Year of Establishment: 2020 Scope and Focus: The scientific journal provides specialists in the fields of culture, art, and art education with the opportunity to publish their theoretical, practical, and scientific-methodological works. The journal accepts original research (peer-reviewed original scientific articles) containing new, previously unpublished scientific results, as well as reviews, analytical and conceptual studies addressing specific issues of humanities research and art education. Cluster: 02 Arts and humanities Specialties/ISCED-F 2013: B1 Audiovisual Art and Media Production (0211 Audio-visual techniques and media production); B2 Design (0212 Fashion, interior and industrial design); B4 Fine Arts and Restoration (0213 Fine arts); B5 Musical Art (0215 Music and performing arts); B6 Performing Arts (0215 Music and performing arts). Professional Journal: Category “B” — Order of the Ministry of Education and Science of Ukraine No. 928 dated June 11, 2026 ISSN (online): 2709-1805 ISSN (print): 2709-1791 State Registration / Certificate: KV 24623-14563Р Media Identifier: R30-02130 — Decision of the National Council of Ukraine on Television and Radio Broadcasting dated December 28, 2023, No. 1984 Both the electronic and print versions of the journal are included in the V.I. Vernadsky National Library of Ukraine. Publication Frequency: Twice a year Languages of Publication: Ukrainian, English Founder: H.S. Skovoroda Kharkiv National Pedagogical University EDRPOU Code: 02125585 Founder’s ROR: https://ror.org/00gjv5s24 DOI Prefix: 10.34142 Editor-in-Chief: Volodymyr FOMIN, Doctor of Pedagogical Sciences, Professor, Dean of the Faculty of Arts, H.S. Skovoroda Kharkiv National Pedagogical University, Ukraine Editorial Office Address: 61002, Kharkiv, 29 Alchevskykh Street E-mail: admin@arteducation.pro v.v.fomin@hnpu.edu.ua
H.S. Skovoroda Kharkiv National Pedagogical University
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Participatory design processes in creating a visual identity brand mark for territorial communities
The visualization of local identities in contemporary graphic design requires shifting from top-down form-seeking approaches toward the implementation of participatory design methodology as a unique tool for visual modeling. Object of the research: the process of visualizing the local identities of Slobozhanshchyna and transforming sociocultural codes into visual constants through participatory design. The aim of the research is to identify compositional patterns, formal-plastic properties (specifically, line optical weight), and color coding of territorial signs created through collaborative design. Research methods are grounded in the tools of artistic and project analysis: semiotic decoding of regional motifs, comparative assessment of geometric forms, interactive pre-sketching, and experimental moodboarding to verify community graphic triggers. The scientific novelty of the study lies in developing a formal-compositional model for converting unstructured community visual perceptions into a concise corporate sign. The study systematizes techniques for the stylization and geometric reduction of historical and architectural symbols of Slobozhanshchyna identified during participatory sessions, and substantiates the principles of constructing dynamic vector systems based on collectively approved visual metaphors. The research results prove that interactive form modeling with community participation protects signs from visual kitsch and heraldic overload at the conceptual stage. Cognitive mapping, vernacular typographical search, and landscape silhouette analysis demonstrated particular value. These approaches were successfully tested in the educational environment by involving students in real-world community projects. The resulting design framework encompasses four stages: visual and textural site audit, participatory sketching with residents, professional graphic refinement according to the laws of harmony, and emblem deployment into an adaptive visual ecosystem. Conclusions. The participatory approach in graphic design ensures the creation of a viable visual product. Collaborative form refinement with the community yields a compositionally balanced and semantically clear sign. It becomes an effective marker for territorial identification within architectural environments, printed ephemera, and digital interfaces.
Copyright (c) 2026 Денис Борисенко, Тетяна Близнюк (Автор) https://creativecommons.org/licenses/by/4.0
The professional motivation of future specialists in library, information and archival studies in the context of distance learning at technical higher education institutions
The article examines the challenge of developing professional motivation among future specialists in library, information, and archival studies within the distance learning environment at technical higher education institutions. The relevance of the topic is determined by the large-scale digitalization of the information and documentation sector, the transformation of traditional roles of librarians and archivists towards digital asset management and data analytics, as well as the distinctive character of the distance learning environment, which demands new approaches to students' professional socialization. Purpose of the article – to identify effective pedagogical conditions for fostering professional motivation among future specialists in library, information, and archival studies in a distance learning context and to verify their efficacy through a pedagogical experiment. Methods and methodology. The study employed theoretical methods (analysis, synthesis, and systematization of academic sources) alongside empirical methods (pedagogical experiment, questionnaires, and thematic content analysis of interviews and reflective texts). Statistical analysis relied on Student's t-test and Cohen's d effect size. The qualitative phase was grounded in thematic analysis following the framework of V. Braun and V. Clarke. Scientific significance of the article lies in the conceptualization of professional motivation as a systemic, multicomponent construct encompassing cognitive, emotional-evaluative, behavioral, and reflective dimensions, as well as in the design and substantiation of a set of pedagogical conditions aimed at its purposeful development within a digital educational environment. Results. A pedagogical experiment conducted at the National Aerospace University "Kharkiv Aviation Institute" demonstrated a substantial improvement in the level of professional motivation among students in the experimental group compared to the control group. Statistical analysis confirmed the high practical effectiveness of the developed set of pedagogical conditions. Qualitative analysis of reflective journals and interviews identified three key internal transformation mechanisms: professional visualization of the future, the cultivation of a sense of belonging to a professional community, and the development of professional self-efficacy. Conclusions. It has been demonstrated that the integration of practice-oriented digital projects, the establishment of a virtual professional community, the use of adaptive multimedia content, and systematic reflective support through electronic journals are effective tools for enhancing students' professional motivation in a distance learning environment. Pedagogical recommendations have been formulated for technical higher education institutions regarding the modernization of instructional design of online courses to incorporate the motivational dimension.
Copyright (c) 2020 Шленьова Марина (Автор) https://creativecommons.org/licenses/by/4.0
Polyphony in jazz and pop music: aspects of analysis
Object . The article considers the main aspects of the analysis of polyphony in jazz and pop music from the perspective of integrating polyphonic techniques in the formation of trends in modern musical directions. The purpose of the article is to develop the main aspects and prospects of polyphony in jazz and pop music as a musicological and educational process. Methods & methodology. The following methods were used in the study: analytical to establish connections between the components of musical works; comparative to compare works of different styles and genres; historical-dialectical to establish relationships between musical and non-musical factors for the formation of a musical work. Scientific novelty of the article lies in substantiating the importance of including the analysis of polyphonic techniques in jazz and pop music in the musicological and music-educational discourse. Results. It was found that the study of polyphony in contemporary art goes far beyond musicology and has an interdisciplinary nature. It was shown that the analysis of polyphonic components in pop and jazz works has a broad general cultural and ideological and aesthetic context. It was established that the inclusion of analytical tasks in educational components that create an analysis of polyphonic techniques in pop and jazz works allows students to learn to analyze not only purely musical material, but also the connection between non-musical performers and musical means. Conclusions. The study of polyphony outside the academic compositional tradition is necessary, since the process of joint enrichment of two spheres of musical creativity - academic and popular - is in constant development, including in Ukraine. In the music-educational direction, the enrichment of educational courses in music-theoretical disciplines is relevant not only in the practical aspect, but also in the theoretical-analytical aspect. This will contribute to the development of analytical thinking in students through the ability to use a wide range of interdisciplinary communication, which is one of the important professional competencies of a musician.
