General pedagogical foundations of D. V. Andrusenko’s work with children musical collectives

Background. The relevance of the topic of this article is determined by the trends of modern musicology to thorough studying the achievements of ensemble bandura performing, in order to use the practical experience of talented teachers-bandurists. As a result of the radical changes that took place in the cultural realm during the 1990s, the folk vocal-instrumental performing was a subject to stagnation. The mass character that had distinguished this area had been lost. However, the needs of contemporary (early 21st century) socio-cultural practices in the realities of existence of folk vocal-instrumental musical culture are increasingly being linked to the rethinking of former forms of collective music playing. After all, the folk vocal-instrumental performing is a form of manifestation of national consciousness, and therefore it functions as an important factor in restoring the Ukrainian national tradition. To bandura vocal-instrumental performing field a talented teacher, choirmaster, bandurist, master of making these musical instruments – Dmytro Vasyliovych Andrusenko (1895–1965) belongs, whose figure draws attention due to his contribution to pedagogical, cultural-educational, artistic space of some regions of Ukraine (Poltava, Sumy). Objectives. The article analyzes D. V. Andrusenko’s artistic-pedagogical activity. The peculiarities of work of the bandurist and conductor as an organizer and leader of children’s music collectives, capellas of bandurists and choirs, are highlighted. The results of the study. The pedagogical principles, techniques and methods of work of the teacher with the pupils in terms of mastering performing skills, development of vocal skills, civic and patriotic education are clarified. It should be emphasized that D. V. Andrusenko fruitfully worked not only as a musician, teacher, but also as a propagandist, popularizer of national culture. His pupils received musical, national-patriotic education, grew spiritually, enriched culturally. This is evidenced by their repertoire, which included a lot of songs in T. G. Shevchenko’s words, Ukrainian folk songs, classical works, as well as songs of different peoples – the members of the collectives got a spirit of respectful attitude towards musical cultures of other countries. As the organizer and leader of the collectives, D. V. Andrusenko taught his pupils vocal skills and playing bandura. He used the principles of music didactics to solve these problems. D. V. Andrusenko used such a system to work with bandurists of his capella, which was based on the leader methods of music pedagogy. His system included learning the techniques of playing the instrument, step by step, formation of pupils’ technical skills, systematic exercises. As a highly skilled choirmaster, D. V. Andrusenko used in his pedagogical arsenal the necessary basic methods of work for the formation of the voice apparatus of his pupils. The important task of the choir teacher is correct, vocally competent distribution of the pupils’ voices. This part of work was not difficult for D. V. Andrusenko, since he was a choirmaster of the high level, had absolute pitch. Musical-pedagogical activity of D. V. Andrusenko was connected with institutions of education and culture. On the basis of education institutions and houses of culture he organized large creative collectives: capellas of bandurists, choirs, instrumental ensembles. According to the memoirs of witnesses and participants of the collectives, their head, while selecting future pupils among the schoolchildren, carefully listened to each person. The selection was serious, the best pupils came to the collectives. It should be mentioned that D. V. Andrusenko – a teacher, musician, master – was an example for his pupils. They all mention him with respect, emphasizing his exceptional professionalism, intelligence, education and high moral qualities. Conclusions. Thus, the conducted research proves the presence of general pedagogical foundations in D. V. Andrusenko’s work with children’s musical collectives, the use of the leading principles of music teaching, such as: systematicity and graduality; availability of knowledge; retention of learning (by the methods of repetition, exercises); individual approach to the learning process; student and teacher activity; ostensiveness, visibility, clarity (by methods of showing and explanation); communication of learning with life practices; formation of a situations of creative competition and encouragement to success. The principles and methods used by D. V. Andrusenko as a teacher in his work with amateur musical teams have not lost their relevance today.