Розвиток музичної освіти у вибраних країнах Європи у XXI столітті

SECTION ONE: ISSUES AND RESEARCH 1. Policy Frameworks, Research and K-12 Schooling 2. MENC: A Case in Point 3. Recent Trends and Issue in Policy-making 4. Law Research and Music Education INTRODUCTION: TOWARD AN UNDERSTANDING OF THE 'AIMS OF MUSIC EDUCATION' 1. Contemporary Curriculum Practices and Their Theoretical Bases 2. Theory, Research, and the Improvement of Music Education 3. A Comparative Review of Human Ability Theory: Context, Structure, and Development 4. Critical Thinking 5. Improvisation 6. Improvisation and Curriculum Reform 7. Adult Education 8. Music and Early Childhood Education 9. Systematic Research in Studio Instruction in Music 10. Philosophical Issues in Curriculum 11. Educating Musically 12. Distance Learning and Collaboration in Music Education SECTION THREE: MUSICAL DEVELOPMENT AND LEARNING Introduction: Issues in Perception, Cognition, and Development 1. Learning Theories as Roots of Current Musical Practice and Research 2. Systematic Instruction 3. Behavioural Research on Direct Music Instruction 4. Self-Regulation of Musical Learning: A Social Cognitive Perspective 5. Motivation and Achievement 6. Developmental Characteristics of Music Learners 7. Creative Research in Music, Visual Arts, Theater, and Dance 8. Computer-based Technology and Music Teaching and Learning SECTION FOUR: MUSICAL COGNITION 1. The Neurobiology of Music Cognition and Learning 2. Cognitive Constraints on Music Listening 3. The Development of Musical Abilities 4. Making Music and Making Sense of Music: Expressive Performance and Communication 5. Taking an Acquired Skills Perspective on Music Performance SECTION FIVE: SOCIAL AND CULTURAL CONTEXTS 1. The Sociology of Education and Connections to Music Education Research 2. Sociology of Music 3. Social Psychology and Music Education 4. Music, Culture, Curriculum and Instruction 5. Feminism, Feminist Research and Gender Research in Music Education 6. The Social Construction of Music Teacher Identity in Undergraduate Music Education Majors 7. Transforming Research in Music Education History 8. Music Transmission and Learning: A Conspectus of Ethnographic Research in Ethnomusicology and Music Education 9. Community Music: Toward an International Overview SECTION SIX: TEACHER EDUCATION Introduction: Fuzzy Teacher Education 1. Reform-minded Music Teachers: A More Comprehensive Image of Teaching for Music Teacher Education 2. Teaching as a Profession: Two Variations on a Theme 3. Changing Concepts of Teacher Education 4. Strengthening the Teaching of Music Educators in Higher Education 5. Research by Teachers on Teacher Education 6. Research in Music Student Teaching 7. Professional Development SECTION SEVEN: MUSIC EDUCATION CONNECTIONS Introduction: The Growing Impact of Partnerships: A Reason for Research 1. Policy Issues Connecting Music Education and Arts Education 2. The Evaluation of Arts Partnerships and Learning Through the Arts 3. The 'Use and Abuse' of Arts Advocacy and its Consequences for Music Education 4. Research in Visual Arts Education: Implications for Music Education 5. A Review of Research in Theater, Dance, and Other Performing Arts Education: Implications for Music SECTION EIGHT: NEUROSCIENCE, MEDICINE, AND MUSIC 1. Music and Neuroscience 2. Performing arts Medicine 3. Musicians' Health MIRIAM HENOCH, AND JOHN HIPPLE SECTION NINE: INSTRUMENTAL OUTCOMES 1. Nonmusical Outcomes of Music Education: Historical Considerations 2. Teaching Other Subjects Through Music 3. Research: A Foundation for Arts Education Advocacy SECTION TEN: RESEARCH DESIGN, CRITICISM, AND ASSESSMENT IN MUSIC EDUCATION 1. Philosophical Perspectives on Research 2. Maintaining Quality in Research and Reporting 3. Trends in Data Acquisition and Knowledge Development 4. Assessment's Potential in Music Education 5. Contemporary Issues in Qualitative Research and Music Education

