Volume 2 (1) 2021

Professional Art Education Volume 2 (1) 2021 Scientic Journal

The purpose of the article is to consider the role of copyright textures in the design of modern

clothes; analyze the collections of students of the department of Design of the H.S. Skovoroda Kharkiv

National Pedagogical University from the point of view of the development of textured surface and use

in the creation of a suit.

Methods & methodology. We used such research methods as subject-analytical for studying

literary and illustrative sources; a terminological method for an unambiguous understanding of

the essential features of design; psychological method for verbal determination of the nature of the

visual sensation from the tissue surface; to reveal the dependence of expressive means when creating

textures.

Scientic novelty is determined by the need to develop new versions of copyright textures

and use them in the of modern clothing also due to the objective public need for multifunctional and

specic expressive clothing that would satisfy the utilitarian and aesthetic needs of a person.

Results. The theme of the surface of the material in the design of clothing is very relevant and

requires constant innovative development to obtain new textural solutions. In modern design, the

textures actively inuences the stale of shaping the plastic, composition and the silhouette of the suit

and also focuses on certain parts of the product. The role of texture in the implementation of the

function of the suit and its inuence on the person’s visual perception is considered studied techniques

and ways to create a textured surface. In one model, you can combine various textured surfaces. This

makes it possible to achieve a variety of solutions in creating a costume. To create textured surfaces,

various manufacturing techniques are used, namely: the use of contrasting and nuanced combinations

of textures; the use of traditional embroidery in combination with patchwork; quilting; embroidery;

perforation; stitches and sewing elements; tucks and formation of folds; stretching, friction, stamping;

drawing volumetric drawings and a photogram; saturation of the texture with volumetric additions

(pile, knots, boucle, stones, brushes, plaits). Much attention is paid to the analysis of the works of

students of the design department, focused on innovative development of textured surfaces and use

when creating collections.

Conclusions and practical signicance. Analysis of ways to create copyright invoices based on

the work of students of the Department of Design of H.S. Skovoroda Kharkiv National Pedagogical

University allows deeper rethinking of the inuence of textured surfaces for the realization of design

ideas, namely: the expressiveness of the image and compositional decision, the degree of bulkiness of

clothing and mass density.

Key words: texture, design, costume, material, clothing, decor.

DOI 10.34142/27091805.2021.2.01.05

DEVELOPMENT OF AUTHOR’S INVOICES AND

THEIR USE IN DESIGN PROJECTS OF MODERN

CLOTHING

Candidate of Pedagogical Sciences, Assistant

Professor of the Department of Design,

Member of the National Union of Designers

of Ukraine, H.S. Skovoroda Kharkiv National

Pedagogical University

Kharkiv, Ukraine

email: laragrig73@gmail.com

https://orcid.org/0000-0002-8990-8861

УДК 378.22:78.087.68

DOI 10.34142/27091805.2021.2.01.06

SPECIFICITY OF TEACHING CONDUCTORS

AND CHORAL DISCIPLINES IN THE TRAINING

OF FUTURE TEACHERS OF MUSIC ART

Candidate of Pedagogical Sciences, Docent of the

Department of Theory and Methodology of Artistic

Education and Vokal-choral Training of the Teacher

of H.S. Skovoroda Kharkiv National Pedagogical

University

Kharkiv, Ukraine

email: oksana.vasileva1965@gmail.com

https://orcid.org/0000-0002-8918-435

Doctor of Pedagogical Sciences, Professor of the

Department of Theory and Methods of Art Education and

Vokal-choral Training of the Teacher of H.S. Skovoroda

Kharkiv National Pedagogical University

Kharkiv, Ukraine

email: a.sokolova.a2017@gmail.com

https://orcid.org/0000-0003-0284-7320

The purpose of the article is to determine the specics of teaching conducting and choral discipline in the

process of the professional training of future music art teachers; to identify the main directions of vocal and choral

work at school choral singing as a type of collective musical activity on music lessons and ruling school choirs and

vocal ensembles in extracurricular time). The study characterizes the peculiarities of teaching such basic disciplines

of the conductor-choir cycle as Choral Conducting, Choral Arrangement, Choral Studies, Choral Class, Workshop on

