Volume 6 (1) 2025

Professional Art Education

UDC: 371.5.091.33

DOI https://doi.org/10.34142/27091805.2025.6.01.07

JUSTIFICATION OF THE ESSENCE OF PROFESSIONAL

SELF-IMPROVEMENT IN THE PROCESS OF

PROFESSIONAL TRAINING OF MUSICAL ART

TEACHER

Doctor of Pedagogical Sciences, Professor,

Professor of the Department of Musical

Art of H.S. Skovoroda Kharkiv National

Pedagogical University

Kharkiv, Ukraine

email: tushevavikla@gmail.com

https://orcid.org/0000-0002-9451-0532

The article reveals the theoretical foundations of the problem of a music teacher’s professional self-

improvement, which in new socio-cultural conditions, where culture and values take priority, is the key factor

in the formation of a future specialist’s professional maturity. The essence of the concept of ‘a music teacher’s

professional self-improvement’ is thoroughly revealed in philosophical, psychological and pedagogical aspects.

The author’s interpretation of this personal phenomenon is given, the relationship between professional self-

improvement and a teacher’s professional culture is revealed. Professional self-improvement is dened as a

permanent process of approaching the pedagogical and artistic ideal through self-realization, self-development

and self-education, which is reected in the development of a teacher’s professional culture. Professional

self-improvement is interpreted, on the one hand, as a certain stage in the process of professional culture

development, and on the other hand, it determines the formation of subjectivity, freedom of the personal ‘self’,

individual uniqueness, self-development and self-education.

A future music teacher’s professional training, in which professional self-improvement occupies a

dominant place as an integrating quality, acquires a new meaning, is characterized by cultural multi-vector,

transprofessional character, interdisciplinary, provides for dialogical communication with various types, genres,

styles and directions of art, musical works that have become history and make their way to the consciousness

and historical memory of humanity. In this way, the cognitive component and general intellectualization in

the musical-performing process will be strengthened, reective thinking will be formed and the ‘self-concept’

of a musical work will be created in a performer’s mind, which in the complex will ensure professional self-

improvement and self-development of a future music teacher.

Keywords: professional self-improvement, self-education, self-development, professional self-

realization, professional culture, professional training.

Problem statement and its connection

with important scientic or practical tasks.

Sociocultural transformations in society determine

the essential changes taking place in the educational

process of pedagogical universities. The need for

a teacher who consistently and fully realizes the

social and professional effect of education, is

capable of self-improvement and creative self-

realization, sets new tasks for higher education. In

accordance with the modern concept of updating

national education, pedagogical science and

practice are actively searching for conditions that

ensure a high level of professional development

among future teachers. This level is necessary for

the effective and productive fulllment of their

professional functions, particularly in the context

of artistic education.

The specied provisions are reected in

regulatory national and European documents,

namely the Law of Ukraine “On Higher Education”

(2025), the Strategy for the Development of Higher

Education in Ukraine for 2022-2032, the “Concept

for the Development of Pedagogical Education”,

the State National Program “Education” (“Ukraine

of the 21st Century”) and “Teacher”, the European

Union’s Framework Program for Research and

Innovation “Horizon Europe (2021-2027)”, and

others.

The currently realized need for changes in

value orientations within the socio-cultural space

leads to a conceptual rethinking of the content

of art education. The renewal of art education is

caused by the presence pressing socio-cultural

problems regarding its content and methodological

support, the need for their thorough analysis,

primarily under martial law conditions. Such

a need arises from the decline in the education

quality due to outdated content and forms,

violation of the principle of their compliance with

modern requirements; the insuciency of the

organizational and practical creative component of

the content of higher art education; the insucient

understanding among future music teachers of the

interaction between education and culture, etc.

Thus, it is possible to identify the following

contradictions that objectively exist within

the educational process of higher education

institutions: 1) between the high demands placed on

a specialist and underestimation of the role of self-

improvement in increasing professional level, the

insucient formation of the necessary knowledge

and skills, and the lack of a personal orientation

towards professional self-improvement;

2) between the need to update the content and forms

of future music teachers’ professional training and

insucient identication of its priorities, and its

interconnection with cultural processes, which

will ensure future music teachers’ professional

self-improvement.

