DEVELOPMENT OF CREATIVE ABILITIES OF BACHELORSTUDENTS THROUGH MUSICAL IMPROVIZATION

Abstract

The article is devoted to solving the problem of developing creative abilities of students of higher musical education by means of musical improvisation. The problem is considered on the basis of research by foreign (J. Gilford, E. Torrens, S. Mednyka) and domestic psychologists (I. Bekh, O. Dusavytsky, G. Kostyuk, V. Molyako, S. Sysoeva), representatives of the music and pedagogical community (N. Mozgaleva, S. Naumenko, G. Padalka, O. Rudnytska). The emphasis is on the value of developing the ability to improvise, which ensures the rapid development of divergent thinking of a musician, realizes the students' desire for speed, flexibility, originality of musical thought, and the search for non-standard musical ideas. It is emphasized that improvisational skills contribute to the free development of the bachelor's personality, cultivate the ability to be independent and decisive in self-realization. It is proposed to implement the educational process in a higher education institution on the basis of pedagogical technology, which takes into account all stages of the upbringing of a creative personality. It is determined that the target component allows the teacher to take into account the strategic goal of educating a creative personality, adhere to the tactical goal of teaching improvisational skills and flexibly change operational goals depending on the specifics of the pedagogical situation. It is specified that the motivational component ensures the birth of search motivation, a heightened perception of the shortcomings of musical thinking and the desire to reach the essence of musical creativity, to embody it despite obstacles. It is found that the content component allows for a systematic, conscious and thorough understanding of knowledge about the types, directions, and specifics of musical improvisation. The benefits of studying improvisation genres, in particular fantasy, improvisation, prelude, paraphrase, and variations, are emphasized. The operational component directs students to a productive search for original and flexible musical solutions. The positive role of mastering the techniques in musical education of agglutination, typification, construction, modeling, variation, litotes, hyperbole, etc. has been determined. The correctional component aims at the emergence of the ability to self-control, self-correction and overall performance reliability of bachelors.