Copyright (c) 2026 Онищенко Катерина, Шабанова Тетяна (Автор) https://creativecommons.org/licenses/by/4.0
Using future music teachers' art-pedagogy in art lessons in primary school
Due to the radical changes in education affecting all levels of the educational system, the issue of training future specialists, particularly those who will educate the future generation of the country, has become increasingly important. Special attention is paid to primary school, as younger pupils represent the first stage of secondary education. Therefore, there is a growing need to support the development of children’s potential through the use of art-pedagogical methods in art lessons at primary school. The purpose of the study is to substantiate the significance of using art-pedagogical methods in art lessons in primary school and to determine their role in the development of younger pupils’ creative potential. Methods & methodology. Analysis of scientific and pedagogical literature, generalization of theoretical principles of art pedagogy, characterization and analysis of art-pedagogical methods, and comparison of their practical application in art lessons at primary school. Scientific significance. The essence of the concepts “art pedagogy” and “art-pedagogical methods” has been revealed; the main aspects of art pedagogy have been identified, and the problems of using art-pedagogical methods in primary school have been characterized. Particular attention has been paid to the relevance of developing children’s creative potential through the means of art. Results. Art-pedagogical methods used in art lessons at primary school have been analyzed, and examples of their application have been provided. It has been established that the use of art-pedagogical methods contributes to pupils’ creative development, helps reveal their potential, and increases the effectiveness of the educational process. Conclusions. The use of art-pedagogical methods in art lessons at primary school is relevant and pedagogically appropriate. They contribute to the development of younger pupils’ creative abilities, the formation of their emotional sphere, and create conditions for the harmonious development of personality. The application of artistic methods increases pupils’ interest in learning and activates their cognitive activity. Art-pedagogical approaches help create a positive classroom atmosphere and promote children’s self-expression. Further implementation and improvement of art-pedagogical methods in the modern educational process of primary school are considered promising.
Copyright (c) 2026 https://creativecommons.org/licenses/by/4.0
Peculiarities of practical training of music art teachers by means of conductor-choral disciplines under conditions of mixed learning
The object of the study is the practical training of future music art teachers by means of conductor-choral disciplines under blended and distance learning conditions. The purpose of the article is to substantiate the theoretical and methodological foundations and practical The object of the study is the practical training of future music art teachers by means of conductor-choral disciplines in blended and distance learning conditions. The purpose of the article is to substantiate the theoretical and methodological foundations and practical features of integrating traditional conductor-choral training with digital technologies and online educational platforms. Methods & methodology. The research is based on systemic-activity, competency-based, personality-oriented, technological, and cross-disciplinary approaches. Methods of analysis, synthesis, systematization, observation, and generalization of pedagogical experience were applied. Scientific novelty. The study substantiates the transformation of traditional conductor-choral disciplines into a digital educational ecosystem. Technological stages of training are classified, including asynchronous work in MuseScore and Sibelius, synchronous interaction in Zoom and Google Meet, and digital sound processing in Audacity, Adobe Audition, BandLab, and Melodyne. The necessity of modernizing the interaction model “teacher – student – accompanist” is emphasized. Results. The integration of cloud services, music software, and interactive methods increases the effectiveness of conductor-choral training and contributes to the development of communicative, organizational, media, and digital competencies. Students gain experience in creating virtual choirs, multimedia projects, and educational video content. Conclusions. Conductor-choral disciplines in blended learning become an innovative technological environment that compensates for limited live interaction with a choir and forms adaptive, digitally competent, and professionally mobile music art teachers.
Teaching Methods of Art Disciplines in the Training of Higher Education Students in Graphic Design: The Ukrainian Labor Market and the Experience of NAKKKiM
Based on the achievements of Ukrainian and foreign art pedagogy, the article highlights the methodology of teaching art disciplines to future graphic designers in the context of contemporary conditions of the Ukrainian labor market and blended learning. The regulatory and legal framework governing the fields of design, creative industries, and higher education under martial law is analyzed, and the specific features of training graphic design students at National Academy of Culture and Arts Management in Ukraine are outlined. The purpose of the study is to generalize the methodology of teaching art disciplines to future graphic designers under the current conditions of the Ukrainian labor market, based on the experience of teachers at NAKKKiM. Research methods include the analysis of scientific and pedagogical literature, regulatory and legal documents, comparison of Ukrainian and foreign pedagogical approaches, and generalization of the authors’ teaching experience in art disciplines. Scientific significance of the study lies in the systematization of methods for teaching art disciplines to future graphic designers under martial law and blended learning conditions; in distinguishing organizational, content-based, and creative groups of pedagogical methods; as well as in summarizing the author’s methodology built upon the professional stages of graphic design project development. Research results demonstrated that contemporary graphic designer training requires the combination of traditional artistic and pedagogical approaches with practice-oriented methods aimed at adapting students to real professional conditions. The effectiveness of problem-based tasks, project activities, practitioner mentoring, digital platforms, and blended learning formats has been identified. The proposed methodology involves the implementation of the main stages of professional graphic design activity: selecting a project topic, creating a brief, analyzing prototypes, developing a concept and mood board, producing preliminary sketches, and presenting the final design solution. Conclusions. The study proves that the methodology of teaching art disciplines to future graphic designers should take into account current labor market conditions, the specifics of martial law, and blended learning. The integration of artistic-creative, organizational, and practice-oriented methods contributes to the formation of a competitive specialist capable of professional activity in the contemporary design environment.
Copyright (c) 2026 Бобренко Ростислав, Сліпіч Анатолій (Автор) https://creativecommons.org/licenses/by/4.0
Image of the Hutsul male dance “Arkan” in Ukrainian literature: archetypal interpretation and educational potential
The article examines the symbolic and cultural meanings of the Hutsul male dance Arkan in the literary discourse of the late nineteenth and early twentieth centuries. The relevance of the study lies in the need for an interdisciplinary understanding of traditional dance as a cultural phenomenon that functions not only within choreographic practice but also in literary representation and cultural memory. The aim of the research is to analyze the literary interpretations of the Hutsul dance Arkan and to determine its symbolic, archetypal, and ethnocultural meanings within artistic texts. The methodological framework of the study is based on an interdisciplinary approach that combines methods of literary analysis, cultural studies, ethnological interpretation, and elements of archetypal criticism. The research also employs principles of ritual theory and the concept of cultural memory for interpreting the symbolic functions of traditional dance in literary narratives. The results of the study demonstrate that in literary works of the late nineteenth and early twentieth centuries the Hutsul male dance Arkan evolves from an ethnographic description of folk tradition into a complex artistic symbol. In literary discourse it functions as a metaphor of initiation, collective solidarity, masculine identity, and historical continuity of the Carpathian cultural space. The scientific novelty of the article lies in the interdisciplinary interpretation of the dance Arkan as a cultural code that connects ritual practice, literary symbolism, and choreographic tradition. The study expands the understanding of the interaction between folk dance heritage and literary representation. Conclusions. The conducted research demonstrates that in the literary discourse of the late nineteenth and early twentieth centuries the Hutsul male dance Arkan acquires the status of a complex artistic symbol that combines archetypal symbolism, ritual meanings, and mechanisms of cultural memory. In literary texts, this dance gradually evolves from an ethnographically documented folkloric practice into a generalized artistic image that represents the ideas of initiation, masculine solidarity, communal strength, and the historical continuity of tradition. Literary representations of Arkan show that a folk-dance form can function as an important cultural code through which processes of collective identity formation, social interaction, and spiritual resilience are interpreted. In this context, the image of the dance functions not only as an ethnocultural marker of the Hutsul tradition but also as a symbolic model of interaction between the individual, the community, and historical memory. For contemporary choreographic practice, such literary interpretations open new possibilities for the artistic reinterpretation of the dance Arkan within the stage space. In particular, they allow it to be considered a dramaturgical basis for stage productions that actualize themes of initiation, collective interaction, bodily solidarity, and cultural continuity. This creates opportunities for integrating traditional dance material into both folk-stage and contemporary choreographic practice.
