Digital technologies in training the accompanist: practical dimension

Abstract

Statement of the problem. The modern distance learning changes pedagogical strategies, methods, approaches, and the educational process. Institutions of art education, where training involves personal communication between the teacher and the student in the process of individual practical classes, found themselves in the most difficult situation. Therefore, it is important to understand the practical achievements of art universities in the field of distance learning as proven ways to overcome the remote “gap” between a teacher and a student. Recent research and publications. The problems of distance learning, taking into account the creative specificity, are investigated in the articles of the following Ukrainian scientists: Hubarieva et al., 2021; Lytvyn et al., 2021; Ponomarova et al., 2021; Davydov et al., 2022; Dedusenko et al., 2022; Ohrimenko et al., 2022; Prudnikova & Prudnikova, 2022; Tkachenko et al., 2022; Fabian et al., 2022. The works devoted to the formation of a pianist-accompanist are Molchanova, 2019, 2021, 2022; Nikitska & Savchenko, 2022. Objectives, methods and novelty of the research. The purpose of the study is to consider the positive and negative effects of distance education on the performing formation of a pianist-accompanist using digital technologies. A comprehensive approach is applied, combining the methods of analysis and generalization, systematization and projection, comparative, empirical, and experimental methods in accordance with the performance ensemble specifics. The scientific novelty consists in the study of practical developments in the distance learning of pianists of the Piano Accompaniment Department of Kharkiv I. P. Kotlyarevsky National University of Arts (Ukraine). Research results. The distance education in Ukraine has been complicated by the state of war, the departure of specialists abroad, funding restrictions and changes in educational policy. The formation of the accompanist is carried out by two strategies: together with the vocalist / instrumentalist and in the absence of soloists. All study participants face certain problems. For a pianist-apprentice, these are: loss of time on technological tasks, lack of sound display, unbalanced load. For soloists, these are: impossibility of synchronous performance, lack of emotional communication, singing or playing to the recorded accompaniment. For teachers, these are: the lack of direct contact with the ensemble members, the difficulty of correcting the sound, the obligatory verbalization of all remarks. Digital technologies that provide remote training of accompanist are as follows: 1. Google Meet and Zoom video conferences (“the teacher’s presence” effect); 2.MOODLE and GoogleClassroom platforms (organization of independent work and creation of online classes); 3. YouTube and Google Disk resources (access to video files with performance of compositions); 4. Messengers Viber, Telegram, ChatOn, WhatsApp, etc. (communication); 5. Editing applications – Adobe Acrobat Reader, Foxit Reader, Paint, Scissors, etc. (visualization of comments); 6. Applications for working with video recordings (for example, YouCut); 7. Ordinary telephone communication. General technical problems: instability of the Internet connection and its speed; obsolescence of gadget models; digital ignorance of distance learning participants, lack of a “common denominator” for evaluating the results of ensemble performance. Conclusion. The perspective of art education can be seen in finding hybrid forms of learning, combining synchronous and asynchronous models, taking into account the achievements of distance and face-to-face education and finding algorithms for building a combinatorial strategy.