The study presents a theoretical justification and proposes a new solution to the problem of forming artistic-pedagogical proficiency of future voice teachers.Concretization of the concept of a pedagogical proficiency in the field of music pedagogy allows us to define it as an artistic-pedagogical proficiency. The results of the analysis of a wide range of sources and artistic-educational practice testified to the actualization of the problems of vocal pedagogy and allowed to propose for scientific consideration the concept of artistic-pedagogical proficiency of the future voice teachers. The dissertation uses modern research tools of comparative studies, in particular, the search for terminological analogues in the translation of the scientific thesaurus of the studies in English. An analogue of the key concept of our study «педагогічна майстерність викладача вокалу» – voice teacher’s artistic-pedagogical proficiency is proposed, as the term proficiency emphasizes presence of professionalism of the highest degree. The essential content of the studied phenomenon is defined as an integral quality, which consists of a vocal-performing and pedagogical proficiency and is characterized by a sufficient level of vocal, pedagogical and artistic-communicative culture, experience of artistic-pedagogical interpretation of vocal works, is a manifestation of the highest form of professional activity of a voice teacher in his ability to creative self-realization in the artistic-pedagogical activities for the practical realization of his creative potential, which is determined by awareness of his own vocal-performing and pedagogical abilities, a set of professional competences, a desire to actualize them in creative musical-didactic actions on effective education process orgnization at the acmeological level. The creative tasks and methods used at the propaedeutic-orientation stage (motivational stimulation of qualitative psychophysiological changes of the future voice teacher’s personality, motivation to master the artistic-pedagogical values of vocal pedagogy, heuristic conversation, discussion, debate, etc.) helped to stabilize orientation of the personality at artistic-aesthetic values, formation of a stable need for artistic-pedagogical understanding of the figurative sphere of vocal music, activation of the desire for original interpretation of vocal works by means of artistic-pedagogical proficiency; enriched the motivational-value sphere of students’ artistic-pedagogical skills formation, in particular, its axiological plane. Thus, at the first stage of the methodology the motivational and artistic-sensory sphere of the voice teacher’s personality, his aesthetic ideals, ability to provide evaluative judgments, etc. was formed.
The creative tasks and methods of combinatorial acmeointeractive technology of artistic-pedagogical interpretation of vocal works by means of artistic-pedagogical proficiency, which were used at the content-technological stage (“Vocabulary dictionaries”, analysis of music and audio sources, classification and systematization of vocal repertoire, synchronous table, facilitated discussion, psychological “immersion in the image”, artistic and genre-style explication of a vocal work, audio and verbal questionnaires, method of verbalization of emotions, etc.), influenced the growth of experience in systematizing vocal repertoire on a multicultural basis, the expression of the ability to artistic-pedagogical interpretation of vocal works and the students’ ability to use technical and technological resources of artistic-pedagogical proficiency of the voice teacher. Thus, at the second stage of the methodology there was an update and complication of the structure of artistic-pedagogical proficiency.
The complex of creative tasks and methods of acmeorealization stage (modeling of educational artistic-pedagogical communication, explication of complete artistic-pedagogical interpretations of vocal works, pedagogical observation, acmeographic modeling of retroanalysis of one’s own artistic-pedagogical proficiency, artistic-pedagogical reflection, correctional training, acmeological conversation, acmeological discussion, etc.) contributed to the success of students’ quasi-professional activities, provided a significant enrichment of the experience of creative realization of their own perfect interpretations of vocal works in the process of artistic-communicative activities; stabilization of the ability to retro- and prospective analysis and evaluation of the results of their own artistic-pedagogical activities; allowed to express the ability to self-correction in the process of becoming an applicant as a master specialist. Thus, at the third stage of the methodology, the quasi-pedagogical activity of the future voice teachers acquires autonomy, and his artistic-pedagogical profficiency becomes acmeoresultative.
