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Journal articles on the topic 'Art Art teachers'

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Published: 4 June 2021
Last updated: 13 February 2022

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1

Peterson, Joan. "Assessing Art Teachers." Arts Education Policy Review 98, no. 1 (October 1996): 22–26. http://dx.doi.org/10.1080/10632913.1996.9935089.

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2

Sweeny, Robert. "Teaching Art, Teaching Artists, Teaching Art Teachers." Art Education 66, no. 3 (May 2013): 6–7. http://dx.doi.org/10.1080/00043125.2013.11519217.

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3

Galbraith, Lynn. "Research-Oriented Art Teachers: Implications for Art Teaching." Art Education 41, no. 5 (September 1988): 50. http://dx.doi.org/10.2307/3193078.

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4

Erickson, Mary, and Pat Villeneuve. "Bases of Preservice Art Teachers’ Reflective Art Judgments." Studies in Art Education 50, no. 2 (January 2009): 184–200. http://dx.doi.org/10.1080/00393541.2009.11518765.

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5

Donnelly, Nora P. "Regarding art and regarding future teachers regarding art." Irish Educational Studies 22, no. 1 (March 2003): 89–104. http://dx.doi.org/10.1080/0332331030220109.

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6

Smilan, Cathy, and Kathy Marzilli Miraglia. "Art Teachers as Leaders of Authentic Art Integration." Art Education 62, no. 6 (November 2009): 39–45. http://dx.doi.org/10.1080/00043125.2009.11519044.

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7

D'Angelo, James. "Computers for Art Teachers." Art Education 41, no. 5 (September 1988): 41. http://dx.doi.org/10.2307/3193077.

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8

Congdon, Kristin G., and M. Day. "Preparing Teachers of Art." Studies in Art Education 40, no. 4 (1999): 377. http://dx.doi.org/10.2307/1320556.

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9

Armstrong, Carmen, and Michael Day. "Preparing Teachers of Art." Journal of Aesthetic Education 33, no. 1 (1999): 107. http://dx.doi.org/10.2307/3333743.

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10

Stoehr, Kathleen J., and Janet M. Liston. "Tessellation art." Teaching Children Mathematics 23, no. 8 (April 2017): 512. http://dx.doi.org/10.5951/teacchilmath.23.8.0512.

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Engage students in discovering and creating tessellations through patterns from their everyday lives. Students make tessellations come alive as geometric shapes with no gaps or overlaps through hands on activities. Postscript items are designed as rich grab-and-go resources that any teacher can quickly incorporate into his or her classroom repertoire with little effort and maximum impact. Submit your quick game, puzzle, activity, or instructional strategy along with suggestions for how teachers of different grade bands (K–1, 2–3, 4–6) can use this idea. Send submissions of no more than 250 words to this department by accessing http://tcm.msubmit.net. See detailed submission guidelines for all departments at http://www.nctm.org/WriteForTCM
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11

Joohee, Kang. "Art Teachers in Collaboration between Art Museum and School." Journal of Art Education 24, no. ll (December 2008): 1–26. http://dx.doi.org/10.35657/jae.2008.24..001.

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12

DENSCOMBE, MARTYN. "The Art of Research: Art Teachers' Affinity with Ethnography." Journal of Art & Design Education 10, no. 3 (December 1991): 271–80. http://dx.doi.org/10.1111/j.1476-8070.1991.tb00293.x.

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13

Fukumoto, Kinichi. "Art Lunch Project: an international collaboration among art teachers." International Journal of Education through Art 3, no. 3 (January 7, 2008): 195–209. http://dx.doi.org/10.1386/eta.3.3.195_1.

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14

Carr, Jeffrey. "Four types of art teachers for talented art students." Roeper Review 13, no. 2 (January 1991): 71–73. http://dx.doi.org/10.1080/02783199109553313.