The existing contradictions and drawbacks

indicate a crisis of higher art education at the

current stage, which has a profound internal

nature, and is associated with the loss of the

personal signicance of education for a future

music teacher. However, these contradictions

create conditions for the development and further

renewal of the art education system in new socio-

cultural conditions. Therefore, the search for new

ways and approaches, driven by societal changes

and inuencing the development of higher art

education, ensures the formation of a specialist’s

professional maturity, and serves as one of the

means of updating the art educational space. On

the other hand, the theory of professional self-

improvement is determined not only by the power

of traditions, but is also based on the understanding

of socio-cultural and scientic-practical shifts that

determined the problem identication.

Analysis of major research and publications.

The problems of teachers’ professional

development and professional self-improvement

are addressed in the works of such well-known

scientists and educaitors as H. Ball, I. Bekh, N. Bibik,

N. Huzii, O. Dubaseniuk, I. Zyazyun, N. Kichuk,

O. Piekhota, V. Radul, V. Semychenko, S. Sysoieva,

and others. Future teachers’ self-improvement

was viewed in the context of solving the problem

of personality development in relation to the

implementation of professional tasks in the works

of S. Maksymenko, R. Pavelkov, L. S. Rubinstein,

and others. In the eld of music pedagogy, the

works by O. Oleksiuk, V. Orlov, G. Padalka,

O. Rebrova, O. Rostovsky, O. Rudnytska, S. Segeda,

V. Tusheva, V. F. Cherkasov and others partially

address the problem of teachers’ professional

and personal self-improvement. Considerable

attention was paid to the study of various vectors

of identifying musical art teachers’ professional

self-improvement in the dissertations by

K. Zavalko, N. Seheda, I. Sklyarenko, and others. At

the same time, the theoretical and methodological

foundations of future music teachers’ professional

self-improvement in the process of professional

training require additional scientic reection and

further study.

Formulation of the aims and tasks of the

article. The aim of the research is to justify the

essence and content of future music teachers’

professional self-improvement in the context of

modern concepts; to dene such key concepts of

the research as “professional self-improvement”,

“self-education”, “self-development”, “professional

culture”; to identify the value priorities of music

teachers’ professional training as the main factor

in their professional self-improvement.

Main material presentation. To address

the stated problem, it is considered appropriate

to focus on the analysis of the core concept of

the research in the context of various theoretical

approaches. As a philosophical category, the

concept of “self-improvement” (self-education) is a

conscious and purposeful activity of an individual

aimed at developing a certain moral consciousness

and moral qualities within oneself in accordance

with their ideas about the moral ideal. The desire

for self-improvement is a natural consequence

Professional Art Education Volume 6 (1) 2025

Scientic Journal

of the development of self-awareness, and the

moral formation of a person who perceives

oneself as an individual. Self-improvement of an

individual as an internally determined process is

considered by modern philosophical schools such

as philosophical anthropology, existentialism,

personalism, and others. In philosophical theory,

the process of self-improvement is associated with

self-reection, that is, interpretation of one’s own

life; a special kind of activity aimed not simply at

realizing the leading motives, but at coordinating

the personality as a whole. This involves the search

for meaning not just in individual actions, deeds,

or even activities, but in life as a whole. The search

for life’s meaning is one of the most important

functions of self-awareness. This search can be

presented as a process aimed at the complete

integration and coordination of the individual’s

motivational sphere (Philosophy, 2020).

On the other hand, self-improvement is

associated with the process of self-education,

which is regarded as a conscious activity aimed

at the fullest possible realization of oneself as

a personality. Based on the activation of self-

regulation mechanisms, self-education involves

the presence of clearly dened goals, ideals,

and meanings. Personality development is

associated with a certain level of self-awareness,

critical thinking, ability and readiness for self-

determination, self-expression, self-disclosure,

and self-improvement. Self-education is based on

adequate self-esteem that corresponds to a person’s

actual abilities, as well as in the critical analysis

of one’s individual characteristics and potential

capabilities. As awareness increases as a process

and result of personal development, self-education

becomes an increasingly signicant force for

personal self-development. It is inextricably linked

with education, not only reinforcing but also

advancing the process of personality formation.

The essential components of self-education

include self-analysis of personal development,

self-reporting, and self-monitoring.

In the psychological aspect, the concept of

“self-improvement” is interpreted as a continuous

process of personal growth and development,

aimed at enhancing an individual’s qualities,

knowledge and skills in order to achieve internal

and external goals. The terms most closely related

to the category of “self-improvement” are the

concepts of “development” and “self-development”,

although these concepts are not entirely

synonymous. Such a process of self-improvement

is typically accompanied by self-expression and

self-fulllment (M. Kononova, 2022).

