Методологічні засади розвитку музичності молодших школярів

У статті розглянуто методологічні засади розвитку музичності молодших школярів у процесі фортепіанного навчання. Проаналізовано потенціал діяльнісного, особистісно зорієнтованого та гедоністичного підходів і окреслено можливості їх інтеграції в єдину педагогічну систему. Доведено,
що інтеграція зазначених підходів сприяє формуванню музичності як інтегральної яко особистості, розвитку самостійності молодших школярів, їх інтересу до музики та здатності до інтерпретації художніх образів.

The article substantiates the methodological foundations of developing musicality in primary schoolchildren within the process of piano education, emphasizing the importance of this phenomenon for the overall artistic and personal growth of children. Musicality is considered not only as a set of musical abilities but also as an integral personal quality that ensures the emotional, intellectual, and creative involvement of the learner in music. Particular attention is paid to the theoretical justification and practical application of three leading methodological approaches – the activity-based, learner-centered, and hedonic approaches.
Their potential in the process of piano training is revealed, as well as the interrelation of these approaches and their possibilities for integration into a unified pedagogical system. The activity-based approach is shown to provide conditions for the development of skills through purposeful musical activity, forming the basis of independence and self-expression in performance. The learner-centered approach emphasizes the individual characteristics, needs, and interests of each pupil, allowing for the personalization of music education and the creation of a favorable learning environment. The hedonic approach, in turn, highlights the emotional and aesthetic component of musical activity, ensuring the development of interest in music, pleasure from artistic interaction, and the formation of value-based orientations.
It is proved that the integration of these approaches makes it possible to overcome the limitations of each taken separately and contributes to a more holistic influence on the development of musicality in primary schoolchildren. Such integration creates pedagogical conditions that stimulate the independence of pupils, deepen their interest in music, and foster their ability to interpret artistic images. The study argues that a systemically organized pedagogical process, based on the synthesis of the above-mentioned approaches, ensures the effective development of musicality as a complex personal quality and provides the necessary prerequisites for further artistic and creative growth of the younger generation.