«Workshop of working with a choir». The main tasks of the disciplines are outlined as follows: mastery of conducting

and choral knowledge, development of professional musical abilities, formation of teacher-choirmaster skills. The

study of the problem proved the need to focus the content of conducting and choral disciplines on the peculiarities

of the music art teacher activities. These should include learning song repertoire for children’s choirs; mastering

arranging skills for children’s singing groups of different age categories; acquiring the knowledge of the development

and protection of children’s voice, as well as methods of vocal and choral work with children in secondary education.

Key words: conducting and choral disciplines, music art teacher, choral conducting, choral class, workshop

with choir, choral studies, choral arrangement.

Problem statement and its connection

with important scientic or practical tasks. The

preparation of a higher qualication musician is

considered to be a rather complicated, multifaceted

and multi-stage process. This is especially true for

a music art teacher profession characterized by

versatility, complexity and creativeness. As experience

shows, graduates of music and pedagogical faculties

do not only teach the subjects «Musical art», «Arts»

but work as leaders of children’s school choirs and

ensembles. Besides, the new specialization «Teacher

of choral conducting disciplines» provides students,

who learn to be music art teachers, with a broader

range of professional abilities. And this will allow

delivering subjects of choral conducting cycle in

higher and secondary special educational institutions.

Analysis of basic research and publications.

The generalization of scientic works on the chosen

topic of the article allows identifying the main

directions of development of the problem of teaching

conducting and choral disciplines in the training

of future Music Art teachers. The theoretical and

methodological foundations of professional training

in the eld of music pedagogy were developed by

A. Kozyr (2008), O. Oleksyuk (2013), G. Padalka (2008),

O. Rudnytska (2005), O. Shcholokova (2016).

Historical aspects of conducting and choral

pedagogy were covered by O. Vasilieva (2015).

A. Sokolova (2012), T. Smirnova (2004), L. Yaroshevska

(2017). The principles of vocal and choral training

of students of music and pedagogical faculties and

methods of teaching in the choir class were studied

by A. Bolganrsky (2008), L. Baida (1997), E. Karpenko

(2001).Works by O. Vasylievа (2019), J. Volodchenko

(2000), V. Doronyuk (2004), and P. Zabolotny (2007)

were devoted to the development of methods for

teaching choral conducting. Methodical issues of

vocal and choral work with children’s choir were

considered by V. Doronyuk (2008), S. Svitailo (2016),

E. Plyushchyk (2010), I. Topchieva (2013), I. Gavran

Professional Art Education

Volume 2 (1) 2021

Professional Art Education Volume 2 (1) 2021 Scientic Journal

(2021), L. Yatlo (2008).

The article goals and objectives formulation.

The purpose of the article is to identify the specics

of teaching conducting and choral disciplines in the

training of future Music Art teachers.

Рresenting the main material. One of the main

directions of a future Musical Art teacher’s work is

the organization of vocal and choral performance of

student’s youth in establishments of comprehensive

secondary school.

The analysis of the works of A.Bulgarsky,

I.Zelenetska, A.Kozyr, L.Khlebnika proves that the

vocal-choral activity of a Music Art teacher has its

specic features caused by the purpose of general

art education. As L. Masol claims in the «Concept of

General Art Education», its main purpose is to educate

students to value the reality and art, the development

of consciousness, emotional and sensuous sphere

of personality and its spiritual formation while

perceiving and interpreting works of art and

participating in practical art activities» (Masol, 2004,

c. 3).

Students’ choral performance in secondary

schools is carried out in several directions. At music

lessons, choral singing is one of the types of group

musical activity. In extracurricular activities, it exists

as the work of school singing groups (choirs, vocal

ensembles, song studios).

