Educational and artistic specificity of piano works of V.F. Теlychko

The necessity of comprehension of educational technologies‘ application is gaining in significance in the sphere of musical art, instrumental performance due to numerous reforms in the educational system. The art of playing piano is a constituent part of complete higher music education, in particular. Training of performing musicians, pianists, for instance is based upon certain developed teaching principles of representatives of different piano schools. Assessment of efficacy of using one or another musical repertoire and didactic ensuring of music and educational processes are still listed among pressing problems related to piano teaching. Among other important purposes of specialized music education one can single out development of children‘s creative skills, one‘s personal formation of spiritual and cultural experience, based on compositions pertaining to national and world music culture. In such a context the training process of pianists must be all-embracing, in other words, it is must be aimed at performance technique development, mastering both the practical skills of ensemble playing and the language of music itself. The music language exposes artistic and image-bearing contents of compositions, which belong to different genres, epochs and styles. Quite a few modern researchers analyze and generalize works of prominent composers and examine various aspects of music education and cultural development of Transcarpathia. Viktor Telychko is a renowned Transcarpathian composer who created a wide range of piano pieces for children. Many of them happen to feature in the set titled ―Children‘s Album‖. Both artistic and image-bearing content of ―Children‘s Album‖ pieces is amplified with fascinating images and methodical explanations in English and German. The arrangement of pieces is stipulated by a certain cyclicity and subject structuring. The first cycle consists of piano pieces, portraying kith and kin, favorite toys, leisure, entertainments (―Morning‖, ―Our grannie‖, ―Anna‘s Teddy‖, Angelina‘s Hobbyhorse‖, ―Angelina‘s Waltz‖). The second cycle consists of Transcarpathian dances and folk songs‘ intonations (Kolomyjkas‖, ―Tropotianka‖, ―The rain is falling‖, ―About Transcarpathia‖ ). And the third cycle consists of pieces, ensembles such as ―About Scotland‖, ―Long road‖, ―About Slovakia‖, ―About Japan‖ etc. The composer uses these pieces to convey children‘s impressions gained during ―musical journeys‖ to foreign countries. Pieces featuring in Telychko‘s ―Children‘s Album‖ are age-appropriate. Furthermore, they approach pupils‘ individual characteristics, levels of training and abilities. The composer fuses modern musical language with folklore elements, diversifies the shape and instrumentalizes the exposition of music content/material in a distinctive manner. Folk themes and melodies are framed by accompaniment of specific syncopated constructions, which are juxtaposed with timbre changes and colorings, fusion of modes. In addition to that, one ought to notice the original use of tone clusters and rhythmic intonations. Piano pieces and children‘s ensembles are in essence well-rounded didactic material for applying numerous techniques such as grace notes, leaps, dynamics. Mastering the fingering and cantilena technique, ensemble play with emotional resonance and perception of folk song intonations as a mode of musical expressiveness favor shaping figurative and associative character and image-bearing content of works.