Copyright (c) 2026 Тіщенко Олена, Барабаш Ольга (Автор) https://creativecommons.org/licenses/by/4.0
Peculiarities of primary education and musical and aesthetic education in the conditions of the korean war of 1950-53. Recollections of witnesses and notes on the cover of the textbook
Purpose of the study: to search the conditions of primary and secondary education organization, including concerning a subject "Music" during the Korean war. Objects of research: The memoirs of the eyewitnesses, list and analysis of some songs submitted in the textbook of music for primary school of a sample of 1950, including notes of the schoolboy on a cover of the textbook. The circumstances of the Korean War of 1950-53 and the features of primary education, including musical and aesthetic education, have been almost not studied in the scientific literature in Ukraine. The content of government directives and the list of topics in school programs are mainly highlighted. In view of this, it is important to study living witnesses of the events, analyze texts in textbooks, as well as the conditions for implementing the educational process. Results: The memories of witnesses of the first days of the Korean War, the features of school classes "in the open air" were studied. The list of songs in the 1950 music textbook was analyzed. The lyrics of some songs were given. The facts from history, reflected in the student's notes on the cover of the textbook, were studied. Conclusions: The state and civil society in the conditions of a brutal war demonstrated resilience and cohesion in ensuring the educational process. It is advisable to further study this experience in detail.
Copyright (c) 2026 Kім Олександр, Ткаченко Марина (Автор) https://creativecommons.org/licenses/by/4.0
Foreign experience features of the future choreographers’ professional training organization
Object. The article analyzes the foreign experience features of the future choreographers’ professional training organizing, investigates the organizational features of future choreographers’ professional training in the system of professional choreographic education of leading European countries. Purpose of the study is to analyze the positive foreign experience of the future choreographers’ professional training organization, to reveal the leading European countries features of choreographic professional training in the context of improving the Ukrainian choreographic education system. Methods & methodology. The study based on theoretical methods, in particular, analysis, synthesis, comparison and generalization of information obtained during the processing of scientific sources on the theory and practice of choreographic art. Results. Made possible to identify valuable foreign educational practices of professional training of future choreographers: interdisciplinarity of educational programs, institutionalization of choreographic education, establishment of professional choreographic organizations, development of the theory of dance aesthetics, implementation of the theory of dance semiotics, use of the visual-audio method of reflection, cooperation between higher education institutions and choreographic centers, sustainable development of choreographic traditions, etc. Conclusions. The implementation of foreign experience in professional training of future choreographers into the system of professional choreographic education of Ukraine is an important step for the modernization of art education, improving its quality and competitiveness at the international level. Such a process does not involve mechanical copying of foreign models, but their adaptation taking into account national traditions, cultural characteristics and needs of Ukrainian society.
Copyright (c) 2026 Горголь Віталій, Марфіна Олена (Автор) https://creativecommons.org/licenses/by/4.0
Professional engagement of a music art teacher as a resource of their creative productivity
The purpose of the study is to theoretically substantiate the essence, structure, and functional significance of professional engagement of a music art teacher as a resource of their creative productivity in the context of contemporary art education. The research methods include theoretical analysis, generalization and systematization of scientific approaches to the study of professional engagement, comparative analysis of theoretical concepts, and the method of theoretical modeling for constructing the author’s structure of the studied phenomenon. The scientific significance of the study lies in expanding the understanding of professional engagement as an integrative psychological and pedagogical phenomenon in the context of art education, as well as in developing an authorial model of professional engagement of a music art teacher that takes into account the specifics of combining pedagogical and creative-performing activities. The results of the study indicate that the professional engagement of a music art teacher has a complex multicomponent structure, which includes emotional-energetic, motivational-value, cognitive-interpretative, and behavioral-activity components. A system of mechanisms for its formation has been identified, including motivational-meaningful, emotional-aesthetic, cognitive-reflective, behavioral-activity, and socio-communicative mechanisms that ensure the integration of personal internal resources in the process of artistic and pedagogical activity. It has been substantiated that professional engagement acts as a system-forming resource of creative productivity, contributing to the activation of cognitive processes, enhancement of emotional expressiveness, formation of an individual style of activity, and development of innovativeness. Conclusions. The professional engagement of a music art teacher is a key resource of their creative productivity, ensuring the integration of emotional, motivational, and cognitive-activity processes and contributing to the effectiveness of artistic and pedagogical activity. The obtained results can be used in the system of professional training and advanced training of teachers of artistic disciplines.
Copyright (c) 2026 Тетяна Большакова (Автор) https://creativecommons.org/licenses/by/4.0
Systematics of musical and plastic modifications of Latin American ballroom dances
Object. The aim of this study is to identify and systematise the stage forms of Latin American ballroom dances in the context of their musical and plastic modifications. Methods &methodology. The study uses a structural-functional, cultural-historical and comparative analytical approach, combined with elements of systematisation of the stage forms of Latin American ballroom dancing. The results of the study show that Latin American ballroom dances function as a complex and multilayered artistic phenomenon that combines aesthetic, cultural and communicative dimensions. Three main groups of Latin American dances are distinguished – folk, social and ballroom – each of which is characterised by a specific rhythmic organisation, compositional structure and performance vocabulary. A detailed classification of the main musical and plastic modifications of Latin American ballroom dance on stage is proposed, including choreographic miniatures, chamber or group dance, theatrical dance, dance shows and choreographic performances. These forms are interpreted as flexible structures that synthesise music, plasticity and dramaturgy, maintaining a balance between traditional motifs and innovative means of expression. Conclusions. Latin American ballroom dancing is defined as a flexible, multifunctional branch of contemporary choreographic art that constantly adapts to new sociocultural and aesthetic paradigms. In the process of genre hybridisation and the introduction of multimedia and performative techniques, it is transforming from a codified sporting discipline into an expressive stage form. The proposed classification forms the theoretical basis for understanding the evolution of this phenomenon and the development of contemporary dance research.
Copyright (c) 2025 Пінчук Ольга, Євген Бондаренко (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Directing course in arts faculties: a contemporary view
Object. The article examines the transformation of directing training in higher arts education through the example of a five-year model of a directing course at a faculty of arts. The focus is on the leading role of the theatre director in contemporary musical theatre and on the need to improve the quality of professional training in response to current artistic and institutional challenges. The object of the research is the educational process of preparing future stage directors in close interaction with performers. Methods & methodology. The methodological framework combines analysis of curricula and educational programmes, systematisation of practical experience of a creative directing studio, comparative analysis of different models of directors’ education, as well as pedagogical modelling of the structure and content of the directing course. Observation of students’ work in joint creative laboratories, reflection on rehearsal processes and qualitative generalisation of learning outcomes are also used. Scientific novelty. The research proposes an integrated model of directing education based on joint training of directors and performers within a single creative workshop. The model combines professional, pedagogical and communicative components of the director’s activity and emphasises the director’s role as an artistic leader and mentor who organises collective creativity and educational interaction in a musical theatre context. Results. The article describes the logic of the five-year directing course, the distribution of educational tasks by years of study and the gradual complication of creative assignments. Special attention is paid to the interaction between directors and performers in the process of preparing etudes, scenes and full-scale performances, which contributes to the formation of ensemble thinking, responsibility for the artistic result and the development of an individual directing style. The effectiveness of the model is evidenced by the increased independence of students, the quality of their creative projects and their readiness to work in professional theatre companies. Conclusions. The proposed model of directing training is systemic, innovative and adaptable to contemporary conditions of musical theatre. It creates a holistic educational environment that brings together learning and upbringing, theory and practice, and provides conditions for revealing the creative potential of each student. The model can be used for updating curricula in higher arts education institutions and for improving the professional training of musical theatre directors.