Introduction. The main problem of the research on artistic-creative communication as a key component in the formation of professional competencies of future music art teachers is the necessity of a comprehensive approach, finding objective research methods, and taking into account the diversity of this phenomenon. Purpose. The main goal of the research is to clarify the impact of artistic-creative communication on the formation of professional competencies of future music art teachers in order to determine its role and significance in the educational process. Methods: analysis of pedagogical practice and observation of the interaction between future music teachers and their students during creative sessions; surveys and interviews with future music teachers regarding their perception of the role of artistic-creative communication in shaping professional skills; analysis of educational programs and methodological materials aimed at developing artistic-creative communication among future music teachers;utilization of observation methods and analysis of interaction results between teachers and students during music lessons. Results. It has been found that artistic and creative communication plays a crucial role in shaping the professional competencies of future music teachers. In particular, the use of artistic and creative communication methods has been shown to contribute to the development of creativity, emotional expression, creative self-expression, and mutual understanding between the teacher and the student. Additionally, this approach contributes to the creation of a positive psychological climate in the learning environment, increases students’ interest in the learning process, and promotes their creative development. Originality. The scientific novelty lies in the development and utilization of new teaching approaches based on artistic and creative communication as the main factor in shaping the professional competencies of future music teachers. Conclusion: prioritize the development of artistic and creative communication skills in the training and education of future music teachers; implement specific teaching approaches that emphasize the use of artistic and creative communication as a fundamental tool for developing students’ professional competencies; provide opportunities for future music teachers to engage in practical and hands-on experiences that foster artistic and creative communication skills; offer professional development and training opportunities for current music teachers to enhance their abilities in utilizing artistic and creative communication in their teaching practices; encourage further research and collaboration within the field to continue exploring the impact of artistic and creative communication on the development of professional competencies in music education.

The article is devoted to the issue of the implementation of artistic and pedagogical interpretation technologies in the content of professional training of future music teachers in the study of artistic innovations in educational institutions. The purpose of the article is to consider the advantages of introducing pedagogical, artistic and pedagogical interpretation technologies into the content of professional training of future musical art teachers and to present examples of their use in the educational process of those obtaining a master's degree in the specialty «Secondary education (Musical art)». In the process of experimental work, the following research methods were used: theoretical: analysis, synthesis, comparison, systematization; empirical: observations, surveys, presentation of an artistic and pedagogical interpretation of a musical work. The results. The following methods are considered by the author to be the leading methods of interpretive music-pedagogical technologies: artistic-pedagogical analysis of a work, artistic-pedagogical narrative, pedagogical interpretive cognition, perceptive immersion into the meaningful sphere of a musical work, individual critical understanding of interpretive versions of works, artistic-interpretive activity, presentation of a psychological portrait of the composer, comprehension and modeling the musical meaning of the work. In the author’s opinion the above methods reflect the general process of interpretation activity and are related to the phenomenon of musical interpretation. To characterize the musical and pedagogical interpretation technologies and their pedagogical tools, the author has given twenty one examples of recommended creative tasks for the training of future music teachers on the practical lesson topic «Methods of training applicants for the artistic and pedagogical interpretation of vocal, choral and instrumental musical works of various genres and eras for teaching musical art in 5th grade of general secondary education establishment». Conclusions. The author has defined that the introduction of artistic and pedagogical interpretation technologies into the content of the professional training of future music teachers in the study of artistic innovations in educational institutions contributes to the development of the students' motivation to master musical and pedagogical innovations, allows to activate the development of aesthetic sense, taste, perceptive abilities, critical thinking, and the formation of the skills of creating one's own artistic and pedagogical interpretations, their substantiation from the point of view of understanding the author's idea, artistic cognitive and communicative activity. Prospects for the development of the raised problem are the study of the interrelationships of artistic-pedagogical interpretive and hermeneutic technologies in the content of professional training of future music teachers.

The purpose of this instrumental case study was to explore music student teachers’ perceptions of their professional identities. Participants were five music student teachers from an institution in the United States. I used two frameworks to explore, analyse, and interpret participants’ perceptions. Data included interviews, field notes, and work products from student teacher seminar. Analysis of data resulted in four themes: Evolving Identities, Shifting Concerns, Negotiating Tension, and Connecting with Others. Participants’ descriptions of their professional identities changed and gained clarity and complexity throughout the student teaching experience. Concerns expressed by participants progressed generally in line with the teacher concerns model. Participants experienced various types of tension that they negotiated during student teaching. Relevant others were key in building their self-concept as teachers. Implications for music teacher educators and future research are suggested including identity learning for preservice music teachers and addressing tensions in identity development.