In psychological literature, self-development

(also known as self-improvement or self-growth)

is a process in which an individual or personality

consciously and actively improves themselves

in various areas of their life in order to become

a better version of themselves. This concept is

associated with the idea of a continuous process of

self-awareness, self-reection and improvement,

aiming to achieve a higher level of knowledge, skills,

creative abilities, and enhanced psychological

and physical well-being. Self-development can

relate to various aspects of life, such as education,

spirituality, morality, and more. The main idea

is that the constant pursuit of improvement

and growth helps to achieve personal harmony,

satisfaction and success. It is important to note that

self-development is not an automatic process that

occurs over time, but rather a conscious activity

towards self-improvement. It is a process that

requires self-awareness and active participation

(R. Pavelkiv & N. Korchakova, 2009).

As R. Pavelkiv notes, the process of personality

formation includes, as an essential component, the

formation of consciousness and self-awareness: it

is a process of developing a conscious personality.

Without consciousness and self-awareness, a

personality does not exist. As a conscious subject,

a personality becomes aware not only of the

surrounding world, but also of oneself in relations

to it. The awareness of oneself as an “I” is, therefore,

the result of development. At the same time, the

development of self-awareness takes place within

the very process of the formation and development

of an indovodual’s real independence as of an

active subject. Self-awareness is not something

externally added to the personality; rather, it is

integrated within it. Therefore, self-awareness

does not have a separate path of development

apart from that of the personality, but is included

in this process as its moment, part, component

(R. Pavelkiv & N. Korchakova, 2009).

Self-development of a personality in

pedagogical reference sources is viewed as the

fundamental ability of a person to become and

remain the true subject of one’s own life; the

Volume 6 (1) 2025

Professional Art Education

ability to transform one’s own life into an object of

practical transformation. The structural elements

of self-development of a personality include: self-

knowledge, self-regulation, self-organization, self-

realization, and self-determination (Glossary, 2021

& Dictionary of Terms, 2020).

Considering professional self-improvement

as a a continuous enhancement of professional

competence and the development of a teacher’s

socio-moral qualities, O. Antonova connects the

specied concept with the development of one’s

abilities and talents. It is noted that the process

of personal self-improvement consists of certain

stages which encompass a whole system of

interconnected methods, among which the most

effective are the methods of self-inuence, self-

programming self-motivation, and self-knowledge

(Antonova, 2014).

The analysis of the scientic literature shows

that a teacher’s professional self-improvement

in a broad sense is a system of ideas, concepts,

and notions regarding the development of the

personality and its culture at certain stages of

professional training. In a narrow sense, it is a

system of knowledge about individual and personal

qualities, the mechanisms of self-knowledge and

self-improvement, ways to solve problems arising

in pedagogical activity, professional development,

and methods for overcoming them (O. Antonova,

2014; K. Zavalko & E. Provorova, 2021; M. Kononova,

2022).

In the eld of music pedagogy, the issue

of future music teachers’ professional self-

improvement, self-education, self-development,

and self-realization has been addressed in the

scientic works of such educators and researchers

as O. Komarovska, O. Oleksiuk, O. Otych,

A. Rastryhina, O. Rebrova, N. Seheda, V. Tusheva,

V. Cherkasov, and others.

Thus, for N. Szegeda, a music teachers’ self-

improvement is one of the ways and means of their

self-realization. Finding out the essence of a music

teacher’s professional self-realization by comparing

it with the category of pedagogical activity, N.

Szegeda concludes that the former reects the

personal aspect of the latter and lies in revealing

one’s own “self” through the conscious, purposeful

realization of a personally valuable, freely chosen

social role of a teacher. The idea is substantiated

regarding the essence of a music teacher’s

professional self-realization, which is concentrated

in one’s professional individuality and is dened

as a conscious, purposeful objectication of a

teacher’s individual professional and pedagogical

potential in the pedagogical process of co-creativity

with students. A music teacher’s artistic self-

realization is seen as involving continuous self-

improvement and striving for ongoing creative

self-development. It is quite right to conclude that

the process of a teacher’s artistic self-realization

should be lled with the experience of self-

organization, self-education, and self-learning. In

this way, the above-mentioned approaches create

the conditions for their effective creative and

professional self-realization (N. Segeda, 2002).