Copyright (c) 2025 Булгаков Максим (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Culturological potential of performative practices in the system of training a modern choreographer
Object. The article is devoted to the analysis of the integration of performative practices into the system of professional training of choreographers in the context of the transformation of Ukrainian art education and its adaptation to international standards. The essence of performative art, its historical origins, and key characteristics that distinguish it from traditional choreography are clarified. Methods & methodology. The methodological framework is based on the analysis of scholarly sources in the theory of choreography and performative art, comparative analysis of educational practices, structural-functional analysis of methodological approaches, as well as content analysis of curricula. An interdisciplinary approach (choreography – theatre practices – cultural studies) is applied, along with the principles of practice-oriented learning and creative interdisciplinary interaction. Scientific novelty. For the first time, methodological tools for integrating performative practices into choreographers’ training have been systematized, and their potential for shaping complex artistic thinking has been identified. The complementarity of performative art and traditional choreography is substantiated, and key challenges that hinder their implementation in the educational process are highlighted. Results. Effective forms and methods of teaching are outlined: performance-based classes, workshops, creative laboratories, individual and group experimental tasks. Typical obstacles to integration are identified – insufficient teacher training, lack of clear assessment criteria, inertia of educational program content, and low student motivation for experimental activity. It is demonstrated that the application of performative approaches activates students’ creative potential, develops analytical thinking, and fosters the ability to work in an interdisciplinary environment. Conclusions. It is concluded that the integration of performative practices into the professional training of choreographers enhances the innovative potential of art education and contributes to the modernization of the educational environment. The results of the study have both theoretical and practical significance and can be used to update the content of educational programs, develop new methodological modules, and implement innovative forms of professional training for future choreographers.
Copyright (c) 2025 https://creativecommons.org/licenses/by/4.0/deed.en
Body as an instrument of protest: feminist narratives in dance performances
Object. The article analyzes feminist dance performances in which corporeality becomes an instrument of political protest and social reflection. The study focuses on how the body, as an expressive and communicative medium, challenges dominant discourses about gender and power. Corporeality in feminist performance transforms the stage into a space of dialogue, resistance, and the rethinking of identity. Through movement and choreographic expression, dancers articulate social critique and reveal ways to challenge patriarchal norms through artistic means. Purpose of the study. The study examines the phenomenon of feminist dance performances where corporeality functions as a tool of political protest and social criticism. The main goal is to identify how the body acts simultaneously as a means and a message in the construction of feminist discourse. Methods & methodology. The research employs an interdisciplinary approach combining aesthetic, cultural, feminist, and art-historical analysis. Comparative and hermeneutic methods are used to interpret the works of Martha Graham, Pina Bausch, Simone Forti, Anna Halprin, and other choreographers. The methodological foundation includes concepts of performativity (J. Butler), body politics (S. Baines), and intersectional feminist analysis. Results. The findings show that corporeality in feminist performance serves as a key instrument for articulating and critiquing patriarchal norms. The body functions as an active subject conveying emotional, traumatic, and collective experience. The main features of such performances include the deconstruction of gender stereotypes, emancipated movement, viewer involvement, and embodiment as a form of representing memory and trauma. The study also clarifies the impact of these practices on contemporary art and broader sociocultural processes, including the Ukrainian context. Conclusions. Corporeality in feminist performance carries aesthetic, social, and political dimensions, becoming a medium of protest and self-exploration. Feminist practices expand the boundaries of choreography, affirming the body as an autonomous subject of cultural communication. Further research into these phenomena remains important in the context of ongoing social transformations.
Modern pedagogical approaches to the formation of social competence of students in art specialties
Object. The article aims to theoretically substantiate contemporary pedagogical approaches to the formation of social competence in students of artistic specialties within the system of higher pedagogical education. The research focuses on clarifying the content and structural components of social competence in relation to the specific nature of artistic and musical training, as well as on identifying the educational potential of the music-educational environment as a space for social interaction, communication, and personal development. The objectives include analyzing modern scientific interpretations of social competence, defining its significance for future art educators, and outlining practical guidelines for its purposeful development in professional training. Methods & methodology. The study is based on theoretical research methods, including analysis, synthesis, comparison, and generalization of pedagogical, psychological, and art-education sources. Conceptual analysis was applied to clarify the content of social competence in the context of artistic education, while logical-structural modeling was used to substantiate pedagogical orientations for its formation. Special research methods were not employed, as the study is theoretical in nature. The scientific novelty of the study lies in clarifying the conceptual understanding of social competence among students of artistic specialties and in substantiating the role of the music-educational environment as a factor in its formation during the process of professional training. Results. The research clarifies social competence as an integrative personal and professional quality that combines value orientations, social knowledge, communicative skills, and readiness for responsible social interaction. It is demonstrated that, in artistic education, social competence is formed through the interconnection of learning, creative, and communicative activities. The music-educational environment is substantiated as a holistic socio-cultural space that facilitates the development of students’ social experience through collective musical performance, creative projects, dialogue, reflection, and subject-to-subject interaction. Practical orientations for using the potential of artistic education to foster social competence are identified, including collective creative activity, reflective pedagogical practices, expansion of social and cultural contexts, and support of students’ initiative and autonomy. Conclusions. The study confirms that artistic education possesses significant pedagogical potential for the purposeful formation of social competence in future specialists. Social competence should be regarded not as a by-product of socialization, but as a targeted educational outcome that requires specially organized pedagogical conditions. The results provide a theoretical basis for improving professional training programs in artistic specialties and may be applied in the design of music-educational environments oriented toward social and personal development.