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15

Beck, D., and S. Warren. "Rural art teachers’ access: one museum’s online art curriculum." Pedagogies: An International Journal 15, no. 2 (October 30, 2019): 146–63. http://dx.doi.org/10.1080/1554480x.2019.1684921.

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16

Tavşancil, Ezel, and Seher Yalçin. "Attitudes of primary school prospective teachers towards art education." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 667–74. http://dx.doi.org/10.18844/gjhss.v2i1.1009.

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17

Kalinina, Larisa Yurievna. "Contests of concept «art-composition» in context of XXI century art education." Samara Journal of Science 5, no. 2 (June 1, 2016): 162–65. http://dx.doi.org/10.17816/snv20162306.

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The article discusses the concept of art composition, that functioning in practice music teachers, teachers of fine arts and literature, teachers of choreography and theater. However, the theoretical foundation of art-composition and content of the concept has not yet been the subject of a special study. At the same time, comprehension of innovative approach in educating to the art, maintenance of artistic education characterized by an orientation on studying - man with a modern world view, it is necessary. A necessity of enriching of thesaurus of school pedagogics was clear, actual terms, art composition behaves to the number of that. This study contributes to the problem of a more general nature - the possibility of using polyart creative activities as a means of identification and learning of gifted children. The originality of the art-composition - in the innovative thinking of the modern author, whose seeking to portray the world is not the way it sees, but the way it understands. Results of the creative work can be presented in different art forms, not excluding sketches, improvisations, postmodern games with the text. The pedagogical value of the art-composition: the teacher can visually track the progress of the child in the field of aesthetic perception, associative thinking and the work with the material.
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18

Gibson, Robyn. "Learning to be an Art Educator: Student Teachers’ Attitudes to Art and Art Education." International Journal of Art & Design Education 22, no. 1 (February 2003): 111–20. http://dx.doi.org/10.1111/1468-5949.00344.

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19

Stone. "Art Teachers' Beliefs about Creativity." Visual Arts Research 41, no. 2 (2015): 82. http://dx.doi.org/10.5406/visuartsrese.41.2.0082.

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20

Szekely, George. "The Art of Student Teachers." Art Education 57, no. 3 (May 2004): 18–24. http://dx.doi.org/10.1080/00043125.2004.11653547.

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21

Mason, Rachel. "Art teachers and action research." Educational Action Research 13, no. 4 (December 1, 2005): 563–80. http://dx.doi.org/10.1080/09650790500200345.

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22

Lam, Bick-har, and David Kember. "Conceptions of Teaching Art Held by Secondary School Art Teachers." Curriculum and Teaching 19, no. 2 (January 1, 2004): 61–82. http://dx.doi.org/10.7459/ct/19.2.05.

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23

Lam, Bick Har, and David Kember. "Conceptions of Teaching Art Held by Secondary School Art Teachers." International Journal of Art Design Education 23, no. 3 (October 2004): 290–301. http://dx.doi.org/10.1111/j.1476-8070.2004.00408.x.

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24

Rabkin, Nick. "Artists, Art Teachers, Schools, and Art: Can They Live Together?" Journal of Curriculum and Pedagogy 7, no. 1 (June 2010): 43–47. http://dx.doi.org/10.1080/15505170.2010.10471316.

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25

Gazi, Easin Ali, and Md Shawkatuzzaman Laskar. "Art of lecture in medical education." Bangladesh Medical Journal Khulna 46, no. 1-2 (March 5, 2014): 24–27. http://dx.doi.org/10.3329/bmjk.v46i1-2.18236.

