The thesis is a comprehensive study in the field of theory and methods of musical education on the issue of formation of a holistic view of musical work of the future music teachers. In the study the essence of a holistic view of musical work in the projection on the musical-performing activity of the future music teacher is revealed. The component structure of the holistic view of musical work of the future music teacher is defined. It consists of four components: auditory and tactile-motor images of the sound form (visual perception and emotional reaction that reveals the quality of the “bias” of the cognitive-psychological activity of the individual); images of musical-intonation units (intonation speech process, representing creative intention of the composer); architectonic images of the musical form (inextricably linked with conceptual thinking and contribute to the transformation of the simultaneous images into a successive form); stylistic ideas about the work (determine the highest level of organization of the musical form). The methodology of formation of a holistic view of musical work of the future music teachers is substantiated. It is based on: pedagogical approaches (activity, holistic, synergy, interdisciplinary, cultural, individual), pedagogical conditions (developing and interactive learning, cooperation pedagogy, artistic reflection, consequence, complementarity and variability), pedagogical conditions (combination of group and individual forms of work, deepening of interdisciplinary connections, implementation of a special course, intrinsic motivation to study); methods (“stereoscopic” and intertextual analysis of the form of musical work, variation of the intonational model, compression of the tonal structure, visualization of the architectonics, interpretive project, etc.). The criteria, indicators and levels of formation of a holistic view of musical work of the future music teachers are developed. Four criteria for the diagnostic evaluation of a musical work are described: sonorous, syntactic, compositional and stylistic. For each of these criteria a number of indicators are selected: clarity (degree of certainty, detalization, mnemonic stability), adequacy (correspondence of representations to the real properties of the musical work), plasticity (ability of representation to change in need to correct the image), degree of generalization of representation. The means of diagnostics are questionnaires, educational tests, method of expert assessments of students’ musical-performing actions. Three levels of evaluation of formation of the proposed methodology are determined: high – singular, medium – aggregate and low – organic. The effectiveness of the methodology of forming a holistic view of musical work of the future music teachers has been experimentally tested.