Copyright (c) 2025 Корчагіна Ганна, Кім Олександр (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Methodological basis of assessing educational results of student choreographers in the context of classic dance study
Purpose of the study. The article highlights the theoretical foundations and practical approaches to methodological assessment of knowledge and professional competencies of students specializing in B6.03 «Choreographic Art», using classical dance as an example. The focus is on aligning traditional teaching methods with the modern requirements of competence-based education, which involves the integration of innovative technologies, interdisciplinary components, and objective diagnostic criteria. Methods & methodology. The research methodology is based on competence-oriented and interdisciplinary approaches. Theoretical methods (analysis, synthesis, content analysis) were applied to study sources and define assessment criteria; empirical methods (pedagogical observation, analysis of academic and performance works, expert evaluation) were used to determine students’ level of preparedness; and modeling was employed to develop the structure of criteria and indicators. Scientific. The scientific novelty lies in the systematization of criteria, indicators, and levels of assessment in accordance with the structure of professional competence of the performer. The content of cognitive, technological, artistic-imagery, and psychophysical components was clarified as the basis for evaluating learning outcomes. A model was proposed to enhance the validity and objectivity of pedagogical diagnostics in performance disciplines. Results. The results made it possible to define the structure of students’ professional readiness, which includes motivational orientation, theoretical awareness, mastery of anatomical and physiological foundations of movement, and practical performance skills. The importance of developing reflective abilities for self-assessment and performance correction was established. The necessity of integrating interdisciplinary components (dance pedagogy, anatomy, musicality) and practice-oriented forms of training – open lessons, creative performances, expert evaluation –was substantiated. Educational modules on classical dance technique and methodology were analyzed, including structured exercises, movement combinations, training in musical-rhythmic coordination, and psychophysical preparation. Effective methods were identified as technical-lexical exercises, improvisational techniques, biomechanical complexes, and digital video analysis tools. Conclusions. The systemic methodological approach has been proven as an effective tool for objective assessment of knowledge and competencies of students specializing in B6.03. The structure of future choreographers’ readiness was generalized (motivational, cognitive, technical-performance, artistic-imagery, and reflective components). The practical significance lies in the standardization of educational modules, improvement of criteria, and implementation of unified approaches to certification.
Copyright (c) 2025 Алтухов Вадим, Покровська Олена (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Screencast as a didactic design tool for training future specialists in library, information, and archival studies at higher technical education institutions within the framework of research-based learning
Purpose of the study. The article presents a comprehensive study of the didactic potential of educational screencasts as a tool for training future specialists in information, library, and archival studies. The relevance of the research is determined by the transition of higher education toward flexible, personalized, and interactive learning models that align with the demands of digital transformation in the field. Methods & methodology. The theoretical framework is based on the principles of Cognitive Theory of Multimedia Learning (CTML) and the models of cognitive styles – Field Dependent / Field Independent and VARK. It is established that the multimodal design of screencasts, when accounting for individual learning differences, reduces cognitive load, optimizes information perception, and ensures effective integration into the educational environment. The empirical part of the research analyzes the experience of the National Aerospace University “KhAI”, where screencasts have been systematically implemented in the academic programs of specialty 029. They are used as lecture materials, supplements to practical classes, and digital instructions. On the example of the courses Archival Studies and Library and Information Support for the Scientific and Technical Sector, the effectiveness of micro-screencasts is demonstrated for step-by-step mastery of specialized software such as Archivematica and Koha. Results. It is proved that an educational screencast functions not merely as a technical aid but as a holistic didactic construct that stimulates students’ cognitive activity and fosters professional autonomy. Special attention is given to the role of screencasts in implementing research-based learning and the “flipped classroom” model. The creation of student-generated educational videos promotes the development of digital literacy, critical thinking, and communication skills. The practice of peer review through Moodle fosters academic interaction and supports the instructor’s “pedagogy of presence” in the digital space. Conclusions. The experimental results confirmed that combining screencasts with interactive methods increases the level of material retention by 26–31%. The study concludes that the use of screencasts in KhAI’s educational practice has become an integral part of academic culture and a factor driving qualitative transformation of professional training in the digital era.
Copyright (c) 2025 Шленьова Марина (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Singing as a means of speech correction in preparing prospective special-education teachers in the people’s republic of China
The article examines the theoretical foundations and practice-oriented approaches to using singing as a tool for speech correction in the training of bachelor’s-level special education teachers in the People’s Republic of China (PRC). Methods and methodology. The methodology combines a comparative analysis of PRC curricula and standards, a structural-functional analysis of readiness components, a content analysis of dissertations and scholarly sources, and the modeling of assessment criteria and indicators. The study applies the following principles: interdisciplinarity (speech-language pathology—music pedagogy—psychology), practice-oriented learning (learning by doing), cultural sensitivity, and digital verification/monitoring of changes in speech parameters. Scientific novelty. The novelty lies in highlighting the readiness of future PRC special-education teachers to use singing for the speech correction of children with special educational needs—readiness that comprises motivational, cognitive, operational-activity, and reflective components—and in defining the system of pedagogical conditions for implementing the proposed training structure. Results. The structure of readiness is articulated as follows: (a) motivational orientation toward using singing; (b) cognitive awareness of the principles of speech-language pathology, vocal pedagogy, and the psychophysiology of speech; (c) operational-activity capacity to design vocal-corrective sessions, select repertoire, and individualize interventions; (d) reflective ability for self-assessment and adjustment of actions. The study substantiates the need for interdisciplinary integration (speech-language pathology—music therapy—vocal pedagogy), practice-oriented learning in partnership with schools and speech-language clinics, the use of culturally sensitive repertoire, and digital tools for monitoring speech dynamics. It describes integrated modules – «Music and Speech», «Vocal Rehabilitation for Children», practical singing sessions in a speech-therapy context, and training in emotional-communicative interaction—and identifies methods such as vocal-breathing exercises, eurhythmics, improvisational singing, intonation–movement techniques, articulatory-phonetic games, and multimedia interactive technologies. Conclusions. It is demonstrated that singing is an effective tool for the speech correction of children with special educational needs; the structure of readiness for professional activity among future special-education specialists is summarized. The practical significance lies in the potential to standardize university modules and implement inter-university practice and internship formats. Prospects for further research include expanding the evidence base for specific vocal protocols, improving digital monitoring tools, and adapting instructional materials across cultures.
Copyright (c) 2025 Чай Ліхуа (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Integration of music therapy and vocal pedagogy in the training of special education professionals in the PRC
The article is devoted to the integration of music therapy and vocal pedagogy in the training of bachelor-level special education professionals in the PRC as an evidence-based, interdisciplinary model for forming readiness to use singing for speech correction in children with SEN. The logic of the curriculum is revealed (modules from basic vocal-speech skills to integrated mastery), the “bridges” between singing and speech (recitative, declamation, syllables/phonemes, rhythmized tongue-twisters), the ethical and vocal-hygiene framework (including SOVT techniques), as well as multidimensional assessment (perceptual, acoustic, behavioral indicators and the student’s portfolio). The institutional conditions for implementation in the PRC and the model’s transfer potential are emphasized. Methods and methodology. The methodological basis is interdisciplinarity (speech therapy—music pedagogy—psychology/neurophysiology of voice) and a practice-oriented approach (learning by doing). Content and comparative analysis of educational practices were applied, along with the description of session protocols (SOVT exercises, breathing-resonance techniques, intonation-movement practices) and a portfolio-based assessment approach with validated indicators (clarity/expressiveness, MPT, pitch stability, initiation of phrases, tolerance for error). Scientific novelty. A holistic structure for integrating music therapy and vocal pedagogy into the training of special education professionals is substantiated as a systemic educational project. The “bridges” between singing and speech are formalized as transfer mechanisms of the corrective effect. Results. Reproducible session scenarios are summarized that confirm the effectiveness of the integrated model. The block aimed at speech breathing and phonatory stability is built as a sequence of SOVT warm-up (phonation through a straw, lip trills). The strand focused on diction and prosody combines articulatory-phonetic games (“mirror” for lips/tongue/jaw), legato/staccato on syllables, improvisational singing on rhythmic patterns, and the trajectory “reading—recitative—singing” with variation of tempo and dynamics; assessment is carried out using indicators of perceptual clarity, the number of spontaneous initiations, and tolerance for error. It is shown that the modular architecture ensures a consistent transition from basic skills to integrated mastery, while the portfolio approach increases transparency and instructional manageability of results. Institutionally in the PRC, the model is supported by a normative emphasis on aesthetic education, quality assurance mechanisms, and practices (micro-courses, inter-university casework, supervision), which strengthens scalability. Conclusions. The integration of music therapy and vocal pedagogy in the training of special education professionals in the PRC forms a comprehensive professional readiness to use singing as an evidence-based means of speech correction. The combination of “bridges” between singing and speech, vocal-hygiene standards (SOVT, dosage), practice orientation, and multidimensional assessment ensures safe, stable, and reproducible learning and therapeutic outcomes, as well as a high potential for intercultural transfer of the model.