In order for a modern music teacher to understand the complexity of a high goal, he or she must be aware of the need to find the most optimal ways to overcome current difficulties and problems. Such a way out may be self-enrichment of knowledge, improvement of pedagogical skills by studying the theory and practice of world music education, modern pedagogical science, advanced pedagogical practice, and the formation of pedagogical mobility. The purpose of the article is to demonstrate the need to develop mobility in the future musician-teacher as an ability to ensure the variability of activities due to the search for the optimal solution to the tasks in the music education of schoolchildren. The solution of such research tasks determines the logic of the presentation of the material studied in the article: analysing the professional training of future music teachers as a factor in the formation of pedagogical mobility; defining the essence and structure of pedagogical mobility of a future music teacher. The research methodology is based on the general scientific methods of analysis and synthesis, induction and deduction, observation and abstraction, which are used to systematise achievements in theory and practice in the humanities and, in particular, in pedagogy. The results of the study showed that pedagogical mobility ensures effective communication and cooperation in the educational environment. It allows a music teacher to establish productive interaction with students, build constructive relationships with parents, colleagues, the administration of the educational institution, as well as with representatives of the wider social environment involved in the implementation of the educational process. This ability helps to harmonise interpersonal relationships, create a positive microclimate in the educational space and increase the effectiveness of pedagogical activities. In general, the pedagogical mobility of a music teacher is a prerequisite for his/her professional realisation, as it is focused on meeting the current demands of modern education, dynamic transformations of society and global trends in the field of artistic pedagogy. Its development contributes to achieving high results in the education and upbringing of the younger generation, shaping students' aesthetic outlook, developing their creative abilities and musical culture. In this context, pedagogical mobility is not only a professional competence, but also an important factor in the personal growth of a teacher, his or her ability to innovate and effectively adapt to the conditions of the modern educational paradigm.

The increasing digitalisation of education has significantly impacted music teacher training, integrating information and communication technologies (ICT) and online platforms into pedagogical practice. This study explores the role of digital ecosystems, particularly social media platforms like YouTube and TikTok, in shaping new approaches to music education. These platforms function not only as entertainment hubs but also as powerful educational tools that foster interactive learning, expand access to high-quality musical instruction, and engage students in dynamic ways. We analyse both the theoretical and practical aspects of ICT integration in music teacher education, highlighting how digital tools transform teaching methodologies. Special attention is given to social media as an educational resource, evaluating its benefits—such as accessibility, engagement, and diverse content—while also addressing challenges like quality control and information overload. Through expert analysis and case studies, we assess the effectiveness of blended learning models that combine traditional and digital education. As a result, we propose a structured model for integrating social media and online tools into music teacher training, aiming to enhance interactive engagement and professional development. This study contributes to the ongoing discussion on the modernisation of music education, offering practical recommendations for embedding ICT and social media into curricula. By leveraging the potential of digital learning environments, future music teachers can not only adapt to contemporary pedagogical challenges but also develop innovative teaching methodologies tailored to the needs of digital-native students.

This chapter discusses music education technology from the standpoint of Finnish music teacher education. After briefly narrating the author’s history as a digital immigrant, the chapter describes the Finnish music education system and the varied functions technology has had in it. While music technology has been studied for decades in Finland, there has been a lack of pedagogical concentration on communication technology and the social aspects of music technology. It seems that, at least in Finland, we need a rethinking of how music education technology courses can widen music teachers’ visions. Music teacher training programs would seem to be natural habitats for experimenting with different expressive and creative aspects of digital technology. In conclusion, the chapter presents three suggestions on how to organize music education technology studies in Finnish music teacher education.

The article presents the results of the study of training music art professionals and music teachers in Mongolia. The comparative analysis of music education in Germany, Sweden, Israel, China, Japan and Russia is conducted. Prospective measures of development of professional music education in Mongolia are suggested. Factors, obstacles, mechanism and directions of development of the Mongolian State Conservatory – the first Mongolian academic higher education institution for training professional musicians – have been identified. The mechanism of the development of professional music education in Mongolia is the concept of the Mongolian State Conservatory. The concept includes goals, main and additional tasks, the scheme of interaction with the authorities and social partners, the model and scheme of education, the management system, financial basis and stages of organization of the conservatory.

The purpose of this study was to explore the factors that influence preservice music teacher efficacy. Participants in this study were undergraduate music education students ( N = 124), a convenience sample taken from six mid-South university music education programs in the United States. To explore the factors influencing preservice music teacher efficacy, a survey was sent to participants. The survey consisted of demographic information (race, gender, classification, etc.), questions about the predictor variables, and the Preservice Music Teacher Efficacy Scale (PMTES). Multiple regression revealed that the predictor variables accounted for 38% ( R2 = .38; adjusted R2 = .33) of the variance in the PMTES. Professional Disposition Scale score (β = .35, p < .001) and Music Performance Efficacy Scale score (β = .39, p < .001) contributed the greatest to the regression model. Based on these findings, music teacher education programs may consider implementing a type of professional disposition measurement throughout music education students’ undergraduate education. The results also reinforce the importance of developing music performance skills as part of a music education program.