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Teaching and learning is a lifelong process for human being. It ends with the end of lives. The professional teachers of all subjects are doing very tuff job. The adult learner only learns if they like the lecture or speech. So, the lecture should be made interesting or attractive. The teacher has to be skilled in teaching and lecturing methods. For quality and effective lecturing all teachers should know the modern techniques of teaching. Therefore training of all teachers is a must. All academic institutions need to arrange training for their teachers. The present article suggests some important tips for developing lecture and teaching skills for effective and quality teaching which might be helpful to those teachers who are not getting institutional training. One or more of the tips mentioned in this article may be used according to the topics during lecture time. DOI: http://dx.doi.org/10.3329/bmjk.v46i1-2.18236 Bang Med J (Khulna) 2013; 46 : 24-27
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26

김미남. "Art Project for Non-Art Majors, Preservice Elementary Teachers: Art for Understanding Self-Identity, Art for Life, Art Connected with Life." Journal of Research in Art Education 12, no. 2 (July 2011): 79–106. http://dx.doi.org/10.20977/kkosea.2011.12.2.79.

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27

Kulinka, Yu. "ART TECHNOLOGY IN THE FORMATION OF DESIGN CULTURE OF FUTURE TEACHERS OF LABOR STUDIES." INNOVATIVE SOLUTIONS IN MODERN SCIENCE 4, no. 23 (July 16, 2018): 62. http://dx.doi.org/10.26886/2414-634x.4(23)2018.6.

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This article presents the approaches to the understanding of the concept of «art-technology», describes the shape of the art technology for the formation of design culture of future teachers of labor studies; formulates author's definition of the art technology. The aim and the result of this study is to justify the methods of using art technologies in professional design training of future teachers of labor studies. The methods of art technique that can be used at the art lessons are proposed and tested in the process of professional design training of future teachers of labor studies.Key words: art therapy, art pedagogy, art technologies, professional training, future teacher of labor training, art lesson, art situations.
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28

Dunn-Snow, Peggy, and Georgette D'Amelio. "How Art Teachers Can Enhance Artmaking as a Therapeutic Experience: Art Therapy and Art Education." Art Education 53, no. 3 (May 2000): 46. http://dx.doi.org/10.2307/3193873.

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29

Wulandari, Retno Tri, and Usep Kustiawan. "Evaluation Study of Early Formal Education Teacher Competence in Early Childhood Learning Dance at Kindergartens in Malang, Indonesia." Research on Education and Media 10, no. 1 (June 1, 2018): 3–8. http://dx.doi.org/10.1515/rem-2018-0002.

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Abstract This study aims to define Early Formal Education teacher competence in the learning of dance art in kindergarten in Malang. This study uses a descriptive design with quantitative and qualitative approaches. The population is kindergarten teachers in Malang. The sample uses a proportional random sampling technique that amounted to 15 kindergarten teachers from five sub-districts in Malang, each sub-district represented three teachers from different kindergartens. The data collection technique used a questionnaire. The results show that the level of kindergarten teachers’ understanding in Malang of the Early Formal Education teacher’s competence required in the learning of dance art is in a good category; however, contrary to the reality in the field, the problem of early childhood dance learning lies in the lack of pedagogical competence, personality and teacher professionalism. Teaching requires intense and sustained training to improve dance learning competence. The conclusion is that the competence of Early Formal Education teachers in the learning of dance art in kindergarten in Malang is still lacking.
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30

Ovcharenko, Natalia, Olha Matveieva, and Olha Chebotarenko. "Metodological readiness formation of future music art teachers for their professional activity." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 157–64. http://dx.doi.org/10.34069/ai/2020.27.03.16.

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The article highlights the ways of solving the current problem of artistic education in Ukraine - methodological readiness formation of future music art teachers for their professional activity. The purpose of the study is experimental verification of the organizational and methodical principles of the methodological readiness formation of future music art teachers for their further professional activity, which is considered as: professional and personal formation of a teacher based on the motivation to such a kind of activity, a complex of methodological knowledge, skills and psychological capacities of the music art teacher to apply them. The research covers the structure of the methodological readiness of the music art teacher for their professional activity, which includes the following components: motivation-demanding, informational-cognitive, scientific activity-based, reflexive-evaluational, self-improving; also certain criteria, indicators and levels of methodological readiness formation of the music art teacher are determined in particular and the organizational and methodical principles of forming the methodological readiness of future music art teachers, based on the modernization of the content, forms and methods of methodological training of future music art teachers. The effectiveness of certain organizational and methodical principles has been confirmed by experimental research.
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31

Orgel, Paul, and Stewart Gordon. "Etudes for Piano Teachers: Reflections on the Teacher's Art." Notes 52, no. 4 (June 1996): 1187. http://dx.doi.org/10.2307/898407.