Copyright (c) 2024 Чай Ліхуа (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Developing basic literacy among Chinese schoolchildren through arts education integration: a quarter-century review
Object. The aim of this study is to review the outcomes of the educational policy implemented by the People’s Republic of China in the 21st century, aimed at fostering basic literacy among the younger generation within the framework of the compulsory nine-year education system, particularly through the integration of arts education. Methods. The research methodology is based on the analysis and comparison of a wide range of sources, including regulatory state documents governing the functioning of the education system in the People’s Republic of China – documents from the State Council, the Central People’s Government, and the Ministry of Education of the PRC; various generations of Chinese educational standards, including those focused on the arts (2001, 2011, 2022); materials from international organizations such as UNESCO, OECD, and The World Bank; statistical data from the National Bureau of Statistics of China and the Global Economic Monitor; results from international educational assessments (PISA) and rankings (World University Rankings); the global scientific ranking Nature Index; content from scientometric platforms such as Nature and Web of Science; publications in scientific and pedagogical journals from China and Ukraine; and content from specialized websites. To analyze, compare, and synthesize the extensive statistical data, research findings, and rankings, the authors also created analytical tables and diagrams. Results. A comparison of recent Nature Index data reveals that among the top twenty leading countries, only the People’s Republic of China demonstrates consistent growth in the influence of its scientific publication activity, which serves as an indicator of the effectiveness of the country’s research efforts. A comparison of the 2024 and 2025 indicators shows that the pace of this growth is accelerating. Analysis of the results from the PISA international educational assessment and the World University Rankings over several years supports the conclusion that the course adopted by the PRC at the beginning of the 21st century to reform compulsory nine-year education through integration has proven to be fully justified. Moreover, today’s young scientists and students – those who are securing high positions for Chinese science and education in international rankings – are precisely the individuals who have passed through this renewed and reformed Chinese school system. Conclusions. The study confirms that the broad integration of the arts into school education has contributed to the cultivation of a new generation of the country’s intellectual elite. For instance, science as a pursuit of new knowledge about the world is impossible without creativity, the courage to innovate, openness to diverse perspectives, attentiveness and focus, determination in achieving results, overcoming obstacles, and solving problems. It is precisely these essential personal qualities that are nurtured through engagement with the arts and artistic activities, which the younger generation of Chinese citizens has been exposed to from early childhood in various integrated forms.
Copyright (c) 2025 Чжао Бейбей, Юр’єва Катерина (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Instagram as an innovative tool for professional training in library, information, and archival studies at higher technical education institutions
This article considers Instagram as an innovative tool for developing educational resources aimed at training future specialists in library, information, and archival studies at higher technical education institutions in the context of educational digitalization. Leveraging its functional features, such as Stories, Reels, infographics, and interactive polls, Instagram facilitates the creation of visually oriented, interactive content that fosters professional competencies, including visual literacy, media communication, critical thinking, and creativity. The platform aligns with principles of integrated, competency-based, and student-centered learning, adapting the educational process to the digital preferences of Generation Z, for whom social media is integral to daily life. The study analyzes the integration of Instagram into professional training, evaluates its impact on student motivation, digital literacy, and creativity, and provides recommendations for establishing specialized educational accounts as virtual learning environments. Particular emphasis is placed on ethical and psychosocial considerations, including digital addiction, data privacy, and the need for methodological training to ensure educators’ effective use of Instagram. By supporting asynchronous learning, removing temporal and spatial barriers, and enabling gamified approaches (e.g., quizzes and quests) and digital portfolio development, Instagram is especially relevant for distance and blended learning formats. The article underscores Instagram’s pedagogical value, proposing innovative learning approaches that align with the demands of the digital economy and contemporary labor market. Future research directions include developing didactic models for Instagram content tailored to library, information, and archival studies, analyzing its impact on students’ professional identity and academic mobility, evaluating its effectiveness across diverse higher education institutions, and formulating methodological guidelines for educators to create ethical and secure digital learning environments
Innovation in UI/UX design as a key to successful promotion of web resources
Object. The purpose of the article is to analyze the impact of innovative trends in UI/UX design on the promotion of web resources, identify their relationship with user behavior metrics and SEO effectiveness, and outline the primary challenges and prospects for further development in this area. Methods and methodology. The study employs a comprehensive analysis of current UI/UX design trends, including micro-animations, dark mode, VR/AR technologies, adaptive and personalized content, and their effects on user experience and SEO factors. Special attention is given to methods integrating UI/UX principles with modern SEO strategies, specifically the SXO (Search Experience Optimization) approach. Scientific novelty. It consists in the systematization and comprehensive analysis of the relationship between innovative trends in UI/UX design and the effectiveness of web resource promotion from the standpoint of UX metrics and SEO. For the first time, attention is focused on the need for an integrated approach to implementing innovations, in particular by applying the SXO concept, which allows you to simultaneously satisfy the requirements of users and search engine algorithms. The results. The primary results include identifying key innovative UI/UX trends such as micro-interactions, adaptive content, immersive experiences (VR/AR), dark mode, and personalization. These trends significantly influence user experience by reducing bounce rates, increasing user engagement, and improving conversion rates. It has been proven that search engines increasingly factor user experience indicators into rankings, demonstrating the growing convergence of UX and SEO, culminating in the SXO (Search eXperience Optimization) concept. Essential implementation methods were systematized, highlighting user-centered design, A/B testing, prototyping, and the application of design systems. Conclusions. Innovations in UI/UX design are pivotal for the successful promotion of web resources in today's digital landscape. Effective implementation of UI/UX trends contributes not only to enhanced user experiences but also positively affects business outcomes, such as improved conversions, user retention, and SEO visibility. Future research directions include exploring deeper integrations of UX and SEO strategies, maximizing personalization and context-awareness, and developing standards and educational programs for evaluating and implementing effective UI/UX solutions.
