The readiness of future music teachers for creative musical performance in the context of integrated learning: theoretical and methodological aspects of the problem

Abstract

The article considers the theoretical aspect of musical performance as a phenomenon of musical culture capable of reflecting the surrounding world in specific artistic images, thanks to which a person creates the world of culture and themselves in this world. Among the main components of musical performance, musical performance activity is singled out, which is considered as a type of creative artistic activity of a musician-performer, and its main functions are characterized: cultural and aesthetic, interpretative, technical and performing, artistic and communicative, analytical and reflective. It has been established that in the pedagogical sphere, creative musical performance has a powerful developmental and educational significance, contributing to the comprehensive artistic development of the individual. It has been proven that the musical and creative abilities of a music teacher are particularly evident in their musical performance activities, which manifests itself in the search for new methods and techniques of music teaching through the active involvement of schoolchildren in the perception and evaluation of musical phenomena. From these perspectives, the significance of the methodological aspect of the problem of preparing future music teachers for creative musical performance in the context of integrated learning is highlighted. The specifics of integrated learning in the content of arts education are revealed, which is based on a comprehensive approach and opens up new opportunities for conceptual and projective assimilation of professional knowledge. Specific examples are used to examine the main directions for the implementation of the methodological support process for preparing students for creative musical performance: integration of music theory and music performance disciplines in the content of arts education; methodological support for the interpretation process; introduction of elements of project activity; actualization of concert performance and pedagogical practice; self-analysis and reflection.