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УДК 378.147:37.011.3-051:78]:378.018.43/.018.5
PECULIARITIES OF PRACTICAL TRAINING OF MUSIC ART TEACHERS BY MEANS OF
CONDUCTOR-CHORAL DISCIPLINES UNDER CONDITIONS OF MIXED LEARNING
Васильєва Оксана
кандидат педагогічних наук, до-
цент кафедри музичного мистецтва
ХНПУ імені Г.С. Сковороди,
Харків, Україна
email: oksana.vasylieva@hnpu.edu.ua
Королевська Тетяна
провідний концертмейстер кафедри музично-
го мистецтва ХНПУ імені Г.С. Сковороди,
Харків, Україна
email: t.korolevska@hnpu.edu.ua
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.
Scientic novelty. The study substantiates the transformation of traditional conductor-choral
disciplines into a digital educational ecosystem. Technological stages of training are classied, 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.
Keywords: mixed learning, conductor-choral disciplines, future music art teachers, digital technologies,
choral conducting, choral arrangement, interactive methods, music-pedagogical education.
Vasilyeva Oksana
Candidate of pedagogical sciences, associate
professor of the department of musical art
H.S. Skovoroda Kharkiv National Pedagogical
University, Kharkiv, Ukraine
email: oksana.vasylieva@hnpu.edu.ua
Korolevska Tetiana
Leading accompanist of the department of musical
art H.S. Skovoroda Kharkiv National Pedagogical
University, Kharkiv, Ukraine
email: t.korolevska@hnpu.edu.ua
DOI https://doi.org/10.34142/27091805.2026.7.01.06
53
This work is licensed under a Creative Commons Attribution
4.0 International
Professional Art Education Volume 7 (1) 2026
Scientic Journal
54
Problem statement and its connection with
important scientic or practical tasks. A number
of unprecedented challenges caused by the security
situation in Ukraine and the forced territorial
disunity of participants in the educational process
have put pedagogical education in the position of
ensuring a radical rethinking of classical education
systems. In these conditions, the introduction of
exible blended learning models that can preserve
the quality of professional training with limited
classroom resources has become an alternative
vector. These transformations are especially
acute in the training of future teachers of musical
art, where the foundation of professionalism is
traditionally a complex of conducting and choral
disciplines. The specicity of these courses is
integrally connected with direct interpersonal
contact, live communication between the conductor
and the collective, and synchronous performance,
which is practically impossible to fully reproduce
in the digital space. The long practice of isolated
online learning has clearly voiced such problems
as technical support for sound on the network, the
impossibility of full-edged ensemble singing in
real time and the complexity of current control,
which led to the choice of a mixed format as the
Васильєва Оксана & Барабаш Ольга
Volume 7 (1) 2026Professional Art Education p-ISSN-2709-1791e-ISSN-2709-1805
Мета статті - обґрунтування теоретико-методологічних основ та практичних особливостей
інтеграції традиційної диригентсько-хорової підготовки з цифровими технологіями та онлайн-освіт-
німи платформами. Об’єктом дослідження є практична підготовка майбутніх викладачів музичного
мистецтва засобами диригентсько-хорових дисциплін в умовах змішаного та дистанційного навчан-
ня.
Методи та методологія. Дослідження базується на системно-діяльнісному, компетентнісно-
му, особистісно-орієнтованому, технологічному та міждисциплінарному підходах. Були застосовані
методи аналізу, синтезу, систематизації, спостереження та узагальнення педагогічного досвіду.
Наукова значимість. У дослідженні обґрунтовано трансформацію традиційних диригентсь-
ко-хорових дисциплін у цифрову освітню екосистему. Класифіковано технологічні етапи навчання,
включаючи асинхронну роботу в MuseScore та Sibelius, синхронну взаємодію в Zoom та Google Meet, а
також цифрову обробку звуку в Audacity, Adobe Audition, BandLab та Melodyne. Підкреслено необхід-
ність модернізації моделі взаємодії «викладач – студент – концертмейстер».
Результати. Інтеграція хмарних сервісів, музичного програмного забезпечення та інтерактив-
них методів підвищує ефективність диригентсько-хорової підготовки та сприяє розвитку комуніка-
тивних, організаційних, медійних та цифрових компетенцій. Студенти отримують досвід у створенні
віртуальних хорів, мультимедійних проектів та освітнього відеоконтенту.
