Методичні засади ритмічної підготовки майбутніх учителів музичного мистецтва та хореографії

Abstract

The article reveals the concept of rhythmics of Emile Jaques-Dalcroze and peculiarities of its development in international theory and practice. The aim of rhythmic training of the future musical art and choreography teachers is defined; it consists in formation of their musical and motor skills, the ability to perceive, experience, understand emotionally and interpret plastically composer works of different epochs. The theoretical foundations of rhythmics based on the ancient cult of corporeality, the views of ancient Greek philosophers, aesthetic, psychological and psycho-physiological concepts of the early twentieth century have been highlighted. The scientific-methodological views of Emile Jaques-Dalcroze, who declared the inextricable connection of intellectual, emotional and psychophysical development of the personality by means of rhythmics, have been analyzed. The implementation of rhythms evokes the independence of movements and optimal functioning of the musculoskeletal system and the peripheral nervous system, stimulates awareness of oneself, one’s emotional state, the body’s position, one’s role in the group, trains the will, which in turn leads to increased self-control and self-management. Through overcoming physical and mental difficulties, joy is released, which becomes a new stimulus for the comprehensive development of the personality. The main tasks to be solved by the teacher in school practice for the musical-motor (eurhythmic) education of students are formulated, in particular concerning development of their musical imagination and memory, plastic perfection, as well as awareness of musical forms, styles and genres. The methodological foundations of the future musical art and choreography teachers’ training, in particular connection of theory and practice, mental and sensory spheres of the personality, psychophysical and intellectual development, are grounded. The reserves of rhythmic upbringing in relation to development of creative potential of the personality, his socio- communicative abilities, and the ability to self-expression are found out. In contrast to statements about the loss of relevance, openness of rhythmics to the latest artistic and pedagogical trends is confirmed. The search for new forms of artistic expressiveness by means of eurhythmics, awareness of the creative process through personal rhythmic-motor experience of interpretation of musical works simultaneously provides an understanding of the aesthetic value of communication with the artistic masterpiece. It is proved that future musical art and choreography teachers must master the methodological foundations of the rhythmics of E. Jaques-Dalcroze in order to carry out effectively musical-rhythmic upbringing of children and youth, uplifting their spirit, improving their body and giving pleasure of free creativity.