Copyright (c) 2025 Самулінас Станіслав, Житєньова Наталя (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Justification of the essence of professional self-improvement in the process of professional training of musical art teacher
The article examines the problem of professional self-improvement of a music teacher in new socio-cultural conditions, where culture and values take on priority importance. The essence of the concept of «professional self-improvement of a teacher of musical art» is revealed in philosophical, psychological and pedagogical aspects, the author’s interpretation of this personal phenomenon is given, and the relationship between professional self-improvement and the teacher’s professional culture is revealed. It is proven that the professional training of a future teacher of music, in which professional self-improvement occupies a dominant place as an integrating quality, acquires a new meaning, is characterized by cultural multi-vectority, trans-faithfulness, interdisciplinary nature, and integrity, and involves dialogical communication with various types, genres, styles, and directions of art, as well as musical works that have become history. It is shown that in this way the cognitive component and general intellectualization in the musical-performing process will be strengthened, reflective thinking will be formed and a “I-concept” of a musical work will be created in the performer’s mind, which in the complex will ensure professional self-improvement and self-development of the future teacher of musical art. Research methods. To achieve the goal, scientific methods were applied that create a kind of methodology of the selected research, namely: analytical in terms of studying the scientific fund; inductive-deductive and generalization in revealing the essential characteristics of the studied pedagogical phenomenon, its regularities of functioning and development; modeling method in creating a model of professional training for future teachers of music. The purpose and objectives of the article. The purpose of the article is to substantiate the essence and content of professional self-improvement of future teachers of musical art in the context of modern concepts; to define such key concepts of the study as «professional self-improvement», «self-education», «self-development», «professional self-realization», «professional culture»; identifying value priorities of professional training of music teachers as the main factor in their professional self-improvement. Results. The theory of professional self-improvement of future teachers of musical arts has been improved, thanks to the substantiation of theoretical provisions regarding the specified personal phenomenon; identifying the features of professional training, which is characterized by cultural multi-vector, trans-faith, interdisciplinary nature, in which attention is focused on musical performance and interpretation activities, which will influence the formation and development of professional self-improvement of a teacher-musician. The conclusions note that the concept of professional training becomes an effective means of forming professional self-improvement of a future teacher-musician, which requires re-thinking and updating in new socio-cultural conditions; the humanistic paradigm represents the theoretical and methodological basis for forming a strategy for professional training of a teacher, determining its content and technologies; the humanistic paradigm represents the theoretical and methodological basis for the formation of a strategy for professional teacher training, determining its content and technologies. Priority in professional training is given to musical performance activities, which involve the recognition and stabilization of the semantic structure of musical works, provided by phenomenological reflection, which is recognized as a prerequisite for the teacher's professional self-improvement. We consider the concept of «professional culture» as fundamental in revealing the essential characteristics of the professional self-improvement of a teacher-musician as a personal phenomenon that will influence the further professional self-development and self-realization of the artist.
Copyright (c) 2025 Тушева Вікторія (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
The methodology of teaching fine arts as a factor in the formation of art and pedagogical education in Ukraine in the early 20th century
The article explores the development of teaching methods in fine arts as a key factor in the formation of art-pedagogical education in Ukraine at the beginning of the 20th century. During this period, the issue of teaching methodology in Ukrainian art institutes became the subject of profound reflection and professional analysis in the publications of prominent artist-educators. The revolutionary events of the early 20th century encouraged the construction of a higher art-pedagogical education system based on the foundations of Ukrainian national culture. Methods and methodology. To address the defined objectives and achieve the aim of the study, a set of interrelated scientific methods was employed at various stages of the research: Historical and pedagogical analysis – used to substantiate the periodization of the development of future artist-teachers' training within the context of the evolution of higher art education in Ukraine; Structural method – applied to define the essence of the key concepts of the research and to analyze the main facts in the history of higher art education development; Comparative method – aimed at identifying common and specific features in each of the defined periods concerning the training of future artist-teachers, as well as theoretical and practical achievements in various higher art educational institutions. Scientific novelty. For the first time, the theoretical and methodological foundations of training future artist-teachers within the development of higher art education in Ukraine are revealed. The content, forms, methods, tools, and prospects for creatively applying the experience of training artist-teachers in the context of higher art education reform are described. Based on archival materials, the formation of a national methodology for teaching fine arts in Ukraine at the beginning of the 20th century is also characterized. Results. 20th century marked a pivotal moment in Ukrainian art education, characterized by a synthesis of the Ukrainian aesthetic worldview–rooted in sacred and folk traditions–with leading European art movements such as Cubism (A. Exter, O. Hryshchenko), Futurism (M. Semenko), Ukrainian versions of Expressionism (O. Novakivskyi), and Constructivism (V. Tatlin). Ukraine also gave rise to original, indigenous avant-garde movements, including the cubist sculpture of O. Arkhipenko, the Cubo-Futurism of D. Burliuk and O. Bohomazov, Suprematism (K. Malevich), Constructivism (V. Tatlin), “color-writing” by V. Palmov, the Neo-Byzantinism of the Boichuk brothers, and the “Ukrainian style” seen in the works of H. Narbut, the Krychevsky brothers, and O. Saienko. At the beginning of the 20th century, the creative work of many Ukrainian artists demonstrated a synthesis of European avant-garde aesthetics with ethno-national consciousness and symbolic archetypes of the "folk soul" expressed through sacred semiotic codes. The study identifies the significant role of artist-educators who developed original teaching methods based on the synthesis of Ukrainian ethnopedagogy, sacred art, and advanced European educational practices. These approaches contributed to the emergence of a national system of art education aimed at reviving Ukrainian cultural identity and discovering a distinctive national artistic style. Innovative methodological foundations included principles of synesthesia, formal-technical analysis of color and space, and mastery of artistic techniques. The goal of these methods was to define effective educational strategies that enabled students not only to acquire basic artistic knowledge and skills, but also to understand the essence of the subject and develop professional competence. For the first time, academic programs in art institutions incorporated educational standards that integrated theoretical instruction with practical training, thereby enhancing the preparation of qualified specialists in the field of fine arts. The article highlights the importance of teaching methodology as an integrative component of both pedagogy and art in the formation of a modern Ukrainian system of art-pedagogical education, contributing to the development of a national methodology in higher artistic training. Conclusions. The conducted research demonstrates that the methodology of teaching fine arts at the beginning of the 20th century became a significant factor in the development of art and pedagogical education in Ukraine. During this period, profound transformations in the educational process occurred, driven by both socio-cultural challenges and the aspiration for national revival. The creative approaches of educators were grounded in a deep exploration of Ukrainian sacred art and a pursuit of a national style as a visual code of modern Ukrainian identity. The formation of a national methodology for teaching fine arts in early 20th-century Ukraine played a key role in shaping art and pedagogical education. This methodology not only served as the foundation for training a new generation of teachers but also laid the groundwork for the emergence of a Ukrainian art school–one that integrated rich national traditions with a modernist drive for innovation and universality.
Copyright (c) 2025 Паньок Тетяна, Гриньова Валентина (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Features of creating pedagogical conditions for forming social competence in the conditions of professional music education
The article aims to reveal the essence of pedagogical conditions as a system of specially organized components within the educational process that influence the formation of social competence among students of a specialized music college. The study focuses on identifying the characteristics of the musical educational environment and its role in socialization and personality development. Methods and methodology. The research employs theoretical analysis and synthesis of pedagogical literature, as well as an interpretative approach to understanding the specifics of musical education as a socio-cultural phenomenon. Empirical observations of educational interactions and collective creative activities in music learning contexts are also considered. Scientic novelty. This study provides a comprehensive conceptualization of pedagogical conditions that support social competence development in music students by emphasizing the unique features of the musical educational environment – such as intensive interpersonal interaction, collective creativity, and emotional expressiveness. Results. It is established that the musical arts function as an effective medium of socialization by facilitating the comprehension of social phenomena, moral norms, and value orientations. The research highlights the integration of individual lessons, group performances, stage activity, and socio-cultural initiatives as critical factors for fostering empathy, communication skills, responsibility, cooperation, and self-expression. Key pedagogical conditions are identified, including subject-subject interaction, collective activities, nurturing educational environments, student involvement in social initiatives, use of interactive teaching methods, and the cultivation of reflective practice. The systemic implementation of these conditions significantly contributes to the development of socially mature personalities among music students. Conclusions. The study concludes that harmonizing professional training with social development within an arts educational institution creates favorable conditions for students' holistic growth. This integrated approach enhances not only professional competencies but also essential social qualities necessary for successful interaction in professional and social spheres.