Висновки. У ході дослідження доведено, що впровадження інтерактивних методів, хмарних
сервісів (Moodle) та спеціалізованого музичного програмного забезпечення дозволяє ефективно
компенсувати відсутність постійного живого контакту із хором. Диригентсько-хорові дисципліни в
умовах змішаного навчання трансформуються у потужний технологічний тренажер, який не лише
забезпечує засвоєння фахових знань, а й формує адаптивного, медіапрезентабельного та цифрового
грамотного вчителя нового покоління, готового до професійної самореалізації в умовах інтенсивної
цифровізації освітнього простору.
Ключові слова: змішане навчання, диригентсько-хорові дисципліни, майбутні вчителі музич-
ного мистецтва, цифрові технології, хорове диригування, хорове аранжування, інтерактивні методи,
музично-педагогічна освіта.
ОСОБЛИВОСТІ ПРАКТИЧНОЇ ПІДГОТОВКИ ВЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА
ЗАСОБАМИ ДИРИГЕНТСЬКО-ХОРОВИХ ДИСЦИПЛІН В УМОВАХ ЗМІШАНОГО
НАВЧАННЯ
55
most balanced compromise. In this regard, there is
an urgent need to highlight the specic features of
students’ practical training, deauditory choirmaster
work should be organically supplemented and
strengthened by modern digital tools, audio
editors and remote management platforms. The
specied problem is consistently related to state
tasks regarding the digitalization of the industry in
the context of crisis response, which are recorded
in the Law of Ukraine On Higher Education and
Higher Education Standards in the specialty
Secondary Education (Musical Art). In the scientic
dimension, the study solves the important task
of theoretical and methodological substantiation
of new forms of synergy of traditional musical
pedagogy and innovative digital tools, directing
efforts to overcome the correspondence between
the objective need for a high level of conductor-
choral competence of the graduate and the
insucient development of methodological systems
for its formation in the conditions of integration of
oine and online environments. In the practical
aspect, the development of this topic is reected
in the quality of the future teacher’s readiness for
real professional activity, since a modern school
requires a teacher-musician not only to possess
manual techniques or vocal-choral skills, but also
the ability to create media content, manage school
virtual projects and organize independent work
of students using cloud services. Thus, optimizing
practical training through conducting and choral
disciplines in blended learning is a relevant
practical task that ensures exibility, adaptability,
and competitiveness of the future teacher of music
in a minimal socio-cultural space.
The article goals and objectives formulation.
The purpose of the article is to reveal the peculiarities
of practical training of future music art teachers
by means of conductor-choral disciplines under
conditions of mixed learning and to determine the
pedagogical potential of interactive methods and
digital technologies in the formation of professional
competencies.
Analysis of basic research and publications.
The state of scientic development concerning
conductor-choral disciplines in the context of
digitalization, interactive methods, and distance
learning is represented by a range of contemporary
pedagogical and methodological studies. Together,
these publications form a comprehensive
understanding of the transformation of modern
music education under the inuence of digital
technologies and innovative educational approaches.
Within the framework of the selected
research topic, the works of O. Vasylieva and A.
Sokolova (2021), O. Vasylieva (2021), O. Vasylieva,
T. Korolevska, and Ye. Podkopai (2022), as well as
O. Vasylieva and T. Herasymenko (2022), are of
particular importance. These studies focus on the
specicity of teaching conductor-choral disciplines
in the professional training of future music teachers,
the organization of distance learning through
digital platforms, and the adaptation of conductor
training to online educational environments.
Considerable attention is devoted to the practical
aspects of conductor-choral education, including
the role of the accompanist in distance learning,
the preparation of future music teachers for work
with choirs, and the use of Moodle and other online
platforms in conductor-choral training.
The issues of assessment and professional
preparation in online educational contexts are
further explored in the study by O. Vasylieva
(2023), which examines the distance format of
qualication examinations in choral conducting.
The broader challenges of distance learning in
artistic specialities are addressed by O. Vasylieva
and V. Fomin (2024), who analyze the advantages
and limitations of remote learning within higher art
education institutions. Their research emphasizes
the necessity of integrating digital technologies
into the educational process while preserving the
practical and creative nature of conductor-choral
training.
