Jin Yaoquan1, Huang Ruiping2, Zhang Yang3, Valerii Marchenko4
1 Faculty of Ukrainian Philology and Social Sciences, Izmail State University of Humanities, Odesa, Ukraine. Email: jin_yaoquan@edu.cn.ua
2 Faculty of Ukrainian Philology and Social Sciences, Izmail State University of Humanities, Odesa, Ukraine. Email: huang_ruiping@edu.cn.ua
3 Faculty of Ukrainian Philology and Social Sciences, Izmail State University of Humanities, Odesa, Ukraine. Email: zhang_yang@edu.cn.ua
4 Scientific and Educational Institute “Academy of Arts named after S.S. Prokofiev,” V.I. Vernadsky Taurida National University, Kyiv, Ukraine. Email: valerii_marchenko@sci-univ.com
Received 15 May 2023, modified 02 June 2023, accepted 08 June 2023, first published 14 June 2023.
Rupkatha Journal, Vol. 15, Issue 2, June 2023. https://doi.org/10.21659/rupkatha.v15n2.09
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Abstract
The article presents two models for introducing a polyartistic approach in Bachelor’s and Master’s training. The study emphasizes the need to integrate art and art education into the educational process as a factor in the development of creative and critical thinking, communicative and sociocultural competencies of future music teachers. The first model, known as the linear one, implies the inclusion of polyartistic disciplines and tracks in the educational program. This model allows students to choose electives that meet their interests and professional qualifications. This approach provides students with flexibility in planning their academic path and learning issues related to polyartistic education more comprehensively. The second model, the concentric one, is used in the Master’s degree programs. This model enables students to expand their knowledge and skills in the polyartistic component based on the knowledge gained during their Bachelor studies. Students study polyartistic subjects and thus expand their theoretical, methodological, and performing skills. These two models can be used for training secondary school music teachers and teachers of institutions of supplementary art education. The introduction of a polyartistic approach into the discussed models helps to better understand and apply art as a tool for teaching and contributes to the development of creative and critical thinking, communicative and sociocultural competencies of future music teachers. This article suggests new approaches to the formation of the professional identity of music teachers, the development of students’ creative abilities, and the use of modern technologies in polyartistic education. The conclusions of this article can serve as a basis for further research and development of practical aspects of introducing a polyartistic approach into the process of training music teachers.
Keywords: Polyartistic approach, teacher training, linear model, concentric model.