The article examines the problems and prospects for developing cross-cultural competence in future music teachers. The research aims to determine the level of knowledge and the need for forming cross-cultural competence in the professional training of music students in higher education and to propose effective measures for its development. The main research directions included analyzing existing scientific concepts and approaches to forming cross-cultural competence in music education; determining the level of knowledge and significance of cross-cultural competence in the professional training model for music students at universities; developing and testing practical recommendations and methods for music teachers aimed at increasing the level of cross-cultural competence among students at music educational institutions. The research results expand theoretical knowledge about the significance of cross-cultural competence in training music educators, while the practical results present new methodological approaches. The empirical part of the study involved 98 students and 46 teachers from Abai Kazakh National Pedagogical University and Utemisov West Kazakhstan University. A survey of teachers and students showed that respondents believe the current state of cross-cultural competence requires significant improvements. Both groups identify similar problem areas and note some differences. Recognition of the need to develop cross-cultural competence among students was 48% and among teachers 40%, which demonstrates the relevance of this research. To form cross-cultural competence in future music teachers, a technology for developing this competence is proposed, including two special courses: "Teaching Intercultural Communication" and "Forming a High Level of Cross-Cultural Competence in Future Music Teachers." The pedagogical experiment showed that the experimental group demonstrates significantly greater progress across all levels of cross-cultural competence compared to the control group, with the lag being particularly noticeable at the creative level. Keywords: cross-cultural competence, pedagogical approaches, future music teachers, monocultural education, multicultural education, pedagogical model, development of cross-cultural competence.

The article reviews the concept of instrumental performance training for prospective music teacher through the prism of system approach. It is considered to be psychological and educational issue in terms of the tasks for instrumental performance practice of specialists in comprehensive school. The author points out that the implementation of all kinds of instrumental performance practice of prospective music teacher should be found on the fusion of instrumental performance, psychological and pedagogical skills, sophisticated aesthetic taste and conscious respect to music. The author of the article believes that the intention to equip students with profound book learning and methodological knowledge in the domain of instrumental performance practice should be pursued through the development of their intellectual abilities, formation of genre and stylistic notion, faculty to make sense of musical forms and art expressive means. Improving the quality of professional training of future music teachers, in particular the improvement of their instrumental and performing skills is one of the leading tasks of modern music and pedagogical education.

The article focuses on the problem of the future music teacher’s comprehensive personal development, which is the basis of their professional competence, pedagogical skill and spiritual culture, relevant to modern education. The purpose of the study is a retrospective and comparative analysis of the problem of comprehensive personal development of the future music art teacher of a new generation, based on the historical and pedagogical experience of the organization of art education in the collegiums of Left-bank Ukraine (18th-the early 19th centuries), as they laid the groundwork for the formation and development of general and professional art education; to illustrate the practical implementation of the historical and pedagogical experience of art education organization in the collegiums of Left-bank Ukraine (18th-the early 19th centuries) on the comprehensive development of the future music teacher personality in higher educational institutions. Methods. The research methods used by the author were analysis, synthesis, systematisation, comparison and generalisation. Results. Modernization of art education in Ukraine aims to improve the spiritual and creative development of personality, humanization and humanitarization of educational process in educational institutions of different types. Consequently, this requires searching for optimal approaches to the organization of art education in higher educational establishments, which would focus on the comprehensive development and professional training of future music teachers as carriers and transmitters of national culture. Conclusions. The author has noted that the analysis and creative insight into the historical and pedagogical experience of art education organization in the collegiums of the Left Bank Ukraine (18th-the early 19th centuries) determines the possibility of its use in modern higher educational institutions for comprehensive individual development of future music art teachers, which is the basis of their professional competence, teaching skills and spiritual culture. The author has presented the transformation of progressive ideas of historical and pedagogical experience of the organization of art education in the collegiums of Left-bank Ukraine (18th-the early 19th centuries). Moreover, the author has defined the forms of organizing educational and extracurricular cultural and artistic activities of future music teachers at higher pedagogical educational institutions, namely: 1) individual classes in «Additional musical instrument», «Voice production», «Choir conducting», «Main musical instrument» and group (practical) classes in artistic disciplines, which are the part of the educational program «Secondary education (Musical art)» on the training of future music teachers; 2) staging and theatricalization, which is implemented in the course of the educational discipline «Staging a children's musical performance» and organizing creative student theater groups to perform theatrical actions: 3) vocal and choral groups in an educational institution: 4) extracurricular cultural and artistic activities.