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32

Pavlou, Victoria. "Understanding Art: Preparing Generalist School Teachers to Teach Art with Artworks." International Journal of Art & Design Education 34, no. 2 (June 2015): 192–205. http://dx.doi.org/10.1111/jade.12020.

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33

Rayment, Trevor. "Art Teachers' Views of National Curriculum Art: A repertory grid analysis." Educational Studies 26, no. 2 (June 2000): 165–76. http://dx.doi.org/10.1080/713664267.

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34

Peter, GANDONU, Sewanu, AJAYI, Noah Oluwasanjo, and ORIDOLA Adeola Ibrahim. "Influence of Art Teachers’ Operational Competence on Students’ Art Learning Achievement." International Journal of Research and Innovation in Social Science 04, no. 12 (2020): 189–95. http://dx.doi.org/10.47772/ijriss.2020.41210.

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35

V. Mishina, Anastasia. "Development of Art Criticism Competence of Future Teachers of Art Direction." HELIX 8, no. 6 (December 31, 2018): 4645–48. http://dx.doi.org/10.29042/2018-4645-4648.

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36

Nichols, Bill, and Gerald Peary. "Children, Art, Sex, Pornography: Jennifer Montgomery's Art for Teachers of Children." Camera Obscura: Feminism, Culture, and Media Studies 13, no. 3 (September 1, 1996): 34–51. http://dx.doi.org/10.1215/02705346-13-3_39-34.

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37

Yuldasheva, Nilufar Ibrohimovna. "Formation of art and aesthetic competence in future fine art teachers." ACADEMICIA: An International Multidisciplinary Research Journal 11, no. 3 (2021): 1465–71. http://dx.doi.org/10.5958/2249-7137.2021.00745.x.

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38

Rahmat, Mohd Khairezan, and Wing K. Au. "Visual Art Education Teacher’s Beliefs and Attitudes Toward Incorporating ICT into Art Classrooms." Asian Journal of University Education 15, no. 3 (December 31, 2019): 285. http://dx.doi.org/10.24191/ajue.v15i3.7814.

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Visual art is a subject that emphasizes on creativity, innovation and critical thinking, therefore, Visual Art Education (VAE) teachers have been urged to utilize the full potential of Information and Communication Technology (ICT). Despite numerous literature have highlighted the benefits of ICT, VAE teachers were found not serious toward integrating ICT in teaching. Hence, this study was carried out to determined Malaysian VAE teachers’ attitudes and beliefs and their level of confidence toward incorporating ICT into art classrooms. This study explored teachers’ specific approach of ICT and factors that influence their integration of ICT into art classrooms. The participants of this study were eighteen VAE teachers from three-selected secondary school in the state of Selangor, Malaysia. Data for the study was gathered by face-to-face interviews. The findings of the study indicated that Malaysian VAE teachers were still at moderate levels of ICT integration. The support from the school administrator and continues professional development were identified as two main factors that contribute towards successful ICT integration. In light of the published research on the integration of ICT in the VAE subject area, hopefully, the findings of this study will assist school organization, teachers training institutions and the Ministry of Education toward establishing a standard for successful ICT integration, especially in the context of the VAE. Keywords: Visual Art Education (VAE), Information and Communication Technology (ICT), Teachers; beliefs and attitudes
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39

Rahmat, Mohd Khairezan, and Wing K. Au. "VISUAL ART EDUCATION TEACHER’S BELIEFS AND ATTITUDES TOWARD INCORPORATING ICT INTO ART CLASSROOMS." Asian Journal of University Education 15, no. 3 (December 31, 2019): 10–19. http://dx.doi.org/10.24191/ajue.v15i3.02.

