Питання формування виконавської культури в аспекті сучасної «педагогіки мистецтва»

Викладено методологічне обгрунтування концепції виконавської культури.
Пропонується два етапи формування виконавської культури: констатуючий – при вивченні музичного твору з точки зору стилю, жанру, технічних засобів, т.і.; та власне формуючий –направлений на розвиток особистісного потенціалу, що закладений у музиканта. Формулюється висновок, що виконавська культура, що розумілася теоретиками та практиками як складне у структурному відношенні явище, має діяльнісну природу та представлена трьома рівнями: технологічним, естетичним та етичним, що у комплексі являють феномен художнього виконання музики.

The aim of this paper is to develop the methods of educating the performing culture in the context of "pedagogy of art." The author suggests the methodological substantiation of the pedagogy of art. The methodological choice is based on a comparison of the positions of K. Leimer, W. Gieseking, A.Cortot with reference to the current positions of piano pedagogy (the works of L. Barenboim, A. Alekseev, G. Tsypin). Pedagogy of art is interpreted as the art of formating and developing personality, as the science of the use of didactic, educational and developmental potential of art in education (O. Otych). On the basis of the comparison of the process of performance and pedagogical principles it is concluded that they are interrelated and continue each other. The process of the development of performing culture is presented as a process aimed at the musician's personality: the development of inherent inclinations and abilities, professional skills, the development of his spiritual needs, ethics and taste. It is proposed to consider two stages of the development of performing culture: an ascertaining stage (when studying the music composition from the point of view of style, genre, technical equipment, etc.) and a developing stage aimed at developing the musician’s personal potential. The paper concludes that the piano performing culture, which originally was interpreted by theoreticians and practitioners of pianism as a complex, multi-level structural phenomenon, has the activity nature and consists of three levels: technological, aesthetic and ethical, which together constitute the phenomenon of
artistic performance of music. The novelty of the research is determined by the approach to pedagogy of art as a process of development of artistic and practical competence. The practical significance consists in identification of pedagogical guidelines including the principle of "multi artistry" as comprehension of art in the unity of its imaginative and semantic as well as material and formative aspects of education.