Wang C. Methods of future musical art teachers training to use musical-noise instruments in the educational process

Українська версія

Thesis for the degree of Doctor of Philosophy (PhD)

State registration number


Applicant for


  • 014 - Середня освіта (за предметними спеціалізаціями)


Specialized Academic Board

ДФ 41.053.021

The State Institution “South Ukrainian National Pedagogical University named after K. D. Ushynsky”


The dissertation presents the results of theoretical substantiation, development and experimental testing of complex methods of future musical art teachers training to use musical-noise instruments in the educational process. This problem of professional training of musical art teachers is studied in the context of the competence approach, which has a paradigmatic significance in the theory and practice of education in modern Ukraine and China. According to the accepted definition, musical-noise instruments are mechanical and electronic-acoustic means of producing broadband and color noise, which serve as a sonorous material of musical art. The classification of types of musical-noise instruments is presented; technical and plastic-sound features of the most widespread varieties in creative practice are revealed. The fact of abrupt increase in the role and aesthetic significance of noise material in the music of the XX-XXI centuries and in educational practice in Western countries has been established. It is stated that the prerequisite for the realization of the high potential of musical-noise instruments in art education is a sufficient level of musical art teachers readiness to apply them in the pedagogical process. The structure of this readiness is determined. Its components are: 1) Musical-performing skills (proper mastery of the technique of playing various types of musical-noise instruments – idiophones, membranophones, electrophones; formed sense of tempo; skills of expressive phrasing; developed temporal ideas); 2) Practical and theoretical knowledge of musical-noise instruments and their cultural functions (role in the musical practice of different ethnic, historical, religious cultures); 3) Knowledge of different musical languages (primarily – the laws of metrorhythm and pitch organization); 4) Musical and creative skills of arranging and improvising; 5) Ability to manage ensemble music (in particular, practical knowledge of pedagogical psychology). It is established that the conditions for effective implementation of the methods proposed in the dissertation are: a) ensuring species diversity and proper quality of the set of musical-noise instruments, on the basis of which the academic process is carried out; b) optimization of the repertoire , which must meet the criteria of technical simplicity, didactic efficiency and artistic perfection of musical samples; c) pedagogical stimulation of cognitive interest in musical culture, artistic and creative motivation and communicative intentions of future musical art teachers; d) involvement of students in the organization of amateur music and instrumental ensembles and the implementation of concert and educational activities. A method of pedagogical diagnostics of the future musical art teachers readiness to use musical-noise instruments in educational practice has been developed. The diagnosis is based on criteria and indicators that meet the established structure of readiness, namely: 1) interpretive criterion (it meets the musical-performing skills as a component of the specified readiness and is determined by indicators of quality of musical-temporal skills and generalized musical-temporal ideas); 2) information criterion (corresponds to the knowledge of musical-noise instruments and is determined by the level of knowledge about their features and cultural functions); 3) musical-grammatical criterion (corresponds to the acquire of musical languages and is determined by the level of mastery of grammar and thesauri of different musical languages); 4) art-creative criterion (corresponds to creative skills and is determined by the ability to arrange and improvise); 5) educational criterion (determined by the level of mastery of methods of working with student music groups and conducting skills).


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