In her dissertation research, I. Sklyarenko

interprets the concept of “a music teacher’s

professional self-improvement” as a specic

stage in the transformation of the consciousness

of a future teacher’s personality identifying with

the student role to identifying with the role and

status of a future specialist in the eld of music

and pedagogical education. It is described as a

creative process that reects a teacher’s level of

musical literacy, personal development, and the

specic outcomes of their professional activity.

From the researcher’s perspective, a future music

teacher engaged in professional self-improvement

is capable of independently dening goals,

directions, and methods for achieving the heights

of their own creative subjectivity and professional

culture, setting tasks for themselves and seeking

ways to solve them (I. Sklyarenko, 2008).

From the perspective of a personality-oriented

approach, K. Zavalko considers a music teacher’s

self-improvement as a conscious activity within the

system of continuous education, which is aimed

at enhancing a teacher’s professional level, their

professional self-realization, further development

of professionally signicant qualities, and

increasing the educational process effectiveness

(K. Zavalko & E. Provorova, 2021).

The provision on a teacher’s further

professional development and self-development

in the process of implementing professional self-

improvement, which ideally affects the level of

their professional culture, and expressed in a

teacher’s music-pedagogical activity is conceptual

for our research. Therefore, in the development

of theoretical provisions on a music teahcer’s

Professional Art Education Volume 6 (1) 2025

Scientic Journal

professional self-improvement, we consider the

concept of “professional culture” as fundamental

in revealing the essential characteristics of a music

teacher’s professional self-improvement.

As is known, science is characterized by

diversity in the interpretations of the concept

of “culture”, none of which has yet become

universally accepted, since culture, in particular

professional, is a dynamic phenomenon and is in

a state of constant development.

The philosophical dictionary offers the

following denitions of culture, which create a

systematic understanding of the phenomenon of

culture:

- the renement of a person’s spiritual

strengths, inclinations and abilities, as well as the

degree of their development;

- a set of values, norms and ideals that play

both a constructive and regulatory role in society;

- a set of methods and techniques for

organizing, implementing and developing human

life activities, ways of human existence;

- a set of spiritual and material achievements

expressed in the historically achieved level

of development of society and an individual,

embodied in the results of productive activity

(Philosophical Dictionary, 2020).

However, the terminological ambiguity

of the concept of “culture” does not exhaust its

theoretical complexity, the presence of which is

explained not only by scientic, but also by deeper

socio-historical reasons (conditions).

As for a music teacher’s professional its

originality, according to V. Tusheva, is determined

by the artistic orientation, when the main types

of spiritual potential of a personality - cognitive,

aesthetic, and moral - are combined and cause

their artistic and aesthetic worldview, characterize

professional activity, and pedagogical search. The

identication of a misuc teacher’s moral aspect in

their professional culture indicates the importance

of the purposeful formation of their spiritual and

moral values, which are reected both in the

construction of musical and educational strategies

and in the denition of pedagogical priorities.

The formed spiritual and moral values should

provide the conceptual orientation of a music

teacher’s pedagogical search toward arming

universal human values, determining not only

the means of achieving moral goals in the artistic

process, but also the goals themselves, moral

concepts, principles, and methods of inuencing

the individual, based on moral norms (V. Tusheva,

2023).

V. Tusheva quite rightly states that a music

teahcer’s professional culture becomes a state,

result and productive process of assimilation and

creation of pedagogical, spiritual-moral and artistic

values, cultural samples, assumes the development

and harmony of all components, and their holistic

formation. Therefore, the essence of such culture

is manifested in the holistic harmony of a music

teacher, while their ability to carry out purposeful

activities regarding professional self-reproduction,

searching for new meanings of professional life,

professional functions, nding ways of realization

of their “essential forces” in artistic activity,

represent the ways of developing a modern art

teacher’s professional culture (V.Tusheva, 2023).

Thus, the concept of “professional self-

improvement” in scientic sources is interpreted,

on the one hand, as a certain stage in the process of

developing professional culture, and on the other

hand, it determines the formation of subjectivity,

freedom of personal “self”, individual uniqueness,

self-development and self-education, that is, those

properties that, according to K. Ushinsky, are the

result of genuine education, combining science

and art (L. Iliychuk, 2014).