The methodological and creative aspects of
teaching conductor-choral disciplines are revealed
in the works of Ye. Karpenko (2021), N. Mykhailova
(2023), and I. Martynenko (2024). Ye. Karpenko
investigates algorithms of students’ independent
work in the process of studying choral arrangement,
highlighting the importance of structured creative
tasks and self-directed learning. N. Mykhailova
examines choral arrangement as a means of realizing
the creative potential of future choirmasters and
emphasizes the role of interactive educational
environments in fostering experimentation and
artistic self-expression. I. Martynenko focuses on
the implementation of interactive teaching methods
in conductor-choral disciplines, particularly group
projects, brainstorming, collaborative analysis, and
Vasilyeva Oksana & Korolevska Tetiana
Professional Art Education Volume 7 (1) 2026
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56
workshop-based activities aimed at developing
students’ creativity and communication skills.
The technological dimension of modern
conductor-choral education is reected in the
studies of K. Kushnir and T. Rastruba (2021), as well
as H. Stets (2018). These researchers analyze the
application of music-computer technologies and
information and communication technologies in
the process of studying conductor-choral disciplines.
Special attention is paid to software such as
MuseScore and Sibelius, which enable students to
visualize musical ideas, edit scores in real time, and
improve their creative and analytical skills through
digital tools.
Despite the growing number of studies devoted
to conductor-choral education, interactive learning,
and digital technologies in music pedagogy,
several aspects remain insuciently explored. In
particular, further theoretical and methodological
substantiation is needed regarding the integration
of interactive methods into the teaching of
conductor-choral disciplines, the development of
students’ creative autonomy in online educational
environments, and the pedagogical potential of
digital tools for enhancing collaborative and artistic
activities in conductor-choral training.
Presentation of the main material. One of
the most challenging tasks in remote choral practice
is organizing a high-quality process for rehearsing
the choral repertoire without direct, live contact
with the singing ensemble. Under such conditions,
implementing the curriculum of the «Choral Class»
requires the active integration of digital and audio
technologies, which currently serves as a key
innovation in the system of music pedagogical
education. As researchers note, the specics of
teaching conducting and choral disciplines during
the preparation of future music teachers shift
into the plane of integrating live performance
with the virtual educational space (O. Vasylieva, T.
Herasymenko, 2022).
In this context, the organization of students’
independent work becomes a basic technological
stage, where the music notation software MuseScore
serves as the primary digital tool. Students are
engaged in creating MIDI scores and individual MIDI
parts, which provide choristers with both a visual
resource and quality audio support. Such modeling
of their own part’s sound allows for the effective
study of musical material in an asynchronous mode,
signicantly improving intonation accuracy and
intensively developing the auditory skills of future
specialists (О. Vasylieva, T. Herasymenko, 2022).
Along with this, nding effective solutions
for real-time interaction is equally important. For
synchronous rehearsal work, it is advisable to use
the Zoom platform, the innovative potential of which
lies in its breakout rooms functionality. Dividing the
choir into separate local working groups (by voice
parts or levels of vocal and choral training) enables
a differentiated, personality-oriented approach.
Furthermore, it provides a unique opportunity
for synergetic interaction, allowing a choirmaster,
an accompanist, and a student-trainee to work
simultaneously within a single digital space. At the
same time, the Moodle distance learning platform,
which structures the entire educational content,
becomes indispensable for systematic quality
control of material mastery and managing students’
independent work in an asynchronous format
(O. Vasylieva, 2020).
The logical conclusion and highest innovative
stage of practical training is the creation of
virtual versions of choral compositions, which is
particularly relevant during nal assessments in
a remote format (O. Vasylieva, 2023). This process
involves successive creative and technological work:
rst, students record their own performing parts on
mobile devices, after which they move on to working
with professional audio editors (Audacity, Adobe
Audition, or BandLab). Within these programs,
they perform multichannel audio mixing and
mastering, combining separate tracks into a unied
choral canvas. To nely correct intonational aws
and achieve ideal ensemble blending, students
implement specialized software like Melodyne.
Such comprehensive activity not only fullls the
requirements of the educational curriculum but
also acts as a powerful technological simulator that
develops the future teacher’s analytical ear and
prepares them for subsequent practical work with
a «live» choral ensemble.
