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The article describes the results of implementing the psychological support and professional communication program "Psychological Support Art Workshop" as part of the training course conducted by the methodological institution of the Ministry of Culture and Information Policy of Ukraine -- the State Scientific and Methodological Center for the Content of Cultural and Artistic Education. In the conditions of continued Russian aggression against Ukraine in 2023-2024 for teachers in art education, the Center offered a unique educational program of a psychological direction, which provided the participants of the educational process with knowledge and skills regarding available art therapy tools related to various types of arts, focused on the issues of ensuring one's own psychological support as a systematic application of self-regulation methods, provided the possibility of constant professional communication. During the webinars, special attention was paid to information and art practices regarding the influence of colours, music, movements, images, etc., on the mental state of adults and children and integrating art therapy technologies into teaching methods. For 2023- 2024, 927 participants who completed educational tests and practical tasks mastered the educational program. For all topics and types of tasks, the project reached about 9,000 participants who joined the online webinars, completed the tasks, and were acquainted with the information in the form of views. A significant number of participants at the end of the course highly appreciated the practical component of the proposed program, systematically and creatively performing such tasks. Monitoring of the effectiveness of the program showed that the participants updated their knowledge about their use of psychological tools that help overcome tension, and temporary destructive psychological states, find a way out of stressful situations, and can also, thanks to the acquired skills, strengthen their psychological health, maintain resilience and, through art, help others. [ABSTRACT FROM AUTHOR]

The article deals with the problem of teaching music in primary art education institutions. The role of practical musicmaking in the educational process of implementing art education based on these institutions and the peculiarities of its organization in the conditions of various educational disciplines -- classes in the choir, specialty, ensemble, accompaniment, reading from a sheet of paper -- are determined. Forms and methods of organizing collective and individual music-making are described. Collective music-making occurs during playing in homogeneous and mixed ensembles, improvisation in the ensemble while mastering the subject of choice, "Accompaniment". Forms of individual music playing are the selection of a melody by ear and its harmonization, selection of accompaniment or accompaniment, creation of a melody in different styles (which involves changing the rhythm, meter, etc.), improvisation, transposition, reading from a sheet of digital music, accompanying one's own singing. A musical fairy tale combines various types of music-making, the production of which is the result of the work of the teaching staff and students of the institution. An overview of the author's musical collections: "Forest Fairytale" (music-making in piano (the plays-pictures), "Bird School" (children's musical), "Snow White and the Merry Dwarves" (musical fairy tale), "It's Funnier Together" (piano ensembles), as well as the peculiarities of working with them based on the author's many years of music, pedagogical and compositional experience is carried out. Forms and methods of working with students using the abovementioned sheet music collections were tested in various institutions of primary art education in Ukraine. Methodical recommendations are presented for teachers of primary art education institutions regarding the use of the author's music collections, one of the tasks of which was to help students master their music-making skills. The author singled out the peculiarities of individual work with students, which resulted in the creation of the collection "Musical Colours", which included musical students' works in Chernihiv Music School No. 2 named after Yevhen Bogoslovsky. A conclusion was made about the positive influence on the general and musical development of various forms of music-making of students of primary art education. [ABSTRACT FROM AUTHOR]

The article highlights the peculiarities of the All- Ukrainian competition "Teacher of the Year -- 2024" in the nomination "Fine Arts". The content of the competitive tests "Analysis of an artwork", "Practical work", "Testing" -- at the qualifying (distance form) and "Master", "Lesson" -- at the final (full-time) stages is characterized. It is noted that the cases for testing were formed following the program of fine arts and model programs of the integrated course "Art" (grades 5-6). The evaluation criteria for each test are briefly outlined. It is emphasized that, in accordance with the requirements of the State Standard of Basic Secondary Education, the test "Analysis of an Artwork" was introduced into the competition program for the first time. The peculiarities of conducting a practical competition test, which did not involve the use of curricula and manuals, auxiliary materials and resources, are emphasized. The positive aspects of the competitors' preparedness are identified, in particular: professional erudition in the world of contemporary art, professional knowledge of the subject and methods of its teaching, practical knowledge of graphic and pictorial materials, the ability to convey new, unknown material to students in an accessible, engaging, modern, creative form, the ability to form key and subject competencies of students, work with modern technologies, educational practices, and practically apply the acquired artistic experience. Moreover, the article focuses on innovative approaches, creative findings and techniques demonstrated by fine arts teachers during the "Master" and "Lesson" tests. At the same time, typical common mistakes, shortcomings and difficulties in solving the tasks of the tests were identified, including fragmentary knowledge of the regulatory framework for the professional activity of fine arts teachers; predominance of classical methods of presenting visuals without the use of modern methods and artistic teaching technologies; lack of ability to transfer knowledge to a new situation and find multiple solutions to problems; partial ability to implement integrated and differentiated approaches in organizing and managing fine arts teaching. This became the basis for outlining ways to further improve the professional skills of fine arts teachers in formal, non-formal and informal education. [ABSTRACT FROM AUTHOR]

