Comparative analysis of the system for forming ethno-artistic competence of future music art teachers in the PRC and Ukraine

Abstract

The article aims to conduct a comparative analysis of the systems for forming ethno-artistic competence of future music art teachers in the People's Republic of China (PRC) and Ukraine. The research is focused on identifying common and distinct features in theoretical approaches, content, methods, and organizational forms of professional training in the context of preserving and transmitting national musical heritage. Methods. The research methods include theoretical analysis of scientific literature, synthesis, comparison, systematization, and generalization. A comparative approach was used to contrast educational systems, curricula, programs, and pedagogical practices in higher education institutions of Ukraine and the PRC that train music art teachers. The analysis of sources allowed for the structuring of the components of ethno-artistic competence and the criteria for their comparison. Results. The research results indicate that both countries pay significant attention to the formation of ethno-artistic competence, considering it an important component of a music teacher's professionalism. Common features were established: awareness of the importance of folk music for national identity, integration of the ethno-artistic component into the content of professional disciplines, and the use of modern information technologies. At the same time, significant differences were identified. In Ukraine, the training system is characterized by greater variability, an emphasis on authentic folklore, Kobzar art, regional traditions, and spiritual music. The formation of competence often occurs through integral approaches. In the PRC, the system is more centralized and standardized, with a clear ideological focus on cultivating aesthetic values and patriotism through "national music" (国乐). Considerable attention is paid to mastering canonical forms (e.g., Peking Opera) and the widespread implementation of digital resources in the educational process. It was determined that in Ukraine, historical-cultural and performance approaches dominate, whereas in the PRC, aesthetic-educational and technological approaches are prevalent. Conclusions. It is concluded that the systems for forming ethno-artistic competence in Ukraine and the PRC have significant differences, conditioned by different cultural-historical paths, educational paradigms, and state priorities. The Ukrainian model aims at preserving authenticity and variability, while the Chinese model focuses on standardization, technologization, and aesthetic education in line with state cultural policy. Prospects for further research are seen in the detailed study of innovative methods and a more profound examination of the possibilities for mutual enrichment of the pedagogical experience of both countries.