A dual pedagogical outcome of self-

development can be distinguished: on the one

hand, it involves communicative (changing)

processes that are modeled and occur in a

personal-individual and professional-acmeological

direction; and on the other hand, it involves the

search for the necessary effective means for self-

improvement, professional self-development

and mastering the very ability to engage in self-

development. Professional-personal development

is accompanied by a constant search for spiritual

and professional meanings, achieving set goals

and dening new ones, that is, it requires self-

determination. The essence of a music teacher’s

professional self-determination lies in the search

and nding of personal meaning in artistic

activity, and profession. Its main goal is the

formation of internal readiness to independently

and consciously plan, adjust and implement the

prospects of professional and personal growth,

the implementation of which is accompanied

Volume 6 (1) 2025

Professional Art Education

by an individual’s spiritual and aesthetic self-

improvement. The meaning of professional self-

determination is in an individual’s ability to

develop oneself and their individual history, to

constantly rethink one’s own essence from the

standpoint of professional norms. An individual’s

self-determination involves not only “self-

realization”, but also the expansion of their original

capabilities – “self-transcendence” (according to V.

Frankl): the fullness of human life is determined

by its transcendence, that is, the ability to “go

beyond oneself”, and most importantly – in a

person’s ability to nd new meanings in a specic

matter and in life as a whole. It is the meaning that

determines the essence of self-determination, self-

realization and self-transcendence (V. Tusheva,

2023).

Thus, based on the analysis of the

phenomenon underresearch and identifying

its essence, the following denition of the

concept of “a misic teahfer’s professional self-

improvement” is offered: it is a permanent process

of approaching the pedagogical and artistic

ideal through self-realization, self-development

and self-determination, which is reected in

the development and formation of a music

teacher’s professional culture. Professional self-

improvement is ensured by the functioning of

reective actions and is carried out with the help

of consciousness, which implements the functions

of control and evaluation, builds a strategy and

tactics of life and professional activity of an

individual who is aware of their own social and

cultural image of a professional.

An effective means of a future music teacher’s

formation of professional self-improvement is their

professional training, which requires re-thinking

and updating in new socio-cultural conditions.

Professional training should be based on a new

educational paradigm in which values and culture

act as ideals. The humanistic paradigm represents

the theoretical and methodological basis for the

formation of a strategy for professional teacher

training, determining its ideology, content, and

technologies.

Theoretical, methodological and

methodological aspects of teacher training are

reected in the works by such scientists as

V. Hrynyova, N. Guziy, I. Zyazyun, V. Kremen,

N. Nychkalo, O. Pehota, V. Semichenko, L. Khoruzh

and others. These researchers focus their attention

on activity- and personality-oriented, humanistic

and axiological approaches to training future

specialists in new socio-cultural conditions.

L. Khoruzh interprets professional training

as a combination of, on the one hand, theoretical

knowledge, practical skills, experience and, on the

other hand, personal and professional qualities

of a teacher, which are aimed at ensuring the

effectiveness and eciency of pedagogical action

(L. Khoruzh, 2016). It is entirely justied in the

scientic works by V. Semichenko that future

teachers’ professional training is considered in three

dimensions: as a process in which future specialists’

professional development is concentrated; as

the goal and result of the educational activity of

higher education institutions; and as the meaning

of involving students in educational-cognitive

activities (V. Semichenko, 2007).

If we consider professional training as the

one aimed at the formation and development of

a certain educational qualication, which under

certain conditions will conrm a future specialist’s

ability and readiness to perform specialized tasks

in a certain professional eld, then the concept of

“professional training” will be interpreted more

broadly, since it covers not only specialized, but

also general educational and general cultural

knowledge. Therefore, we consider the concept of

professional training as the one that is determined

by the specialty and is associated with the musical

and performing activities of a teacher of musical

art. A music teacher’s professional activity involves

a wide range of musical and performing activities:

vocal, instrumental, conducting and choral.

The analysis of scientic sources (N. Guziy,

A. Kozyr, V. Fedoryshyn, and others) makes it

possible to note that professional training is an

important component of the process of a music

teacher’s professional training. Professional

training, rstly, is a system-forming factor in the

process of training students of higher pedagogical

educational institutions, and secondly, it acts as a

kind of link that permeates each of its components.

Future music teachers’ professional self-

improvement is determined by the integrity and

purposefulness of professional training, the need

for continuous professional development and self-

education of a specialist’s personality.

From the position of V. Fedoryshyn, the

Professional Art Education Volume 6 (1) 2025

Scientic Journal

essence of a music teacher’s professional training

as a holistic personal formation indicates a high

level of their informative awareness in the eld of

musical art, the ability to artistic and interpretative

work and competence in the eld of musical and

pedagogical activity, which will ensure the success

of professional and pedagogical activity in the

interaction and interdependence. The scientist

emphasizes that continuous self-improvement

(long-life) of a music teacher in productive activity,

due to the formation of motivational and reective

stimuli, will ensure the quality of his professional

preparedness (V. Fedoryshyn, 2014).

