The dissertation is historical and pedagogical research, in which for the first time a scientific analysis of H. Levchenko’s artistic and pedagogical activity is made; he is Honored Artist of Ukraine, Full Professor, Head of the Department of Music of Poltava V.G. Korolenko National Pedagogical University, Excellence in Education of Ukraine, a winner of prestigious competitions, ratings and awards, a composer, an arranger, a folklorist, a famous choral conductor, whose name is included in the Ukrainian (‘Artists of Ukraine,’ ‘Names of Ukraine,’ ‘Who is who in Poltava. Outstanding countrymen,’ etc.) and foreign (International Who’s Who in Music and Musicians’ Directory, Cambridge) manuals.
The research source base is systematized by the following groups: 1) archival documents and materials of the State Archive of Poltava region, Archive of Poltava V.G. Korolenko National Pedagogical University, Archive of the Museum of History of Poltava V.G. Korolenko National Pedagogical University, H. Levchenko’s personal archive); 2) the professor’s legacy (scientific and scientific-methodical works; creative, epistolary, representative, directorial and advertising legacy); 3) sources about H. Levchenko, news and information, reference, news and analytical, popular science and scientific publications, materials of conversations, surveys, interviews, the professor’s, his students’, colleagues’, friends’, relatives’ and friends’ memoirs, photographic materials); 4) interpretive sources (dissertations, monographs, educational literature, materials of scientific events, abstract publications, electronic resources related to the scientific problem); 5) regulatory sources (regulatory, reports, orders, directives, protocols, etc.).
The scientific novelty and theoretical significance of the study lies in the fact that for the first time: the ideological and theoretical content and directions of H. Levchenko’s artistic and pedagogical activity are fully revealed; the preconditions for the formation of the professor’s artistic and pedagogical views are characterized; the stages of H. Levchenko’s artistic and pedagogical activity are determined; the innovative content (purpose, tasks, principles, pedagogical conditions), directions of artistic and pedagogical activity as an organic unity of educational (scientific, organizational and teaching) and artistic (composition, arranging and directing) components are revealed; innovations in every of H. Levchenko’s spheres of artistic and pedagogical activity are singled out; the prospects of creative use of H. Levchenko’s ideas and artistic and pedagogical experience in the theory and practice of modern education are substantiated. The key concepts are specified. They are the following: artistic and pedagogical, artistic, conductor-choral, compositional, and arranging activities; a new category ‘syncretically-differentiated method of ascent to an artistic image’ is substantiated. H. Levchenko’s biography and educational achievements have been supplemented with analytical materials.
Provisions on the formation of regional music and pedagogical education, as well as scientific and methodological approaches to conducting and choral training of music teachers have been further developed. Little-known and unknown archival documents from the artist’s personal archive have been introduced into scientific circulation (267).
