SCIENTIFIC APPROACHES AND PEDAGOGICAL PRINCIPLES AIMED AT THE FORMATION OF PERFORMING POLYPHONIC SKILLS OF THE FUTURE MUSICAL ART TEACHERS IN THE PROCESS OF LEARNING HOW TO PLAY THE PIANO

The problem of improving the quality of music-performing training of the future Music teachers is actualized in the article. In this context, scientific approaches are considered and pedagogical methodical principles enabling the formation of the most complex skills of playing the piano ‒ executive-polyphonic ‒ are presented. On the basis of the selected factors influencing the development of this type of skills, the expediency of the use of the competence-based, culture-based, hermeneutic and style-centred approaches is substantiated. The competence-based approach was chosen taking into account the fact that performing-polyphonic skills provide for a thorough historical and theoretical basis, developed musical abilities, corresponding technological properties of the pianistic apparatus as well as an understanding of the context of polyphonic texture. The culture-based approach allows expanding the horizons of professional training, enriching the substantive content of professional disciplines, in particular playing a musical instrument. The hermeneutic approach is aimed at transforming the process of explaining the idea of a polyphonic piece of work in its interpretation as a musical phenomenon, evaluated through an empathic-mental prism. The style-based approach is a generalized one, as it has close links with previous approaches. Applying the stylistic approach in the process of forming performing-polyphonic skills, the educational process becomes polyparadigmatic, since these approaches complement each other, which makes it possible to create a non-linear methodical system. This methodology contributed to the definition of the basic pedagogical and methodological principles, to be more precise: the unity of the intellectual and activity-oriented, technological and mental components in their focus on the performance of polyphonic works; awareness of polyphony as a polyartistic method; consideration of the cultural affiliation of the polyphonic artistic method; focus on the communicative-mental functions of polyphony in the process of understanding and mastering polyphonic texture; orientation to the semantic context of polyphony in the integral drama of the work; the embodiment of the results of the hermeneutical analysis in the performing interpretation of polyphonic works; consideration of the generalized function of the style-based approach.