prosecutors]. Naukovyi visnyk MHU – Scientific Journal of MHU, 10, 133 [in Ukrainian].
2. Salkov, A. V. (2002). Vzaiemozviazok tsinnisnoho samovyznachennia i motyvatsii dosiahnennia u studentiv universytetu [The interconnection between axiological self-determination and motivation of achievement in university students]. Visnyk ODU – Journal of ODU, 2, 118 [in Ukrainian].
3. Fetyskyn, N. P., Kozlov, V. V., & Manuilov, H. M. (2002). Sotsyalno-psykholohycheskaia dyahnostyka razvytyia lychnosty u malyh hrupp: uchebnoe posobye [Psychosocial diagnostics of personality development and small groups: textbook]. Moscow: Yzd-vo Yn-t psykhoterapyy [in Russian].

(2016) Science and education, 1, 51-56. Odessa.

Jiao Ying,
post-graduate student, Department of Music Arts and Choreography,
South Ukrainian national pedagogical University named after K. D. Ushynsky,
4, Fontanska Doroha Str., Odesa, Ukraine

METHODICAL SUPPORT OF FUTURE MUSIC TEACHERS’ AESTHETIC DEVELOPMENT IN THE PROCESS OF TEACHING PIANO

The article reveals the main components of the technique of aesthetic development of future Music teachers in the process of piano training. The concepts of artistic-aesthetic and developmental potential of piano performance have been described. They are considered as a purposefully implemented complex of aesthetic properties of piano world music heritage and opportunities of its usage as an educational tool in dealing with the issues of future Music teachers’ aesthetic development. This potential is conditioned by the following factors: artistic and aesthetic correspondence of piano art to the principles which are predominant in a certain epoch; multicultural facts of education and aesthetic development, which actualize the multicultural principle in repertoire selection; artistic and mental aspects of piano performance based on the specificity of compositions interpretation; personal development of a performer based on natural human aesthetic sensitivity. The following scientific approaches have been chosen as the main ones in the developed technique: artistic and mental, anthropological, and dispositional image-building. The following pedagogical principles has been suggested: cultural correspondence of aesthetic phenomena assessment; consideration of artistic and mental aspects of perception and understanding of the aesthetic in arts; orientation at anthropological aspects of the aesthetic in human abilities; multicultural principle; pedagogical focus on the interdisciplinary synthesis; multimodality of aesthetic sensitivity in piano training. The efficiency of the generalized pedagogical condition (actualization of artistic and aesthetic orientation of piano training, as well as such essential pedagogical conditions as purposeful implementation of interdisciplinary bonds of piano training and humanities; stimulating the need for artistic realization of the aesthetic function of piano performance in pedagogy) has been experimentally proved. The prospects of further research is the presentation of the approbation results of the developed technique aimed at the development of future Music teachers’ aesthetic potential.

piano training, aesthetic development, future Music teachers, artistic and aesthetic potential of piano performance.  

1. Gamezo, M. V., Petrova E. A., Orlova, L. M. (2003). Vozrastnaya i pedagogicheskaya psikhologiya: Ucheb. posobie dlya studentov vsekh spetsialnostey pedagogicheskikh vuzov [Age and pedagogical Psychology: textbook for pedagogical university students]. Moscow: Pedagogicheskoe obshchestvo Rossii [in Russian].
2. Kononenko, B. I. (2003). Bolshoy tolkovyy slovar po kulturologii [Great dictionary of cultural studies]. Moscow: OOO «Izdatelstvo «Veche 2000», OOO ―Izdatelstvo AST‖ [in Russian].
3. Kremenshteyn, B. (1971). O pedagogike G. G. Neygauza [About the psychologt of G. Neigaus]. Voprosy fortepiannoy pedagogiki – Issues of piano pedagogy, 3, 164-295. Natanson, V. (Ed.). Moscow: Muzyka [in Russian].
4. Milshteyn, Ya. (1983). Voprosy teorii i istorii ispolnitelstva [Issues of theory and history of performance]. Sbornik statey – Collection of scientific works. Moscow: Sov. Kompozitor [in Russian].
5. Milshteyn, Ya. (1967). Sovety Shopena pianistam [Chopin’s pieces of advice for pianists]. Moscow: «Muzyka» [in Russian].
6. Pototska, O. V. (2012). Stylova typolohiia fortepianno-vykonavskoi interpretatsii [Stylistic typology of piano interpretation]. Extended abstract of candidate’s thesis. Odesa [in Ukrainian].
7. Rebrova, O. Ye. (2011). Imidzh ta indyvidualnyi styl vchytelia muzyky v konteksti pedahohichnoi mentalnosti [Image and individual style of a Music teacher in the context of pedagogical mentality]. Materialy III Vseukrainskoi naukovo-praktychnoi internet konferentsii «Problemy ta perspektyvy rozvytku ukrainskoi nauky na pochatku tretoho tysiacholittia» - Proceedings of 3rd AllUkrainian practical internet conference “Issues and prospects of the development of Ukrainian science at the beginning of the 3rd century”. Pereiasliv-Khmelnytskyi [in Ukrainian].
8. Rebrova, O. Ye. (2014). Khudozhno-mentalnyi pidkhid u fakhovomu navchanni maibutnoho vchytelia khoreohrafii [Artistic and mental approach in special education of a future Choreography teacher]. Naukovyi chasopys Nats. ped.un-tu imeni M.P.Drahomanova Ser. 14 : Teoriia i metodyka mystetskoi osvity – Bulletin of national M. Dragomanov pedagogical university: Theory and methods of artistic education, 16(21), 25-301. Kyiv: Vyd-vo NPU [in Ukrainian].
9.Savshinskiy, S. (1961). Pianist i ego rabota [A pianist and his work]. Barenboym, L. A. (Ed.). Leningrad: Sovetskiy kompozitor [in Ukrainian].
10. Tsziao, Yin. (2014). Khudozhno-estetychna spriamovanist fortepiannoi pidhotovky maibutnikh uchyteliv muzychnoho mystetstva v rakursi polikulturnosti [Artistic and aesthetic orientation of piano training of future Music teachers in the context of multicultural character]. Naukovyi visnyk Chernivetskoho universytetu – Bulletin of Chernivtsi university, 701, 181-187. Chernivtsi: Chernivetskyi nats. u-[in Ukrainian].