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As a subject that emphasizes on creativity, innovation and critical thinking, Visual Art Education (VAE) teachers were urged to utilize the full potential of Information and Communication Technology (ICT). Despite numerous literatures that highlighted benefits of ICT, VAE teachers were found not serious toward integrating ICT. This study was carried out to determined Malaysian VAE teachers’ attitudes and beliefs and their level of confidence toward incorporating ICT into art classrooms. Moreover, this study explored teachers’ specific approach of ICT and factors that influence their integration of ICT into art classrooms. The participants of this study were eighteen VAE teachers from three-selected secondary school in the state of Selangor, Malaysia. Data for the study was gathered by face-to-face interviews. The findings of the study indicated that Malaysian VAE teachers were still at moderate levels of ICT integration. At the mean time, the support from school administrator and continues professional development were two main factors that contribute towards successful ICT integration. In light of the published research on the integration of ICT in the VAE subject area, the findings of this study will contribute towards guiding school organization, teachers training institutions and the Ministry of Education toward establishing a standard for successful ICT integration, especially in the context of the VAE.
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40

Trifonoff, Karen M. "Creativity, Art and Cartography in Geographic Education." Cartographic Perspectives, no. 33 (June 1, 1999): 49–59. http://dx.doi.org/10.14714/cp33.1020.

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Elementary children can learn about maps, but what they do learn depends in large part on the background and training of the teacher. Teachers who engage in mapping activities often lack training in the technical aspects of map making, along with a lack of knowledge of the role of art, design, and creativity in the cartographic process. An activity designed to help elementary and middle school teachers integrate artistic perspectives and mapping is outlined. The workshop proved to be an effective vehicle for increasing teachers' knowledge of both map making and art and gave them an outline for a map making activity that could be adapted to any grade level.
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41

Joohee, Kang. "Community-Based Art Education Practice through Authentic Instruction in Art - Focused on Pre-service Art Teachers." Korean Journal of Arts Studies ll, no. 17 (September 2017): 247–74. http://dx.doi.org/10.20976/kjas.2017..17.011.

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42

Sowder, Mary, Teresa Leavitt, Thomas B. Smith, and Madalina Tanase. "When Magic Becomes Art: Educating Teachers." Studying Teacher Education 9, no. 3 (November 2013): 298–310. http://dx.doi.org/10.1080/17425964.2013.835259.

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43

Pavlou, Victoria. "Reflective visual journals as a means for promoting generalist preservice teachers’ professional identity in art education." International Journal of Education Through Art 17, no. 2 (June 1, 2021): 253–70. http://dx.doi.org/10.1386/eta_00064_1.

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In many countries, the subject of art in primary education is entrusted to generalist teachers rather than art specialists. This article explores ways of promoting in-depth learning in art education courses while simultaneously gaining an understanding of how preservice generalists develop their professional identities. This study focuses on the journey of five senior B.Ed. in primary education students from Frederick University in Cyprus, who were invited to engage with reflective practices through visual journaling on art, education and on art integration with social issues. The findings suggest that reflective visual journals can be used to promote generalist preservice teachers’ autonomy and self-reliance in their art making and art responding as well as in the design of art units for their future pupils. The implications of the study open up possibilities for teacher education as it recognizes the role of visual journaling in enhancing different forms of knowledge, acknowledging feelings of both tension and pleasure, promoting perceptions of self-efficacy and supporting inquiry. Overall, such efforts allow preservice teachers to transition from student to teacher identity.
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44

Basak, Rasim. "Teacher Opinions and Perspectives of Visual Culture Theory and Material Culture Studies in Art Education." Journal of Education in Black Sea Region 6, no. 2 (May 21, 2021): 186–211. http://dx.doi.org/10.31578/jebs.v6i2.242.