Considering professional training as a process

of musical education of a music teacher, which

is mediated by pedagogical values nd aimed at

mastering, on the one hand, knowledge, and on

the other - practical skills, experience in artistic

activity, V. Fedoryshyn concludes that the quality

of such training within the framework of a higher

school of art education depends on the adequately

dened and implemented personal strategy for

achieving the acme level in accordance with

professional development (V. Fedoryshyn, 2014).

A music teacher’s professional training is

determined by the qualitative characteristics of

musical and performing activity and a teacher’s

readiness to implement it. The results of the study

of scientic sources indicate that the issues of

musical and performing activities are under the

close attention of cultural scientists, teachers,

psychologists, sociologists, art historians, etc.

Thus, in the works of teacher-musicians such as

H. Karas, Z. Kartashova, L. Labintsev, V. Labunets,

H. Padalka, O. Rostovsky, V. Shulgin, O. Shcholokov,

and others, the theoretical and methodological

aspects of the problem of musical performance

are highlighted, related both to the interpretative

component, the abilities of the creative personality

of the musician-artist, and the performing features

of this type of activity.

For Zh. Kartashova, musical and performing

training represents an integrative wholeness that

has a common goal – to form students’ readiness

for musical and pedagogical activity in various

educational institutions; it is a complex dynamic

system that has functions that ensure its stable and

dynamic existence. Zh. Kartashova conditionally

divides these functions into two groups: internal

(educational, instructional, and formative),

which reect the capabilities of the system itself,

the interconnection and interdependence of

its components; and external (integrating and

coordinating), which dene the relationship

between the musical and performing training of

higher education students and other components

of professional training, their interaction and

causal connections (Zh. Kartashova, 2020).

Musical and performing training of a future

music teachers has the following regularities:

it is conditioned by the needs of the spiritual

development of society, the tasks of artistic and

aesthetic education, cultural education, the

requirements of the school curriculum “Art”; the

correspondence of the content, forms, and methods

of musical performance training to the level of

development of pedagogical science and practice,

and the content of musical-pedagogical activity;

the interconnection of the goals, functions, content,

and methods of musical performance activities of

higher education students, which determine the

quality of the above-mentioned training.

Music teachers (G. Karas, V. Labunets,

L. Martyniuk, etc.) quite rightly emphasize that the

main goal of musical and performing activity is

a deep penetration into the content of works, the

achievement and transmission of what constitutes

the spiritual world of a composer, his understanding

of reality. The disclosure of the content of a musical

work, according to the scientists, is impossible

without nding the necessary sound, which is

ensured by the close relationship of musical and

auditory representations with the entire system

of performing knowledge, skills, and abilities. The

images created by a composer, in the performing

embodiment, are determined by a performer’s

worldview, their creative manner, temperament,

imagination, taste, and level of skill. As a result, the

performing artistic image, with which listeners’

evaluation of the work is largely connected,

acquires an independent meaning in a performer’s

mind, since it may reveal such values that were not

in the original image.

As O. Shchelokova points out, interpretative

and pedagogical mastery fully sets high demands

on their professional activity, and the formation

of such quality requires the application of a set of

effective methods and pedagogical techniques that

ensure the success of this process. We understand

this exploratory process as the “transformation” of

Volume 6 (1) 2025

Professional Art Education

artistic experience into a new formation – artistic

and pedagogical knowledge, through which

objective concepts of a work of art are combined

with the corresponding experience of students,

contributing to the activation of creative potential

and the liberation of the “deep layers” of their

worldview (O. Shchelokova, 2023).

The process of performing creativity is not

only an act of embodying a composer’s idea,

but also the creation of one’s own performing

interpretation. In this context, the degree of

relative independence of the creative activity of a

musician-performer is determined by the norms

of musical life of each era, which are enshrined in

the relevant musical and aesthetic theories. Thus,

the activity of a musician-performer as a creative

personality reveals the extent to which they have

mastered the musical culture of society. If we

approach the performance, the result of which is

a musicuans’ reproduction of the values of culture

of society, then this means that the performer is “a

creative personality, a son of their era, culture, and

people” (Z. Lastovetska-Solanska, 2024).