In parallel with the work in the «Choral Class»,
another fundamental component of professional
training undergoes equally radical transformations
— the course of «Choral Conducting», where
modern innovative technologies occupy a key place,
signicantly increasing the effectiveness of forming
manual and interpretative skills of future music
teachers. In particular, the application of multimedia
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57
technologies, the analysis of video and audio samples,
the organization of instant feedback via virtual
whiteboards, and the use of screen video recordings
during students’ conducting performances allow
for the combination of traditional methods with
modern digital tools. In organizing such practical
activity, the use of electronic platforms combined
with active learning methods proves effective,
enabling students to analyze conducting techniques,
perform practical exercises remotely, and receive
timely pedagogical feedback.
This approach is fully consistent with the
scientic ndings of researchers who emphasize
the profound specicity of teaching conducting
and choral disciplines in modern higher education
institutions, where the traditional individual
interaction between teacher and student is
transferred into a high-tech digital space (О.Vasylieva,
А. Sokolova, 2021). The Moodle distance learning
environment acts as a core system-forming element
in this process, allowing for the structuring of the
course’s methodological support, the placement of
interactive video atlases of conducting patterns, the
implementation of clear step-by-step monitoring
of the student’s individual learning trajectory, and
the establishment of high-quality asynchronous
communication (О. Vasylieva, 2021).
A specic technological and methodological
challenge within the remote format is the
reorganization of the tripartite interaction «teacher
– student – concertmaster», which under classroom
conditions forms the basis for developing a
conductor’s professional thinking. Practice proves
that the specics of an accompanist’s work in a
choral conducting class under distance learning
conditions require the creation of exible interaction
algorithms, including the pre-recording of high-
quality sound accompaniment (audio illustrations
of choral scores), synchronization of actions during
online sessions, and joint analysis of video tracks
showing the student conducting to a backing track
(О. Vasylieva, Т. Korolevska, Ye. Podkopai, 2022).
In this way, the integration of electronic
platforms, multimedia feedback tools, and modied
methods of accompaniment creates a cohesive
digital ecosystem that compensates for the lack of
«live» communication and ensures the high quality
of practical conducting training for the future
teacher.
Building upon the technological ecosystem of
conducting training, the innovative modernization
of the educational process also extends to another
creative component of practical preparation—
the study of choral arranging. According to B.
Kyshakevych and T. Rastruba, the computerization
and digitalization of modern society activate
innovative pedagogical approaches that foster the
formation of professional skills and the personal
development of music pedagogical education
students (K. Kushnir, T. Rastruba, 2021). One of
the vital areas of such activity is choral arranging,
which, as dened by Ye. Karpenko, encompasses the
redistribution of voices, the creation of harmonies,
the selection of instrumental accompaniment, and
the development of the piece’s structure.
Choral arranging develops the performing
and creative abilities of students, fosters musical
thinking, and renes performing mastery (Ye.
Karpenko, 2021). N. Mykhailova emphasizes that
interactive teaching methods create an environment
for creative experimentation, stimulating critical
thinking and the students’ active engagement with
the instructional material (N. Mykhailova,2023).
Group creative projects, cross-disciplinary
collaboration, brainstorming methods, the analysis
of choral arrangements, and online discussions
prove highly effective and gain particular relevance
under distance learning conditions.
The utilization of platforms such as Zoom, Google
Meet, or Microsoft Teams ensures collaborative
teamwork on projects, prompt feedback, and the
ability to archive the results of creative activities.
A signicant role is played by masterclasses and the
«guest experts» method, which enable students to
gain practical experience directly from professional
arrangers and composers. Alongside this, music
workshops focused on practical interaction and
the collective resolution of creative tasks are being
actively implemented. O. Vasylieva, K. Kushnyr,
T. Rastruba, Ye. Karpenko, I. Martynenko, and
N. Mykhailova highlight the critical importance
of digital tools in music education. According to N.
Mykhailova and H. Stets, software such as MuseScore
and Sibelius provides the opportunity to visualize
musical ideas, edit scores in real time, listen to the
results of the arrangement, and distribute them
in various formats, which is especially important
in a remote learning environment. Ultimately, the
application of interactive methods and digital
technologies signicantly enhances the eciency
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58
of teaching choral arranging, harmoniously
combining the mastery of theoretical knowledge
with the development of students’ practical and
creative skills.