Copyright (c) 2025 Лугова Вікторія, Левандовський Михайло (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Sound and color synesthesia: impressionism in the music of Claude Debussy and its relationship with painting
Object: the connection between Claude Debussy’s musical creativity and impressionism in painting. Results: In the late 19th century, Impressionism emerged as a new movement and the art movement reached a turning point. The Impressionist painting style, a conscious reaction to the over expressionism of the late Romanticism centered in Germany, rejected all existing traditional styles and forms. The movement sought to express sensual nuances through the immediate effects of color or tone and to describe objects, nature, light, etc. Claude Debussy was an important composer of French Impressionism. In the late 19th century, he started the French Impressionist music movement by bringing Impressionism to music. He is called an Impressionist musician because he composed music that combined images with soft tones, sounds, vague compositions and free choice of themes, bringing the Impressionist art form to music. He was introduced to the music of Vietnam, Cambodia and Java, including Javanese gamelan, at the World Exhibition in Paris in 1889. Although he did not visit each of these countries, he sublimated the musical elements of each country into his music and was able to clearly express the oriental flavor and exotic atmosphere of his music. He mainly used the gamelan music of Java as a source of inspiration for his music, and the titles or indications hinted at exoticism and its combination with impressionism. He managed to convey exotic imagery through the use of stylistic freedom, fresh rhythms, musical percussion effects, oriental melodies and folk elements such as traditional rhythms, instruments and modes. Debussy expressed images with the use of symbols, presenting images not through direct imitation but through symbolism. Through these methods, he transformed the senses into impressive arts. These processes were acquired through individual experience and generalize their embodied values as sensory experience and extension of expression. The connection between Debussy’s music and the visual arts is more obvious given his familiarity with Eastern painting, which, in contrast, does not strive for realism, an almost photographic reproduction of an object, but rather aims to convey the feeling, the impression of a visual image. Conclusions. This study examines gamelan music, which, among other exotic elements, inspired Debussy and is found in his piano works, and analyzes how he presented and combined these elements in his music.
Copyright (c) 2025 Кім Олександр, Корчагіна Ганна (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Comparative study of visual arts curricula for secondary education institutions of Ukraine and Turkey
This article presents a comparative analysis of visual arts curricula in secondary education institutions in Ukraine and Turkey. The curricula of both countries are examined in terms of objectives, content, teaching-learning processes, and assessment systems. The study employs George Bereday’s four-stage model of comparative education alongside descriptive analysis. The findings reveal that Turkey’s curriculum emphasizes practical skills and the preservation of cultural heritage, while Ukraine’s program is based on theoretical foundations and aligns with a European-centered approach. Significant differences are also identified in the organization of instructional processes and assessment methods. The study highlights that art education is not limited to the development of technical skills but is a holistic system that fosters cultural identity and aesthetic sensitivity in individuals. Object. The purpose of this study is to conduct a comparative analysis of the visual arts curricula in general secondary education institutions in Ukraine and Turkey. The study aims to identify the key goals, content structure, learning outcomes, and assessment strategies of both countries’ art education systems within their cultural, social, and political contexts. Methods. The research is based on George Bereday’s four-stage model of comparative pedagogy and descriptive analysis. The content of the curricula is examined across components such as learning goals, competencies, educational processes, and evaluation methods (Bereday, 1964). Results. The Ukrainian curriculum is characterized by a holistic, interdisciplinary, and value-oriented approach, emphasizing cultural identity, critical thinking, and personal expression through art. In contrast, the Turkish curriculum is structured, discipline-based, and focused on the transmission of technical skills and cultural heritage. While both countries’ programs highlight creativity and aesthetic sensitivity, their philosophical foundations and pedagogical priorities differ significantly. Ukraine favors emotional and ethical dimensions, whereas Turkey emphasizes measurable outcomes and artistic production. Conclusions. The study reveals that both curricula reflect their respective educational philosophies and cultural priorities. Turkish art education aims to preserve national culture and develop practical skills, while Ukrainian art education promotes personal development, intercultural awareness, and social sensitivity. These findings may serve as a foundation for future educational reforms and policy development aimed at balancing creativity, technical competence, and cultural relevance.
Copyright (c) 2025 Алі Ертугрул Кюпелі, Анварова Арзу (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Application of design thinking technologies in the development of authorial textures for contemporary fashion
The article examines current issues related to the development and implementation of design concepts based on design thinking methodology, digital design technologies, and the collection and analysis of data on signature textures. The stages of design thinking for the creation of fashion items are analyzed, in which texture becomes one of the main means of artistic expression, most clearly reflecting the features of structure and surface decoration as well as the uniqueness of artistic technique. A classification of textures is proposed, with particular attention paid to the aesthetic and utilitarian functions of surfaces. To understand how texture serves as a means of shaping costume imagery in fashion design, the main types of textures are described and the methods of using textures in clothing composition are defined. It is established that texture not only serves a technical function but also represents the signature of a designer’s individual style. Texture – the surface of the form –creates the external appearance of the product and defines its visual image. Based on the analysis, a collection of contemporary clothing using signature textures and design thinking practices has been developed.
Copyright (c) 2025 Григорова Лариса, Куратова Марія (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
The acmeological paradigm of the professional development of a choral conductor within the system of arts education
The purpose of the article is to determine the specifics of implementing the acmeological paradigm in the professional development of a choral conductor within the system of music and arts education. The study reveals the acmeological potential of conductor and choral training, outlines the pedagogical conditions that ensure professional growth, and substantiates the interdisciplinary nature of conductor’s education. The article provides a comprehensive characterization of the acmeological approach as a methodological basis for achieving artistic and pedagogical excellence. The main components of choral conductor’s professional mastery are identified as technical precision, emotional expressiveness, and interpretive depth. The study highlights the importance of developing pedagogical intuition, cultural competence, and professional tact, which define the quality of the conductor’s interaction with student choirs and educational collectives. Particular attention is given to the formation of a holistic artistic personality, capable of cultural and educational leadership and scientific initiative. It is argued that the integration of musicology, pedagogy, psychology, and cultural studies ensures effective preparation of conductors for creative, instructional, and community-oriented activity. The research results justify the need to align the content of conductor-choral disciplines with the acmeological principles of lifelong professional and personal development.
Copyright (c) 2025 Васильєва Оксана (Автор) https://creativecommons.org/licenses/by/4.0/deed.en
Training future music art teachers to use ethnic-family traditions in overcoming war trauma in school youth
The article considers the problem of training future music art teachers to use ethnic family traditions in overcoming war trauma in school youth. An analysis of modern scientific research in the field of ethnopedagogy, art history and psychology is presented. The content and structure of training a specialist-musician capable of trauma-informed assistance through art to overcome post-traumatic psycho-emotional disorders in schoolchildren are analyzed. The main directions of training future music art teachers for trauma-informed assistance through ethnic-family traditions on pedagogical principles are identified. It is proven that the phenomenon under study works more effectively according to the cross-cutting principle, since it is integrated into the educational process at the content, methodological and practical levels. The possibilities of its effective use in art and pedagogical education are revealed. The possibilities of using components of trauma-informed art in future professional activities by university students are outlined. The importance of creating safe environment for schoolchildren based on trust, mutual understanding, and art-communication interaction through ethnic-family traditions is emphasized.
Copyright (c) 2025 Растригіна Алла, Клепар Марія (Автор) https://creativecommons.org/licenses/by/4.0/deed.en