Technological competence of future music teachers: diagnostic and formative methods

Natalia Ovcharenko; Yuliia Merezhko; Olena Moskva; Olesya Neboga; Liudmyla Kosiak

doi:10.34069/AI/2021.48.12.25

Natalia Ovcharenko Kryvyi Rih State Pedagogical University, Ukraine. https://orcid.org/0000-0003-4874-1716
Yuliia Merezhko Borys Grinchenko Kyiv University, Kyiv, Ukraine. https://orcid.org/0000-0001-5918-7496
Olena Moskva Kyiv Municipal Academy of Music named after R. Glier, Ukraine. https://orcid.org/0000-0002-0044-634X
Olesya Neboga Kyiv Municipal Academy of Music named after R. Glier, Ukraine. https://orcid.org/0000-0001-8731-4130
Liudmyla Kosiak Kryvyi Rih State Pedagogical University, Ukraine. https://orcid.org/0000-0002-1916-9741

DOI: https://doi.org/10.34069/AI/2021.48.12.25

Keywords: diagnostic methods, formative methods, future music teacher, technological competence, the structure of technological competence.

Abstract

The study dwells upon the problem of technological competence of future music teachers, which is relevant to the current music and music-pedagogical education process in Ukraine and other countries. The objective of the article is to cover the results of the experimental research on methods of diagnosis and formation of future music teachers’ technological competence. As a matter of fact, with the purpose of studying the problem, the following scientific research methods have been applied: a set of theoretical, diagnostic, mathematical statistics methods.

The essence of the concept of "technological competence" is revealed, which is an integral component of professional competence of a modern music teacher. The structure of the studied phenomenon is determined, which consists of the following components: axiological and cultural, epistemological and emotional; technological and operational; creative and professional. Moreover, the four groups of criteria are substantiated according: value-cultural, cognitive-emotional, technological-operational and creative-professional. Finally, a diagnostic experiment was carried out, in the process of which special diagnostic methods were used of the formative experiment lies in the gradual formation of the technological culture of future teachers-musicians according to the developed author's technique, which includes four pedagogical conditions and a set of interrelated methods.

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Author Biographies

Natalia Ovcharenko, Kryvyi Rih State Pedagogical University, Ukraine.

Doctor of Pedagogical Sciences, professor of the Department of Methods of Musical Education, Singing and Choir Conducting, Kryvyi Rih State Pedagogical University, Ukraine.

Yuliia Merezhko, Borys Grinchenko Kyiv University, Kyiv, Ukraine.

Candidate of Pedagogical Sciences, associate-professor of the Department of Academic and Solo Vocal Institute Chairs, Borys Grinchenko Kyiv University, Kyiv, Ukraine.

Olena Moskva, Kyiv Municipal Academy of Music named after R. Glier, Ukraine.

Doctor of Philosophy (PhD), Senior Lecturer at the Department of Pop Singing, Kyiv Municipal Academy of Music named after R. Glier, Ukraine.

Olesya Neboga, Kyiv Municipal Academy of Music named after R. Glier, Ukraine.

Candidate of art criticism, Lecturer at the Department of Pop Singing, Kyiv Municipal Academy of Music named after R. Glier, Ukraine.

Liudmyla Kosiak, Kryvyi Rih State Pedagogical University, Ukraine.

Candidate of Pedagogical Sciences, associate-professor of the Department of Methods of Musical Education, Singing and Choir Conducting, Kryvyi Rih State Pedagogical University, Ukraine.

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