Methodological Foundations of Forming Future Music Teacher’s Psychological-Pedagogical Readiness for Conducting Activity and Management of the Children’s Instrumental Ensemble

Abstract

The article highlights methodological foundations of forming future music teacher’s psychological-pedagogical readiness for conducting activity and management of the children’s instrumental ensemble. The outlined methodological approaches and pedagogical principles constitute the basis of the structural-functional model future music teacher’s psychological-pedagogical readiness for conducting activity and management of the children’s instrumental ensemble, consisting of motivational, musical, organizational and creative components. It is proved that the leading role in the designed methodology play psychological-pedagogical, systems-functional, activity approaches, and ideas of pedagogy of cooperation. Based on these approaches, the use of the following pedagogical principles is substantiated: developmental learning (development of creativity as the basis of the future music teacher’s personality formation); pedagogical modeling (reproduction of children’s instrumental ensemble management functions in the process of future music teachers’ collective music making; axiological expediency of the forms and methods used by the director in working with the ensemble; synergy of teachers and children’s instrumental ensemble members, which consists in obtaining a system-integral result, both at the level of joint musical and intonation actions, and in the plane of interpersonal communication of the director and the members of the ensemble; ergonomics (manifested in the need to exclude from the practice of mass music education physically difficult instruments, to use in future music teachers training such adapted instruments as Orff block flutes and stables (Stabspiel), JsaxNuvo saxophone, simple keyboard synthesizers); consistency (subordination of the process of training with the children’s instrumental ensemble to the algorithm, which begins with mastering of the simplest ensemble functions and follows to the complication of the number of actants of the sound process and sound texture); complementarity (combining group form of classes and individual approach, verbal and nonverbal factors of pedagogical influence, learning the text of a music work and collective improvisation, etc.).