The recognition and establishment of the

meaning structure of musical works is ensured by

phenomenological reection, which we dene as

a prerequisite for professional self-improvement.

In particular, on the example of revealing the

factors of the meaning of a musical work by future

teachers, its differences and connections between

components, determine its meaning precisely as

it is perceived and understood by the learners

themselves. To realize the meaning of a musical

work in this context means: a performer’s grasp

of certain ways of understanding art; deepening

their understanding based on the exploration of

new cognitive elds within existing art theories.

Thus, new opportunities for self-knowledge and

self-identication by means of phenomenological

reection open up for for the consciousness

of future music teachers. In the new meaning

orientation, the professional actions of a future

music teacher regarding the determination of the

role of a musical work acquire a new direction, as

well as the vision of the meaning of shaping their

own professional culture through the experience

of spiritual-aesthetic feelings.

It can be argued that musical performance

activity, as the foundation of a holistic music-

pedagogical process, has an impact and

contributes to the formation of personal qualities

of a teacher-musician, particularly in professional

self-development and self-improvement, and

serves as a universal means of engaging with

cultural and artistic values. In the context of the

professional development of a teacher-musician,

musical performance activity is understood as

the manifestation of the artistic and meaningful

essence of a work, and the emotional embodiment

of a musical image through the implementation

of the author’s value determinants. Artistic

interpretation of musical works is an important

mechanism for the professional development

of a teacher within the framework of musical

performance training.

As a result, the cognitive component

and overall intellectualization in the musical

performance process are enhanced, and a teacher’s

consciousness is enriched with developed systems

of representations and concepts related to specic

performance material.

We consider it appropriate, in the current

conditions of the development of higher artistic

education, to implement a transprofessional

approach in professional training, which implies

multidimensionality, interdisciplinarity, and

future teachers’ readiness to acquire and perform

a wide range of activities in the future; the

synthesis of knowledge from various scientic

elds. Therefore, it is precisely in artistic education

that transprofessional renewal of the system for

training students can become highly productive

(I. Glazunova, 2024).

In this context, we turn to the scientic views

of H. Padalka, who emphasizes the need to expand

the functional dimensions of the future activities

of students, capable of exible adaptation to

the demands of the present. The concept of

“transprofession” is rightly introduced into the

scientic and pedagogical context, providing

an understanding of a learner’s cognitive

activity, which is the result of the combination of

competencies formed in various specialized elds

of artistic and pedagogical activity, and the ability

of the future teacher to perform a wide range of

actions (H. Padalka, 2004).

Thus, the essence of professional training is

seen in its transprofessional renewal, integrity,

systematicity, integrativeness, interdisciplinarity,

interdependence of all structural components,

Professional Art Education Volume 6 (1) 2025

Scientic Journal

interaction with different types, genres, styles,

and directions of art, as well as musical works

that have become history and pave their way

to the consciousness and historical memory of

humanity. In this way, the cognitive component

and overall intellectualization in the musical-

performing process will be enhanced, reective

thinking will be formed and the “self-concept” of

the musical work will be created in a performer’s

consciousness, which, in turn, will ensure future

music teachers’ professional self-improvement

and self-development.

Conclusions. Thus, the essence of the concept

of “future music teacter’s professional self-

improvement” in philosophical, psychological

and pedagogical aspects is revealed; the author’s

interpretation of this personal phenomenon is

given, and the relationship between professional

self-improvement and a teacher’s professional

culture is shown. Future music teachers’

professional training, in which professional self-

improvement occupies a dominant place as an

integrating activity, acquires a new content, and

is characterized by cultural multidirectionality,

transprofessional nature, and interdisciplinary. It

is focused on a student’s spiritual, cognitive and

value-based activity, the development of their

ability for socio-cultural action, the formation

of a holistic personality of a a teacher-musician,

capable of professional self-improvement through

the development of motivational and reective

stimuli.

The prospects for further research and

recommendations. The direction of further

scientic research will focus on a comparative

analysis of the experience of forming professional

self-improvement of future teachers-musicians in

different countries with an emphasis on identifying

the value orientations of their professional

training.

