Методичний супровід художньо-естетичного контенту виконавської підготовки майбутніх учителів музичного мистецтва

Relevance of the study. The article raises to the issue of ensuring methodological support for teaching performance the future music teachers in the context of their artistic, aesthetic and pedagogical potential. Artistic and aesthetic content of musical works should be comprehended and reproduced through the performer’s interpretation. The study unveils the factors that influence superiority of the technical aspect of performance, which makes it impossible to disclose artistic image of musical works qualitatively. Literature review. Analysis of the recent research shows that the issues of ensuring methodological support for teaching performance the future music teachers cover all its varieties: piano, vocal, conductor, and choral one. It has been considered from different points of view, namely: comprehension of methodological recommendations of the leading musicians-educators of the past; harmonization of emotional and rational in interpreting the musical works; creative development of the attributes of artistic thinking (timbral-auditory, artistic-semantic representations); polycultural and intercultural aspects of performing training, etc. Purpose. The purpose of the article is to provide methodological guidelines for the artistic and aesthetic aspect of teaching performance the future music teachers taking into account the main vectors of its pedagogical orientation and all professional varieties. Research methods. Terminological analysis and theoretical generalization have made it possible to clarify the essence of the concepts of “artistic and aesthetic content” and “methodological support”. Analysis of scientific sources and generalization of pedagogical experience have shown the expediency of applying such scientific approaches as: polycultural, comparative, polymodal and hermeneutic. Results. On the basis of extrapolation of certain approaches to the pedagogical strategy of artistic and aesthetic aspect of teaching performance the future music teachers, the basic vectors of its pedagogical orientation are substantiated: artistic-outlook; cultural-polylogue; creative-developmental. Discussion. Comparing the current practice, the study defines continuous application of three key pedagogical principles and methods that are used throughout all stages of teaching performance (all its types) students of the first (bachelor) level of education. These methods are as follows: stimulation of cause and effect relationships that involve “here-and-now” techniques and use of Internet resources and media technologies; harmonization of emotional and intellectual which involves application of artistic and emotional trainings of personification (immersion in the feelings of the hero), reflection and self-evaluation in terms of artistic and aesthetic feelings; creation of “communicative charts” and “artistic-communicative field”. Conclusions. The theoretical contribution to Ukrainian and world science includes the refinement of the concept of the “artistic and aesthetic content of teaching performance” that is the process of mastering, comprehending and reproducing during interpretation of artistic information, which is indirectly contained in each musical work and has a figurative, aesthetic and semantic character transmitted by means of musical language; definition of pedagogical principles that become regulators of methodological support of artistic aspect of teaching performance the future music teachers: activation of artistic-informational search and cultural-code content comparisons; intensification of dialogue of cultures and artistic consciousness among the participants (real and virtual) involved in the art-creative process.