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Teacher opinions and discussions about Visual Culture Theory and Material Culture in art education are examined in this paper. Both approaches were compared and evaluated within their contents and fundamentals. Visual Culture Art Education (VCAE) in art education, specifically, has been criticized as having a Neo-Marxist or Cultural Marxist agenda stemming from Critical Theory, nonetheless, it is also viewed as being just another recent Postmodernist approach. Being a controversial theoretical account, VCAE seems widely unknown and not understood in its conceptual frame among art teachers in Turkey. Its name also may have caused confusion. In this study, art teacher opinions of VCAE content, principles, applications and practices were collected through a survey questionnaire; and examined. Participants were 71 art teachers. A purposeful, convenient, random sampling method was employed to represent a population of art teachers from various backgrounds, with various experience levels, with educational experience from various universities, working at various geographical regions and towns in Turkey. The study was designed and structured as descriptive survey research. Analyses revealed that art teachers usually are not aware of the typical discussions about VCAE. Having been criticized as an ideologically rooted theory, the applicability of VCAE in Turkey seems controversial in many aspects. Keywords: visual culture, Modernism, DBAE, VCAE, critical pedagogy, Postmodernism, neo-marxism
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45

Wang, Weiwei. "Inheritance of Folk Art in College Art Design Education." E3S Web of Conferences 253 (2021): 02072. http://dx.doi.org/10.1051/e3sconf/202125302072.

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Nowadays, art design majors are offered in all art colleges and universities in China, but the students and teachers of this major often do not have a deep understanding of art design, which hinders the folk art inheritance of Chinese art design students. This paper explains folk art and art design, analyzes its characteristics, puts forward the problems of folk art inheritance in China, and puts forward the effective path of art design into folk art.
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46

Jeffers, Carol S. "Professional Development in Art Education Today: A Survey of Kansas Art Teachers." Studies in Art Education 37, no. 2 (1996): 101. http://dx.doi.org/10.2307/1320511.

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47

Haanstra, Folkert, Els van Strien, and Hanneke Wagenaar. "Teachers' and students' perceptions of good art lessons and good art teaching." International Journal of Education through Art 4, no. 1 (July 7, 2008): 45–55. http://dx.doi.org/10.1386/eta.4.1.45_1.

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48

BARCHANA-LORAND, DORIT, and EFRAT GALNOOR. "Philosophy of Art Education in the Visual Culture: Aesthetics for Art Teachers." Journal of Philosophy of Education 43, no. 1 (February 2009): 133–48. http://dx.doi.org/10.1111/j.1467-9752.2009.00661.x.

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49

O.O., Tsuranova, and Arzhanukhina S.V. "POLY-ART APPROACH TO INSTRUMENTAL-PERFORMING TRAINING OF FUTURE TEACHERS OF MUSIC ART." Collection of Research Papers Pedagogical sciences, no. 91 (January 11, 2021): 98–103. http://dx.doi.org/10.32999/ksu2413-1865/2020-91-14.