These features determine the specics of

conducting and choral training of Music Art teachers

and encourages the generalization of methods of its

teaching. Achieving the required level of competence

in this area is possible through mastering each

of the subjects of the conductor-choir cycle and

understanding their relationship.

Choral conducting is one of the most

sophisticated kinds of performance art directed to

training and educating multiskilled professionals

prepared for careers in pedagogy and performance

both theoretically and practically.

The purpose of the course «Choral conducting»

is to provide future Music Art teachers and leaders

of children’s choirs with fundamental conducting

training, raise a viable personality able to organize,

lead creatively, conduct a choir artistically convincing,

and self-develop constantly.

The course objectives are in the active

comprehension of the academic process as an

important means of enhancing personal being, self-

realization and self-organization of a personality;

acquiring choral conducting knowledge (choral

pieces texts, methods and techniques of a choral

piece conducting, ways of self-learning choral

scores etc.); development of a teacher-conductor’s

professional abilities and skills (verbal and nonverbal

communication with choral class, musical talents,

performance reliability, artistry); nurturing exibility

and speed of mental and emotional reactions; art

activity; ability of self-development, self-control

and self-organization; mastering methodological

fundamentals of choral work; accumulating repertoire

for further choral work.

Pedagogical principles: systemacity, self-

organization, socialization, cultural correspondence

and humanization, personal orientation,

individualization, dialogue interaction, intellectual

and creative development. Subject principles: the

principle of freedom, graphic clarity and movements

eciency, warning, sound choral articulation, melos,

artistic expediency.

The close connection of «Choral Conducting»

with social, psycho-pedagogical, musical-theoretical,

performance disciplines and subjects of the choral

conducting cycle. Integration of «Choral Conducting»

content promotes to shape the productive thinking

of students learning to be conductors and teachers;

stimulates to develop the depth, completeness and

integrity of their competencies.

Modern teaching of choral conducting is

not possible without extensive implementation

of various teaching methods: problem methods

(problem-search tasks; determination of features

of conducting technique, performance), method of

mental intonation, method of comparison, method of

creative project, etc. The main task in the study of the

discipline «Choral Conducting» is to prepare future

Music Art teachers for practical vocal and choral

work in the classroom with schoolchildren. To ensure

this form of work, songs from the school repertoire

must be included into the very rst classes on choral

conducting. Such work should involve obtaining

skills of educational and song material presentation

(creation of introductory conversations, computer

presentations), analysis of intonation, rhythmic, a

school song diction diculties, choice of means to

overcome the latter, mastering conduction techniques

of choral singing.

In the career of the music teacher and the head

of the children’s choir, the ability to play choral scores

has a signicant role. It contributes to the success of

their work and problem solutions encountered in

choral practice. The importance of reading choral

scores skills was revealed by prominent choral art

personality and teacher M. M. Danilin. He emphasized:

«As a conductor plays the score, so will the choir sing

under his direction».

However, in the practice of training Music Art

teachers, reading choral scores as a separate discipline

is not provided by the curriculum. Therefore, such

work should be done more carefully within the

framework of the discipline «Choral Conducting» and

focus on the skills of reading scores from a sheet and

transposition. In our opinion, mastering these skills

allows the future Music Art teacher to conduct vocal

and choral work with children of different school

ages effectively and exibly. Teaching conducting and

choral disciplines in higher pedagogical educational

institutions is undoubtedly inuenced by art

faculties’ students’ educational background. Since

the specialty of Secondary Education (Music Art) is

gained by students with different levels of musical

training (graduates of secondary schools, music

and pedagogical schools), creating an individual

educational trajectory of each of them should be

based on individual semester work plans according

to curriculum, syllabus and students’ characteristics.

Besides it should be gradual, systematic, and

student-focused to ensure the multifaceted creative

personality development.

Тhe purpose of the course «Choral arrangement»

is to provide music and pedagogical department

students of pedagogical institutes and universities

with essential knowledge and skills to make

transpositions of choral, solo, instrumental musical

pieces for different choir pieces. It is implemented

through solutions of such tasks as forming a

system of compositional knowledge; nding the

best arrangement in accordance with artistic and

gurative tasks; working out your own individual

style in arranging pieces for any choir staff; getting

acquainted with arrangements made by prominent

masters of choral art.