Expanding beyond the foundational and
creative dimensions of the core curriculum, this
technological synergy also deeply transforms
elective courses, turning them into vital platforms for
mastering contemporary digital methodologies. This
is particularly evident in elective disciplines such
as «Event-Art Technologies in Children’s Musical
Performance (Children’s Choral Performance)» and
«Collective Forms of Artistic Activity (Practicum of
Work with a Children’s Choir)». Within «Event-Art
Technologies in Children’s Musical Performance»,
event-art serves as an innovative educational
technology that requires academic staff to integrate
event management and IT technologies into
the learning process, as modern choral events
increasingly incorporate performance elements,
video art, and lighting effects.
Practical training is realized through the
development and organization of children’s choral
ashmobs—unexpected, coordinated performances
that teach independent preparation and engagement
in public spaces—as well as choral marathons and
choral shows modeled after projects like the «Battle
of the Choirs» (О. Vasylieva, 2024).
Furthermore, this approach necessitates a
detailed analysis of the domestic competitive and
festival choral landscape. Newer formats, such as
internet competitions and virtual choir festivals,
demand specic skills from students as future
ensemble leaders. These include intensive work
with distance formats, alongside the expertise
of a sound engineer and an IT specialist to mix
individual vocal tracks into a unied, cohesive
sound—a shift that serves as a direct catalyst for
incorporating relevant technical and IT disciplines
into curricula. This comprehensively develops the
students’ necessary communicative, organizational,
and stage competencies, preparing them to create
interactive performances and competitive projects
within the sphere of children’s musical performance.
In the context of the intensive digitalization of
the educational environment, the instruction of both
the «Practicum of Work with a Children’s Choir»
and «Event-Art Technologies in Children’s Musical
Performance» acquires strategic importance, as it is
directly aimed at developing students’ competence
in creating didactically effective video content.
Specically, in the «Collective Forms of Artistic
Activity» practicum, students master the technical
expertise required for audio processing, focusing
on mixing individual vocal parts in audio editors,
which is vital for organizing high-quality virtual
choral performances. Concurrently, the discipline
«Event-Art Technologies in Children’s Musical
Performance» focuses on event design, cultivating
students’ creative thinking and aesthetic taste to
develop artistic concepts and visual styles. This
approach ensures a powerful synergy of audio and
visual elements to achieve a unied artistic effect,
while also fostering a media-presentable image
for the future educator, as outlined in the studied
research.
Conclusions. Thus, the model of blended
learning serves as a exible and indispensable
organizational and methodological foundation
for the holistic comprehension and effective
implementation of the practical training of a
music teacher within the context of contemporary
pedagogical education. It is oriented toward
achieving high professional competence by
harmoniously integrating traditional classroom
choir management with cutting-edge digital, audio,
and event technologies. Based on the analysis of
current research and practical experience, it can
be stated that the professional growth of a future
conductor-educator in these conditions is an
adaptable, technology-driven process.
It encompasses not only the acquisition
of manual conducting techniques and vocal-
choral skills but also the development of digital
literacy, audio editing expertise, virtual event-
design capabilities, and interactive leadership
qualities. Therefore, the blended approach to the
training of future music teachers aims at shaping
a multidimensional professional identity, enabling
the specialist to act effectively in both physical and
virtual educational spaces, seamlessly managing
hybrid choral rehearsals, creating didactically
valuable media content, and successfully leading
competitive children’s art projects.
Volume 7 (1) 2026Professional Art Education p-ISSN-2709-1791e-ISSN-2709-1805
Васильєва Оксана & Барабаш Ольга
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Professional Art Education Volume 7 (1) 2026
Scientic Journal
Author Contributions according to CRediT
Vasilyeva Oksana – Data collection and organization; Conceptualization; Methodology; Editing; Material systematization;
Writing – original draft.
Korolevska Tetiana – Material search; Literary analysis; Writing – original draft.
Funding
The research was carried out without nancial support.
Use of Articial Intelligence
Articial Intelligence (AI) tools were applied exclusively for technical support purposes — text editing, translation,
formatting, and structuring of ideas. AI systems were not used for generating conclusions or obtaining primary research
results. Full responsibility for the content of this article rests with the authors.
Conict of Interest
The authors declare no conict of interest regarding this study, including nancial, personal, authorship, or any other
factors that could have inuenced the research or the results presented in this article.
Надійшла до редакції / Received: 15.03.2026
Прорецензовано / Peer-reviewed: 27.03.2026
Рекомендовано до друку / Accepted: 21.04.2026
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Professional Art Education Volume 7 (1) 2026
Scientic Journal
Vasilyeva Oksana & Korolevska Tetiana