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The article considers the implementation of a polyartistic approach in the educational process of instrumental and performance training of future music teachers, presents an alternative integrated-subject model of teaching a piano course based on general didactic principles and special methods of mastering musical works. The proposed model is developed from the perspective of the concept of interaction of arts which is realized by the current programs of secondary education.The purpose of the article is to justify the effectiveness of the integrative-subject model of teaching a piano course based on a polyartistic approach to the educational process using the principles of art pedagogy within the higher education system.It is noted that polyart education in a modern school puts forward fundamentally new requirements for a music teacher. His professional training should be based on integrative technologies that will promote the acquisition of special knowledge related to the ability to establish objectively existing links between a work of music and works of other arts, the ability to synthesize concepts, find common ground and implement a holistic, integrated, value-content analysis of a musical work. All these polyartistic skills, artistic knowledge belong to the essential characteristics of polyartistic competence, the formation of which becomes a necessary condition for artistic professionals.The concept of an integrated-subject model of piano teaching is based on a comprehensive polyartistic approach to the study of musical works, which is hinged on certain didactic principles and special methodological techniques, each of which cannot be distinguished; they all complement, interpenetrate, synthesize, accumulate in the educational process. The following didactic principles are considered: the principle of system-complex approach, which is focused on the combination of classroom, independent, extracurricular and professional-practical training of students; the principle of content and diversity, which allows the teacher to plan the technical, artistic and musical development of the student, taking into account his individual psychological characteristics and intellectual capacities; individual approach to the student, which involves the use of variability of the student’s curriculum depending on his performance capabilities and growth prospects; intra-subject, interdisciplinary integration and artistic synthesis, which forms polyartistic skills, develops in them polyartistic consciousness and thinking, cognitive interests in interaction with art.It is concluded that increasing the level of instrumental and performing training of future music teachers using the polyartistic approach equips them with a range of knowledge, skills and abilities that in the process of various educational activities are transformed into characteristics of a deeper categorical level, professional competencies, including polyartistic. The professional competencies developed by future specialists in the process of educational activity can be further transposed into their future professional and pedagogical activity.Key words: art education, piano performance, musical work, polyartistic competences, didactic principles, methodical receptions.
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50

O.O., Tsuranova, and Arzhanukhina S.V. "POLY-ART APPROACH TO INSTRUMENTAL-PERFORMING TRAINING OF FUTURE TEACHERS OF MUSIC ART." Collection of Research Papers Pedagogical sciences, no. 91 (January 11, 2021): 98–103. http://dx.doi.org/10.32999/ksu2413-1865/2020-91-14.

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The article considers the implementation of a polyartistic approach in the educational process of instrumental and performance training of future music teachers, presents an alternative integrated-subject model of teaching a piano course based on general didactic principles and special methods of mastering musical works. The proposed model is developed from the perspective of the concept of interaction of arts which is realized by the current programs of secondary education.The purpose of the article is to justify the effectiveness of the integrative-subject model of teaching a piano course based on a polyartistic approach to the educational process using the principles of art pedagogy within the higher education system.It is noted that polyart education in a modern school puts forward fundamentally new requirements for a music teacher. His professional training should be based on integrative technologies that will promote the acquisition of special knowledge related to the ability to establish objectively existing links between a work of music and works of other arts, the ability to synthesize concepts, find common ground and implement a holistic, integrated, value-content analysis of a musical work. All these polyartistic skills, artistic knowledge belong to the essential characteristics of polyartistic competence, the formation of which becomes a necessary condition for artistic professionals.The concept of an integrated-subject model of piano teaching is based on a comprehensive polyartistic approach to the study of musical works, which is hinged on certain didactic principles and special methodological techniques, each of which cannot be distinguished; they all complement, interpenetrate, synthesize, accumulate in the educational process. The following didactic principles are considered: the principle of system-complex approach, which is focused on the combination of classroom, independent, extracurricular and professional-practical training of students; the principle of content and diversity, which allows the teacher to plan the technical, artistic and musical development of the student, taking into account his individual psychological characteristics and intellectual capacities; individual approach to the student, which involves the use of variability of the student’s curriculum depending on his performance capabilities and growth prospects; intra-subject, interdisciplinary integration and artistic synthesis, which forms polyartistic skills, develops in them polyartistic consciousness and thinking, cognitive interests in interaction with art.It is concluded that increasing the level of instrumental and performing training of future music teachers using the polyartistic approach equips them with a range of knowledge, skills and abilities that in the process of various educational activities are transformed into characteristics of a deeper categorical level, professional competencies, including polyartistic. The professional competencies developed by future specialists in the process of educational activity can be further transposed into their future professional and pedagogical activity.Key words: art education, piano performance, musical work, polyartistic competences, didactic principles, methodical receptions.
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