Traditional folk aerophones in the context of training in art schools

Abstract

The purpose of the article is to study considers the traditional pipe tools and methods of its introduction into the educational process of art schools, based on the historical experience of learning/imitation in terms of the authentic process in the tradition. Methodology. To achieve the goal of the research, historical-instrumental, ethnic-pedagogical, comparative, and ethnic-organophonic methods were used. The scientific novelty is that the article presents traditional folk wind aerophones (svystuntsi, okaryna, tylynka, pivtoradentsivka, dvodentsivka, frilka, floyara, rebro (flute Pana), Boyko`s pyshchavka, Polissya dudka-vykrutka and dudka-kolianka, truba, trembita) and the system of their step-by-step study in the pipe class. Conclusions. From the standpoint of our own many years of experience in pedagogical and concert-performance practice, conclusions are drawn about the tested approaches to implementation in the already established class of so-called. "Academic" pipes of a number of traditional wind instruments on the basis of an "additional instrument" using the well-known principles of ethnic-pedagogy and K. Orff's system. The introduction of this technique in the educational process of primary education will not only contribute to greater interest/motivation of young pipers who master the well-known system of so-called. D. Deminchuk's "academic" flute, but also serves as a solid methodological basis for the formation of the game and breathing apparatus for beginners of "academic" wind specializations. The training will be effective in a comprehensive approach to mastering traditional Ukrainian aerophones and creating conditions for learning/learning the game from the bearers of the pipe tradition and the opportunity to make at least introductory folklore expeditions to regions where the studied instruments and music still function.