In the study, an attempt was made to represent the conceptual meaning and specifics of the artistic and pedagogical mentality of a modern art teacher. The aim of the study was to highlight the structural organization of the phenomenon of artistic and pedagogical mentality of an art teacher. The article highlights the terminological contours of the categories “mindset” and “mentality” in modern scientific discourse. It was revealed that the psychological and pedagogical content of mentality consists in a special way of thinking, the orientation of thoughts that are born in the subconscious, but gradually absorb what is common, what consists of natural data and socially conditioned elements and is reflected in the perception of professional reality. It is maintained that the professional mentality of a teacher is an integrative characteristic of a personality that reflects the system-specific features of the mental makeup and worldview of people in the teaching profession. The structure of artistic and pedagogical mentality of art teachers includes: artistic and figurative thinking, artistic and creative reflexivity, pedagogical creativity, multi-artistic orientation, professional and pedagogical intentionality, scientific-research culture. The functional-role and conceptual significance of the phenomenon “artistic pedagogical mentality” in terms of the specifics of the professional activity of a modern art teacher is determined. The author determines pedagogical conditions for the formation of the artistic and pedagogical mentality of future fine art teachers: the formation of a positive value attitude of future art teachers at the worldview level and an active motivational focus on the formation of the artistic and pedagogical mentality; introduction of pedagogical situations of quasi-professional activity, which require activation of the mechanisms of artistic and pedagogical mentality into the process of professional and pedagogical training of future art teachers; actualization of personal and professional reflection as a basis for artistic and creative self-development of future art teachers.

The article addresses the importance of developing event-art management skills in the context of training future music teachers. It analyzes the scientific contributions of domestic and foreign scholars dedicated to the issues of art management in the field of music. Methods & methodology. Traditional research methods were used in the article: analysis of scientific and pedagogical literature, empirical and modern art-pedagogical methods. The scientific novelty consists in conducting and highlighting the results of a pilot study regarding the attitude of students of higher education in the specialty 014.13 Secondary Education (Musical Art) to the formation of event-art management skills. The sample consisted of 49 respondents, who were first-level (bachelor’s) students of various years at the H.S. Skovoroda Kharkiv National Pedagogical University. Results. The research results indicated that the students are aware of the existence of the art industry and have some understanding of event-art management skills. It was found that the students show interest in creating art products, participating in art projects in various forms, and have a definite interest in the development of current trends in the art market. Conclusions. Considering the intensive development of the art space in Ukraine, there is a need for the active involvement of music teachers in this process, not only at the level of educational institutions, but also at the level of communities. This requires specially organized training of future teachers of musical art as part of the implementation of educational programs, formation of event art management skills in them. Prospects for further research. We believe that with proper substantiation of pedagogical conditions and their implementation in the educational process of institutions of higher education that provide training in the specialty 014.13 Secondary education (Musical art), it is possible to achieve positive results regarding the formation of event-art management skills in future teachers of musical art, which is promising research task. [ABSTRACT FROM AUTHOR]