Volume 6 (1) 2025

Professional Art Education

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Professional Art Education Volume 6 (1) 2025

Scientic Journal

Надійшла до редакції / Received: 04.05.2025

Рекомендовано до друку / Accepted: 23.06.2025

Volume 6 (1) 2025

Professional Art Education

DOI https://doi.org/10.34142/27091805.2025.6.01.07

ОБҐРУНТУВАННЯ СУТНОСТІ ПРОФЕСІЙНОГО

САМОВДОСКОНАЛЕННЯ МАЙБУТНІХ УЧИТЕЛІВ

МУЗИЧНОГО МИСТЕЦТВА У ПРОЦЕСІ ФАХОВОЇ

ПІДГОТОВКИ

доктор педагогічних наук, професор

кафедри музичного мистецтва, ХНПУ

імені Г.С. Сковороди

Харків, Україна

email: tushevavikla@gmail.com

https://orcid.org/0000-0002-9451-0532

У статті досліджується проблема професійного самовдосконалення вчителя музичного ми-

стецтва, яке у нових соціокультурних умовах, де культура і цінності набувають пріоритетного

значення, виступає головним чинником у становленні професійної зрілості майбутнього фахів-

ця. Розкрито сутність поняття «професійне самовдосконалення вчителя музичного мистецтва»

у філософському, психологічному і педагогічному аспектах, дана авторська інтерпретація цього

особистісного феномену, розкрито взаємозв’язок професійного самовдосконалення і професійної

культури вчителя. Доведено, що фахова підготовка майбутнього вчителя музичного мистецтва, в

якій професійне самовдосконалення займає домінантне місце як інтегруюча якість, набуває нового

змісту, характеризується культурною багатовекторністю, трансфесійністю, міждисциплінарністю,

цілісністю, передбачає діалогічне спілкування з різними видами, жанрами, стилями і напрямами

мистецтва, музичними творами, які стали історією. Показано, що у такий спосіб буде посилюватися

когнітивна складова і загальна інтелектуалізація у музично-виконавському процесі, формуватися

рефлексивне мислення і створюватися у свідомості виконавця «Я-концепція» музичного твору, що

в комплексі забезпечить професійне самовдосконалення і саморозвиток майбутнього вчителя му-

зичного мистецтва.

Методи дослідження. Для досягнення мети були застосовані наукові методи, які створюють

своєрідну методику обраного дослідження, а саме: аналітичні щодо вивчення наукового фонду; ін-

дуктивно-дедуктивний і узагальнення у розкритті сутнісних характеристик досліджуваного педаго-

гічного явища, його закономірностей функціонування та розвитку; метод моделювання у створенні

моделі фахової підготовки майбутніх учителів музичного мистецтва.

Мета і завдання статті. Метою статті є обґрунтування сутності і змісту професійного самовдо-

сконалення майбутніх учителів музичного мистецтва в контексті сучасних концепцій; визначення

таких ключових понять дослідження як «професійне самовдосконалення», «самовиховання», «само-

розвиток», «професійна самореалізація», «професійна культура»; виявлення ціннісних пріоритетів

фахової підготовки вчителів-музикантів як головного чинника їх професійного самовдосконалення.

Результати. Удосконалено теорію професійного самовдосконалення майбутніх учителів му-

зичного мистецтв, завдяки обґрунтуванню теоретичних положень щодо зазначеного особистісного

феномену; виявленні особливості фахової підготовки, яка характеризується культурною багатовек-

торністю, трансфесійністю, міждисциплінарністю, в якій акцентується увага на музично-викона-

вській та інтерпретаційній діяльності, що вплине на формування і розвиток професійного самовдо-

сконалення вчителя-музиканта.

У висновках зазначається, що поняття фахова підготовка стає дієвим засобом формування про-

фесійного самовдосконалення майбутнього вчителя-музиканта, яка потребує переосмилення і онов-

лення в нових соціокультурних умовах; гуманістична парадигма представляє теоретико-методоло-

гічне підґрунтя формування стратегії фахової підготовки учителя, визначаючи її зміст і технології.

Пріоритетне значення у фаховій підготовці займає музично-виконавська діяльність, яка передбачає

визнання й устабільнення смислової структури музичних творів, забезпечується феноменологіч-

ною рефлексією, яка визнається передумовою професійного самовдосконалення вчителя. Розглядає-

мо поняття «професійна культура» як засадниче у розкритті сутнісних характеристик професійного

самовдосконалення вчителя-музиканта як особистісного феномену, що вплине на подальший про-

фесійний саморозвиток і самореалізацію митця.

Ключові слова: професійне самовдосконалення, самовиховання, саморозвиток, професійна са-

мореалізація, професійна культура, фахова підготовка.

Professional Art Education Volume 6 (1) 2025

Scientic Journal