While studying the course «Choral Arrangement»

future Music Art teachers should learn about possible

problems when changing author’s original. Possible

transformation of an original composer’s text by the

author of the arrangement which is a transposition

of the main theme material into another compared

to the original coral score register; changes in voice

of supporting parties; a transposition of main theme

material from one choral party to another (cases of

transposition for a choir without accompaniment of

instrumental compositions with a melody of a wide

range); changing the original tone of the composition

for a more comfortable range, tessitura and

dynamics; changing the main party accompaniment

in the transposition of vocal compositions with

accompaniment for a choir or a cappella.

The teacher of choral arrangement should

introduce students to the characteristic of the choral

arrangement main varieties as a result of the choral

transposition compared to the original source:

transposition from one choir to another (for example,

from a homogeneous choir to a mixed one and vice

versa), transposition of compositions written for

a voice with accompaniment (romance, song) for

various choirs’ staff, transposition of instrumental

compositions for choral performance.

Considering the eld of a Music Art teacher’s

activity, the content of the course «Choral

Arrangement» should focus on mastering the skills of

creating scores for children’s choirs of different age

groups. It should include transpositions for children’s

starting choirs; choral pieces transposition for more

experienced choirs; transposition for senior students’

choirs (homogeneous, incomplete, mixed); choral

pieces transposition for complete mixed choirs;

Instrumental pieces transposition for choirs; free

arrangements of folk songs.

One of the central disciplines of conducting and

choral training of a Music Art teacher is «Choral class»

and «Workshop of working with a choir». The choral

class is a creative laboratory where students are given

opportunities to learn conditions and features of a

choir organization and work. Acting both as a choral

singer and a conductor and observing the choral

leader’s methods of work facilitate their mastering

certain choral techniques.

The role of the choral class course as one of the

most important subjects in the professional training

of a future choral conducting teacher is in blending

theory and practice in the choral class; on the basis

of their knowledge of musical theory and vocal and

choral disciplines students master professional skills,

necessary for their future career activities.

Analysis of choral class syllabi allows setting

such course objectives as moral and artistic education

of students via the direct introduction to choral

compositions of various epochs, styles, genres;

gaining vocal and choral skills; obtaining skills of

working with a choir, accumulating choral repertoire.

Solving the outlined tasks allows a student not only to

acquire the ability to sing in a choir, but also helps to

consolidate their knowledge of a conductor’s practical

work.

The knowledge, skills and abilities acquired

in the choir class should become the basis for the

formation of the necessary skills in future Music Art

teachers to work with the educational choir in the

course «Workshop on working with the choir». The

value of the course is that in the process of studying this

subject the student applies practically their knowledge

and skills in the work and choir conducting, obtained

in conducting, choral studies, and choir class. It is in

the process of studying this subject that the student

acquires professional skills in working with the choir

and the ability to choose techniques and methods of

learning choral pieces.

The head of the course educational choir should

select the choral repertoire for the students’ practical

work, taking into account the specics of Music Art

teachers’ activity. It is recommended to choose bright,

diverse choral works that students will be able to use

in their further choral practice. When organizing

Professional Art Education

the educational process, planning rehearsals it is

necessary to take into account the technical skills

of the choir, the complexity of choral works and

individual abilities of students who will work with

the choir.

While preparing students for practical work

with the choir, the work of a teacher of conducting

is of great importance. They should examine the

knowledge of the parts and scores of a choral piece,

outline its main performance diculties, guide a

student to create their own interpretation of the piece

and make a plan for learning it.

While preparing a student to work with the

students’ choir, it is necessary to attract students’

attention to the features of the main stages of work on

the choral piece. An important step in working with

a school choir on a choral song is its presentation.