The article deals with the need for changes in approaches to teaching art, driven by contemporary challenges, within the context of the general issue of arts education. The unique role of postgraduate pedagogical institutes and Centers for professional development of teachers is determined in this process. The citywide project "Modern Approaches to Teaching Art" (Lviv) is highlighted. It involves institutions of general education, out-of-school education, and institutions for primary art education, initiated by the Center for Professional Development of Teachers in Lviv. The project aims to enhance the methodological and practical components of professional competence among art teachers in implementing the tasks of state education standards. The purpose, objectives, progress, and forms of implementing the project are described. Through the organization of cooperation between educational and cultural institutions, the project implements modern approaches to teaching art, positively impacting the achievement of effective learning outcomes for secondary school students and revealing the innovative potential and professional development of art teachers participating in the project. The project included a three-month training in innovative methods for groups of music, fine arts, and art teachers. Additionally, teachers enhanced their competence in such areas of work with students as the formation of emotional intelligence, development of motivational and communicative spheres, and national- patriotic education of students through art. Each teacher participating in the project became a trainer for a group of teachers in their district, initiating and conducting their training. As a result, it maximized the potential for modernizing art education in schools in the city. The author provides practical examples of project implementation -- local history work of the teacher and student communities of institutions of general education, out-of-school education, and institutions for primary art education in Lviv. Some projects have been published in Ukrainian professional journals. It is concluded that teaching art to students through innovative approaches, which involves updating and modernizing means, forms, and teaching methods, leads to success in teachers' work and students' effective results, who build a creative educational environment together. [ABSTRACT FROM AUTHOR]

The article deals with the problem of using artificial intelligence in education. Research findings regarding the potential of using artificial intelligence in teaching students at institutions of general secondary education during art lessons are summarized. The advantages and risks of using artificial intelligence in teaching art to students are highlighted. The advantages of using artificial intelligence for art teachers include the ability to optimize the process of preparation and organization of art education and the implementation of exciting forms of work (such as virtual excursions), various forms of artistic activity with students (creation and analysis of artworks, experimentation with artistic techniques, etc.), and modernize the educational process through contemporary methods of artificial intelligence. Among the advantages of artificial intelligence for students are the opportunities to create visual images and musical compositions, animations, artistic texts, and creative tasks that foster their creativity, self-expression, and deep appreciation of art with high motivation levels. The potential of specific artificial intelligence tools and services is explored (such as Animated Drawings DEEP DREAM GENERATOR, CANVA, GAMMA, STROFE, etc.) for creating assignments for art lessons at different stages, including acquiring new knowledge, synthesis, and development of practical skills. Examples of using these services within specific topics of art lessons in secondary and high schools, as tested in the author's pedagogical practice as an art teacher, are provided. The conclusion drawn is that artificial intelligence can become an effective tool for modernizing the organization of art lessons, making them more dynamic and engaging for students, provided certain conditions are met: the ability to use artificial intelligence ethically, which is an important skill to develop alongside responsible social media usage; balanced integration of artificial intelligence with traditional teaching methods, which comprehensively develops students' competencies, making them independent, individually creative, and critical thinkers. [ABSTRACT FROM AUTHOR]

The article deals with the specifics of teaching music lessons in the integrated course “Art” of the New Ukrainian School. The main didactic requirements for planning and modelling a music lesson are defined. The author emphasizes the provision of high-quality art education at the New Ukrainian School based on updated content and modern art teaching methods. In addition, the author presents innovative methodological techniques at art and music lessons in the educational process of institutions of general secondary education. The attention is focused on the content and features of using such methods of teaching music as the creation of a musicogram (graphic notation of music, visual representation of the dynamics, tempo and development of a musical piece), musical and plastic improvisation (improvisation by means of musical art, body plastics), playing music (students’ participation in performing and creating music), gamification (using game elements in learning with help of developed interactive educational games on Internet platforms), using didactic tools of the New Ukrainian School (Lego bricks, etc.). The above-mentioned techniques are illustrated by examples of practical tasks from the author’s textbook “Art, 5th grade” (by L. Arystova, N. Chen). The specified methodical techniques provide art teachers with new opportunities to conduct a modern music lesson. There is a creative atmosphere of cooperation between students and teacher, enthusiasm for the learning process at such lessons, as well as students show their maximum activity. The result is made possible by high-quality content, forms of work of the teacher with students and the method of teaching art based on modern approaches. Using the proposed methodological techniques will help the teacher to present the educational material in an interesting way, to support students’ motivation, to test students’ knowledge and achieve the desired results in accordance with the program requirements. Moreover, it will give the students the opportunity to develop their independent thinking, develop their subject artistic competences, do independent research and develop their own artistic creativity and to be realized as an extraordinary person. [ABSTRACT FROM AUTHOR]

