Dolhikh Y. Training of a future musical art specialist for sociocultural activity in the professional training process

The dissertation is dedicated to the theoretical understanding and practical implementation of new guidelines for the professional musicians training in Ukrainian professional academic musical education (PAME) institutions. Such guidelines are associated with the mandatory synchronization between the educational process and artistic and social processes in modern society. This determines the consideration of music education through the prism of socio-cultural activity. The relevance of the dissertation subject is determined by the social transformations of the 21st century, which changed the social context of the functioning of academic music and the practice of professional musicians. New musical and cultural standards, principles of creativity, and communication channels created a situation in which the conventionalities and virtualities of the PAME educational concept were revealed. However, despite the seriousness of the problem of the relationship between academic music education and society, there are no systematic cases of its solution in Ukrainian music and pedagogical discourse. The scientific novelty of the dissertation consists in highlighting the theoretical and methodological foundations of preparing a future specialist in musical art for socio-cultural activities for the very first time; the field of professional academic music education was considered through the prism of the institutional approach of sociology; a pluralistic view of the modern socio-cultural environment and the place of musical art in it was theoretically substantiated; a definition of the concept of “socio-cultural activity of musical art specialists” was proposed, the components, levels and dimensions of this phenomenon were named; the connection between the modern socio-cultural situation and the psychological, cognitive, practical dimensions of student learning, and the educational process of PAME is proven; the structural-functional model of training a musical art specialists for socio-cultural activity is theoretically grounded and experimentally verified; the organizational and pedagogical conditions of training of future specialist in musical art for socio-cultural activity are defined, the criteria, indicators and levels of readiness for this practice are proposed. These topics gained further development: research of the sociological nature of music education; application of the theory of sociocultural activity in the interdisciplinary field; music education and musical practice research through the theory of musical self-identification, the concept of pluralism of elites, and the praxial concept of musical creativity for learning, the intonation image of the world concept; studying the principles of professional training of musicians; developing the methodological bases for the formation of future musical art professionals sociocultural competence. The work consists of an introduction, three chapters and conclusions. In the first chapter, the theoretical foundations for preparing a future specialist in musical art for socio-cultural activity are substantiated. The first section consists of three subsections that consider aspects of the phenomenon. PAME is considered through the prism of the institutional approach of sociology. This made it possible to define three dimensions of her social existence. Its functional purpose is connected with the transmission of normative attitudes generated by academic musical art (the written nature of musical creativity, the dominance of the communicative model of concert performance, emphasis on the autonomous nature of music-making, orientation towards the creation of a unique artifact, beliefs about the elitism of musical art). It was established that the translation of normative attitudes is ensured by the status and role system of the PAME as a social institution. It includes hierarchically differentiated actors united by collective intentionality and divided by status functions. Furthermore, it was determined that FAMO as a social practice is oriented towards meeting the needs of individuals and society (promoting musical and professional socialization, musical and aesthetic education, and ensuring social mobility). The modern socio-cultural situation as a context of PAME and the professional activity of musicians is studied. In order to determine the actual challenges of music education, a comparison of academic musical art and non-academic intonation practices (folklore and minstrel music) is made from the point of view of worldview and value orientations. The analysis and comparison of different musical practices according to the parameters of fixation of a musical work, communicative foundations of music making, autonomy of creativity, subcultural dominance, and artistic quality allows us to reach two conclusions.