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The article presents the results related to theoretical modelling of the phenomenon “artistic and project-based experience” of future teachers of Musical Arts and the criteria for its evaluation. The formation of this type of experience on the basis of piano training aimed at future teachers of Musical Arts is actualized by the fact that projects become the most attractive innovative organisational form of teaching arts. Researchers explore various phenomena related to project-making (competence, skills, technology, activities, culture, etc.). However, artistic and project-based experience in the context of professional training aimed at future teachers of Musical Arts still needs theoretical understanding. The article clarifies the essence of this type of experience; the corresponding concept is interpreted as an integrated professional quality of future Musical Arts teachers; it is a process and a result of accumulation and memorisation of knowledge and practical skills enabling the embodiment of artistic and essence-related ideas into an organisational form perceived as an event where all participants are involved into independent preparing and performing of distributed creative tasks according to a certain scenario, focusing on achieving a common pedagogical goal. The structure of artistic and project-based experience is presented; it consists of four components: methodologically motivated component (aspiration to acquire methodical competence in piano performance; an interested attitude to mastering piano performance as a pedagogical resource of professional training); artistic and mental (the presence of the memory fund of artistic and project-related events and their reflection (artistic and project-based thinking)); activity-based and communicative (the presence of experience of artistic and communicative actions; activity in mastering the artistic and communicative resource of piano training); creative and self-organisational (experience of self-organisation in pedagogical project-making related to piano training; integrative and praxeological resources of the experience when dealing with artistic and figurative project-making and script-planning of events). The assessment criteria and indicators of the developed components are presented: motivational and intentional; information-based and operational; technological and innovative; productive and creative.

The article substantiates the essence, content and method of developing artistic empathy. The purpose of the article is to substantiate the methods of vocal training that are effective in developing the artistic empathy of the future Music teachers. The purpose of the article is realised through the use of methods of theoretical research: analysis, synthesis, generalisation, deduction, induction, extrapolation. The article clarifies the meaning of the concept "empathy" as a psychological process based on penetration into the inner world of a person. Empathy is interpreted as the integration of emotional and cognitive aspects of cognition. The components of empathy in the context of psychological research have been determined. Empathy as a factor in regulating the effectiveness of pedagogical communication has been studied. Empathy acts as a tool for establishing emotional contact. The procedural aspect of empathy in the context of the teacher's activity is considered. The content of artistic empathy is considered as a process of sympathising with artistic phenomena. Artistic empathy is defined as the basis for comprehending an artistic image. In the context of Music teachers’ activities, artistic empathy is defined as a complex personal and professional entity that allows us to identify the emotional state of a person or the emotional portrait of a musical work. The artistic empathy causes a reaction of sympathy, which optimises artistic and pedagogical communication. It is noted that the vocal training of future Music teachers creates a unique platform for the development of artistic empathy. Two vectors of the artistic empathy within the activities of Music Arts teachers have been considered: empathic penetration into the emotional world of a musical work, and empathic penetration into the emotional world of students in the process of artistic and pedagogical communication. A list of effective methods of the vocal training which is aimed at developing art empathy of the future teachers of Musical Arts has been offered: a method of reflexive adjustment, a method of empathic supervision, a method of emotional collections, a method of vocal improvisation.

Our country's aspirations for joining the European educational space, acquiring institutions of the national education system, including establishments of general education, competitiveness in the world educational services market actualize the need for its modernization and quality improvement. Modern state documents that provide the legal normative framework for national education are aimed at the above mentioned. The purpose of the article is to highlight and substantiate the structure of the methodological culture of the future teachers specialised in Musical Arts. The article describes the essence of the phenomenon "methodical culture of the future teachers of Musical Arts". The use of the systematic approach as a unity of ideas, baselines, starting points made it possible to consider the identified phenomenon as a system containing specific constituents which determine its peculiarities. These components are the structural components of the phenomenon under study. The analysis, generalization and interpretation of scientific sources and practices of professional training targeted to the future teachers of Musical Arts allowed us to identify and characterize the structural components of their methodological culture as a personal formation: epistemological (as a set of acquired knowledge necessary for the future teacher of Musical Arts; axiological (as a system of values and orientations of the future teacher of Music Arts which determines the cultural orientation of his / her musical and professional activities and personal attitude to the solving of methodical problems); praxeological (characterized by the presence of methodological-pedagogical and special skills, the totality of which ensures the cultural correspondence of the future professional and the quasi-professional activity of the future teacher of Musical Arts); personal (implies an emotionally positive attitude of the future Music teacher to the need to master and qualitatively carry out methodological and pedagogical activities on the basis of emotional flexibility, ability to evaluate and self-evaluate its progress as well as those methodical products, the use of which contributed to the achievement of the tasks.

The article is devoted to the coverage of the results dealing with the theoretical and methodological stage of the study regarding the professional training of future teachers of Musical Arts in developing schoolchildren’s artistic and aesthetic worldview. The introduction reflects the relevance of this problem, the goals and objectives of this stage. To achieve the goals and solve the tasks, a set of methods was used: theoretical ‒ analysis, induction, comparison, generalization of philosophical, psychological, pedagogical, artistic and historic; musical and pedagogical sources in order to clarify the content and specify the essence of the concept “pedagogical conditions”, the contextual analysis – to clarify the concept “Artistic and aesthetic perception of the world”; empirical ‒ a generalization of pedagogical and methodological experience, innovative practices; theoretical generalization – to explain the essence of special pedagogical conditions for developing schoolchildren’s artistic and aesthetic worldview. The author clarifies the essence of the phenomenon “pedagogical conditions”, presents and characterizes the pedagogical conditions for training future teachers of Musical Art in developing schoolchildren’s artistic and aesthetic worldview: actualization of the artistic and philosophical potential of the piano-performing activity fulfilled by the future teachers of Musical Arts; stimulation of a comprehended attitude of the future teachers majoring in Musical Arts to the artistic and aesthetic content of piano works in the process of working on their interpretation; a purposeful orientation on the creation of a methodological trajectory of influence on the artistic and aesthetic worldview by the future teachers of Musical Arts through comprehension of the artistic image of the work; involvement of the future teachers of Musical Arts into the organization and participation in real and virtual intercultural innovative and interactive forms of the educational process. These conditions are grounded through the prism of the component structure of the phenomenon “artistic and aesthetic worldview”. It is noted in the conclusions that the methodology, which includes pedagogical conditions, optimizes the further development of the phased implementation of the pedagogical conditions alongside with their corresponding methods in order to verify their effectiveness.