The author of the article based on the analysis of theoretical materials and own musicological explorations provides some methodological recommendations to Ukrainian art teachers of how to use musical samples with Chinese themes at lessons with schoolchildren that actually constitutes the purpose of this article. It is assumed that a perspective is relevant in connection with the growing interest of artists in the art of other cultures, which is caused by their globalization and integration processes of human life in general. The multifaceted nature of the problem is noted: the study of Chinese art itself; the issue of integration of Western traditions and influences on Chinese culture and education, ways of using “Chinese” themes in the works of Western composers. The author of the article focuses on the last aspect and the possible using the “Chinese theme” in the modern Ukrainian school taking into account the content of art education. The presentation of the material is largely based on the musicological research of Chinese scholars regarding the implementation of Chinese themes in the works of artists from other countries. The examples demonstrate different approaches of composers to Orientalism in music: using storylines, citations, stylization, insight into the philosophical foundations of the Chinese worldview and artistic imagery as a basis for the universality of the composer’s thinking. The works are selected to present different ways of expressing the Chinese theme in European and American musical works covering different styles (classicism, impressionism, symbolism, electronic music, music, etc.) and representing different genres, such as: opera, opera-ballet, chamber and instrumental works, vocal lyrics, etc. In particular, the article examines K.V. Gliuk’s opera “The Chinese Woman”, M. Ravel’s opera-ballet “The Child and Charms”, instrumental music by J. Cage, A. Zahaikevych, romantic lyrics by B. Liatoshinskyi, vocal, chamber and instrumental works by M. Shukha. The article provides brief comments-recommendations for art teachers of how to use the considered works in communication with students of different ages. [ABSTRACT FROM AUTHOR]

The author of the article highlights the experience of working on Samchykivsky decorative painting in terms of the practical component of the training course of art teachers based on Khmelnytsky Regional Institute of Postgraduate Pedagogical Education. Some researches on Samchykivsky painting (O. Pazhymskyi, V. Rakovskyi, M. Yuzvuk, B. Schneider, S. Kasianov, V. Radochyna, Ya. Vlasenko-Bernatska), who promote painting in Ukraine and abroad, analysed features of symbolism, colour and plot of this painting and specifics, as well as modern masters of Samchykivsky painting. Forms of work with art teachers provide deepening of their knowledge of history of Samchykivsky painting and its development, performance of decorative composition and using skills in their pedagogical and social activities. The authors presents practical lesson of the training course “Samchykivsky painting” and a visual series to it, which will encourage you to make their own attempts in Samchykivsky painting when creating compositions and making souvenirs. It allows educators use these materials in pedagogical practice. Forms of work with art teachers in the intercourse period are described. They contribute to deepening of knowledge about Samchykivsky painting and its tradition and teachers’ practical skills to create decorative compositions excursions to the historical and cultural reserve “Samchyky”, creative meetings and workshops with masters of Samchykivsky painting, seminars with artists, scientists, art critics, publications based on the results of research work on Samchykivsky painting. The article offers examples of integration of Samchykivsky painting (traditionally used only for decorating houses and interiors) in other areas of human life: the painting is used in the design of ceramic and wooden products, postcards, posters and calendars, clothing and textiles, etc. This testifies to modernity and demand of Samchykivsky painting. It is concluded that the strong influence of decorative and applied arts and, in particular, Samchykivsky painting on education of the Ukrainian patriots with a high level of culture, spirituality and humanistic values. [ABSTRACT FROM AUTHOR]