It should include a talk about the piece, a song

performance (singing to your own accompaniment or

listening to a recording). It is advisable for a modern

music teacher to use computer technology while

presenting a choral piece. PowerPoint presentations

with animation and different performances of the

piece for comparison could be created.

While planning the technical stage of work on

the piece, a student learns to divide it into phrases,

sentences, periods. This allows them to comprehend

clearly its musical form and make an effective plan to

work on it. It is necessary to determine the sequence of

work with choral parts and groups, their alternation

and combination in partial and general choral sound.

At the technical stage the main elements of choral

technique such as the development of singing breath,

sound, intonation, rhythm, diction and the nature of

sound are mastered.

Mastering the choral piece continues at the

artistic stage. To achieve maximum sound quality a

variety of sound colors are searched; agogic changes,

delays, acceleration, rubato, fermatas are worked

out; a musical form of a choral piece is created

through the implementation of the climactic plan and

phrasing. It is at this time that the maximum mutual

understanding and interaction between the choir and

the conductor are achieved.

The main task of the course is to teach students

the basic methods of working on a choral piece. At the

presentation stage verbal (a talk, comments) and visual

(audio, video recording of the presentation) teaching

methods are used. During the technical mastering of

a choral piece, it is expedient to use solfeggio, singing

in syllables, transposition, singing at different tempos

and out of tempo, melody recitation. A future choir

conductor working on the piece is expected to learn

using a working conductor’s gesture, timing, showing

their own voice, playing the piano, oral explanation of

the most dicult episodes.

«Choral studies» is one of the main subjects in

choral conducting cycle focusing on blending theory

and practice of choral performance. Considering

the specics of future Music Art teachers training

while teaching choral studies, in our opinion, it is

necessary to emphasize the historical and theoretical

foundations of children’s choral performance and

creativity.

Revealing the importance of choral singing as an

effective method of educating the younger generation,

it should be highlighted that the involvement of

students in choral art contributes to the cultural

development of a personality and their socialization

(Косинська, 2018).

The range of choral studies topics should cover

the historical aspects of national and international

theory and practice of vocal and choral work with

children, as well as identify the main trends of

children’s choral performance and creativity.

Determining the specics of children’s choirs

will help future Music Art teachers to organize school

choirs of different ages (preparatory, junior, middle,

senior, youth) and understand their differences in

ranges, registers, timbres.

For further vocal and choral work with children,

a teacher-leader of a school choir needs knowledge

about the structure of the child’s vocal apparatus, its

physiological differences at a certain age, as well as the

psychological characteristics of students of different

ages. The course «Choral studies» for students

majoring in Secondary Education (Music) should

include the problems of vocal and choral technique in

children’s choir. An important aspect of studying the

discipline «Choral studies» is the methodological basis

of work in a children’s choir.

Future Music Art teachers are considered

to master the methods of vocal and choral work

with children of different ages, learn to choose

the appropriate choral repertoire for a particular

age group. In practical classes on «Choral studies»

modeling a choral piece rehearsal is vital in order to

master the methods of working with singing groups

effectively.

Conclusions. Thus, based on the analysis of

modern national theory and practice of future Music

Art teachers professional training, it can be claimed

that the method of teaching conducting and choral

disciplines has specic features and is shaped by the

content of practical activities of Music Art teachers in

secondary schools.

Prospects for further research. Prospects for

further research are to identify promising approaches

and effective methods of conducting and choral

training of future Music Art teachers.

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navichok-majbutnogo-vchitelya-muziki-pid-chas-pedagogichnoji-praktiki-v-zagalnoosvitnij-shkoli

Volume 2 (1) 2021

Professional Art Education Volume 2 (1) 2021 Scientic JournalProfessional Art Education

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Дата надходження рукопису 03.04.2021

DOI 10.34142/27091805.2021.2.01.06

Мета статті полягає у виявленні специфіки викладання диригентсько-хорових дисциплін в про-

цесі фахової підготовці майбутніх вчителів музичного мистецтва з огляду на основні напрями вокаль-

но-хорової роботи вчителя музичного мистецтва: хоровий спів як вид колективної музичної діяльності

на уроках музики та керування шкільними хорами, вокальними ансамблями у позаурочний час.