Communication of music is firstly based on intuitive intonational thinking. Thus, according to Z. Rinkevičius (2009), it is quite natural that appropriate use of music may efficiently stimulate intuitive thinking, reserves of unknown to us subconsciousness, and through them, those of consciousness. Therefore, music facilitates improvement of spiritual powers and intellect more than any other kinds of art. Research object: importance of intuition in music education. Research aim: to reveal importance of intuition in music education. Methods of research and sample: analysis of scientific literature sources, interview. Qualitative research data are described applying content analysis. The scheme of categorization was not planned in advance and it was devised on the basis of the received data. The research was carried out in October 2013 and January 2014. The people related to the analysed problem (key informants) were chosen in the first stage of the research: 3 teachers with sufficient pedagogical experience working at school. The semi-structured (oral) interview was employed. The focus of this stage of research was on subjective opinion of the informants about importance of intuition in music education. They also were asked in what way, according to the informants, intuition is manifested in their work as a phenomenon. Attempts were also made to identify the musical activities, where use of intuition is evidenced. The second stage of the research included 28 fourth year (full-time and part-time) students. The semi-structured interview (written) was used in this stage. The question about importance of intuition in musical education was not presented to future teachers of music with the acquired sufficient knowledge of pedagogy, psychology and other theories, speciality - related abilities and skills of observational and performance practices. They were asked to express their opinion about the content of the role of a contemporary music teacher. The question about significance of intonation was not presented to the informants making attempts to envisage the vision of the young generation (i.e., music teachers to be) about what a school teacher should be like and then the researcher searched for certain links to substantiate own theory. Conclusions • The research revealed that music teachers frequently act under influence of intuition, change plans when new ideas emerge and get overwhelmed with an impulse of creativity. According to them, manifestations of intuition in music activities are mostly expressed in music creation, listening to music, music playing and musical thinking. • The research data identified the content of the role of a music teacher pointing out its 5 aspects: educator (education for humanity: humanity, communication, playing music together); authority (competent specialist: example for school learners, profound knowledge of study subject, universality); importance of teacher’s personality (aspects of teacher’s personality: ability to arouse learners’ interest, ability to be a friend, teacher’s charismatic personality, flexibility); creativity (manifestations of creativity: teacher’s creativity, ability to develop students’ creativity, improvisation, revelation of students’ personality through creative expression) and value-based aspects (enlightener of students’ souls, nurturer of beauty of life, provision of sense to new impressions, expression of emotions). • The content of the role of a contemporary music teacher revealed during the research substantiates possibilities of intuition in music education and expands its boundaries.

Music education is essential for children's intellectual, social, and emotional development. The primary school music education curricula in China and France are two of the most significant music education systems in the world. This study attempts to compare the principles and objectives of these two curricula and uncover parallels and contrasts. The primary goals of this research are to conduct an analysis of the music education curriculum concepts taught in primary schools in both China and France, to identify the similarities and differences between these curricula, and to evaluate the potential impact that these differences may have on the musical development of young children. In this study, a comparative analysis methodology is utilized to investigate the music education curriculum of elementary schools located in both China and France. The process of doing the analysis entails conducting interviews with music instructors in both nations, reviewing the pertinent literature, and examining the curriculum materials. According to the findings of the study, the primary school music education curricula in China and France have some goals in common, including the promotion of cultural awareness, the development of students' musical skills, and the encouragement of creativity. Yet, there are also major discrepancies in the conceptual frameworks of the curriculum, the instructional strategies, and the evaluation strategies. The study emphasizes the significance of comprehending the cultural and historical settings of music education systems in various countries.

У статті розкрита професійна майстерність майбутнього фахівця музичного мистецтва як фактор реалізації новітньої парадигми освіти. Проаналізовано стан розробленості означеної проблеми в сучасних дослідженнях. Визначено зміст професійної майстерності майбутнього фахівця музичного мистецтва. Окреслено певні завдання підвищення рівня професійної майстерності майбутнього учителя музики. Виявлено, що знання, вміння і навички, закладені впродовж навчально-виховного процесу в студентів позначаться на результатах підготовки майбутніх професійних кадрів, реалізації їх як особистостей новітньої парадигми освіти.