The purpose of the article is to cover the teaching activities of Oleksandr Kolosok at the Kyiv National University of Culture and Arts and to reveal its influence on the formation and development of higher choreographic education in Ukraine. Methodology. To achieve this goal, general scientific methods of theoretical and empirical levels are used: analysis and generalization of scientific and theoretical bases of research, chronological method, interview method. Conclusions on the peculiarities of the pedagogical activity of O. P. Kolosok are made on the basis of the analysis of the revealed complex of sources: pedagogical, methodical and creative achievements of the artist, own experience of communication with him, memories of colleagues and students. Scientific Novelty. The article covers for the first time the teaching activity of O. Kolosok at the Department of Choreography (later the Department of Folk Choreography) at the Kyiv National University of Culture and Arts; the teacher's work on the creation of the professional discipline "Ukrainian folk-stage dance" and the peculiarities of teaching the discipline "Art of the choreographer" are analyzed; materials of interviews with the teacher and his students and colleagues were put into scientific circulation. Conclusions. The teaching activity of Professor O. P. Kolosok was aimed at the development of folk dance traditions in a harmonious and logical combination with the expressive means of academic choreographic art and the best achievements of the modern world performing culture. Thanks to his efforts, the discipline "Ukrainian folkstage dance" was introduced into the system of training choreographers in the higher school of Ukraine, and today the teaching of choreographic art in higher education institutions is based on the methodological developments of folk dance theorists and practice O. Kolosok. His work with students on mastering the art of choreography was multifaceted, and choreographer-director thinking reached deep sources of folk dance. Oleksandr Kolosok's many years of pedagogical activity were fruitful, and today many choreographers and choreographers, whom he nurtured, owe him their high professional level. [ABSTRACT FROM AUTHOR]

The purpose of the article is to substantiate the advisability of using distance courses in the process of improving the qualifications of teachers of art education institutions. The methodology of the work is based on the use of methods of analysis and synthesis. The analysis of the problems of the quality of knowledge in distance courses made it possible to turn to different forms of education. On the basis of synthesizing the obtained research results, the laws of knowledge improvement are established. The method of concretization reconstructed the versatility of connections in the personality - process - education system. The method of generalization made it possible to fix the expediency of using distance courses in order to improve the qualifications of teachers of art education institutions. The scientific novelty of the work lies in the fact that the author's distance course "Methods of teaching musical disciplines" has been analyzed and introduced into the educational process of the National Academy of Leading Cadres of Culture and Arts, the Center for Continuous Art Education. The text of the article can be used in the preparation of a lecture on the methods of teaching musical disciplines. Conclusions. Based on the analysis of work with the distance course "Methods of teaching musical disciplines", the possibilities and expediency of its use in refresher courses for teachers of art education institutions are revealed. Working with DK has advantages in improving the professional skills of teachers, allows you to save time as much as possible and receive a creative incentive for practical use in teaching, to identify new aspects of creative approaches in the art of music. The absolutely new selected material of the DK enriches the teaching experience (with a repertoire in performance, theoretical studios for musical-theoretical and musical-historical disciplines), including people of different age groups. The distribution of lectures, practical and independent tasks has a positive effect on the final learning outcome. [ABSTRACT FROM AUTHOR]

The author emphasizes the importance of person's knowing of native folklore that is a powerful factor not only of national-patriotic, but also because of its multifaceted content -- aesthetic, ethical, ecological, civic, social, etc. education, which together form the basis of its national self-identification and creates the foundation of a common spiritual personal culture. The pedagogical principle of cultural correspondence in knowledge of folklore has a higher priority, which means that educational process focuses on formation of a valuable attitudes towards folk song. It is important to learn folk song in the context of other types of folklore. The problem of finding adequate ways to preserve and inherit folklore the native land in the local aspects, will be adequate for the contemporary educational space and the requests of modern schoolchildren. Some unique regional peculiarities of songs of different genres (family-household, calendar-ritual, social-everyday life songs, ancient Russian epics, ballads, dumas and historical songs, etc.), as well as ritual actions recorded in Volyn Polissia have been described. The pedagogical potential of this valuable treasure of national culture in the context of national education of personality in the unity of socio-cultural component and emotional-aesthetic information has been specified. Moreover, folk melos is an artistic and generalizing way of knowing one's people in their historical formation, mindset and cultural expression, a way of communication with the past in the projection of the present and future. The author gives music examples and lyrics as well as a description of ceremonial activities that will be useful both in the preparation of the art teacher and in teaching art to pupils of different ages at lessons and extracurricular activity. [ABSTRACT FROM AUTHOR]