Методологія. Методологічну основу дослідження становлять системно-діяльнісний, культуроло-

гічний, праксеологічний, аксіологічний підходи та філософський, термінологічний, когнітивний прин-

ципи. Використано загальнонаукові (аналіз, синтез, систематизація, узагальнення, порівняння, кла-

сифікація), емпіричні, прогностичні методи дослідження.

Наукова новизна. У дослідженні схарактеризовано особливості викладання таких основних

дисципліни диригентсько-хорового циклу, як: «Хорове диригування», «Хорове аранжування», «Хорозна-

вство», «Хоровий клас» та «Практикум роботи з хором». Розкрито мету предмету «Хорове диригування»,

яка полягає у наданні майбутньому вчителеві музичного мистецтва як керівнику дитячого шкільного

хору базової диригентської підготовки. Окреслено основні завдання дисципліни: оволодіння диригент-

сько-хоровими знаннями, розвиток професійних здібностей, формування умінь вчителя-хормейстера.

У результаті дослідження розкрито специфіку змісту курсу «Хорове аранжування», який слід зосе-

редити на оволодінні навичками створення партитур для дитячих хорів різних вікових категорій: почи-

наючих дитячих хорових колективів, розвинутих хорових дитячих колективів, хорів старшокласників

(однорідних, неповних мішаних). Оцінено роль курсу «Хоровий клас», в процесі якого студенти на ос-

нові отриманих знань з музично-теоретичних і вокально-хорових дисциплін удосконалюють професій-

ні навички, необхідні для майбутньої практичної вчителя музичного мистецтва. Доведена необхідність

введення у структуру підготовки вчителя музичного мистецтва курсу «Практикум роботи з хором», де

здобувачі на практиці засвоюють вміння роботи із шкільним хором. Встановлено роль керівника хоро-

вого класу та викладача з хорового диригування у підготовці до ефективної роботи з хором. Розглянуто

коло тем з «Хорознавства», які мають охоплювати історичні аспекти вітчизняної та зарубіжної теорії і

практики вокально-хорової роботи з дітьми, висвітлювати основні напрями дитячого хорового викона-

вства і творчості, знайомити з особливостями розвитку голосового апарату дітей різного віку, надавати

знання з охорони дитячого голосу, виявляти специфіку вокально-хорової роботи з дитячими хоровими

колективами.

Висновки. У ході дослідження встановлено, що методика викладання диригентсько хорових дис-

циплін має специфічні особливості і обумовлена змістом практичної діяльності педагога-музиканта у

загальноосвітніх закладах середньої освіти.

Ключові слова: диригентсько-хорові дисципліни, вчитель музичного мистецтва, хорове диригу-

вання, хоровий клас, практикум роботи з хором, хорознавство, хорове аранжування.

кандидат педагогічних наук, доцент кафедри

теорії і методики мистецької освіти та вокаль-

но-хорової підготовки вчителя Харківсько-

го національного педагогічного університету

імені Г.С. Сковороди

Харків, Україна

email: oksana.vasileva1965@gmail.com

https://orcid.org/0000-0002-8918-4357

доктор педагогічних наук, професор кафедри

теорії і методики мистецької освіти та вокаль-

но-хорової підготовки вчителя Харківсько-

го національного педагогічного університету

імені Г.С. Сковороди

Харків, Україна

email: a.sokolova.a2017@gmail.com

https://orcid.org/0000-0003-0284-7320

СПЕЦИФІКА ВИКЛАДАННЯ ДИРИГЕНТСЬ-

КО-ХОРОВИХ ДИСЦИПЛІН У ПІДГОТОВЦІ МАЙ-

БУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА

Volume 2 (1) 2021

Professional Art Education Volume 2 (1) 2021 Scientic JournalProfessional Art Education