General Piano in the System of Musical Education of the Kyiv Conservatory in the 1960s–1970s
DOI:
https://doi.org/10.32461/2226-3209.1.2026.356303Keywords:
higher music pedagogy, Ukrainian piano art, history of the Kyiv Conservatory, Ukrainian musical culture of the Soviet period, interdisciplinary role of the music educatorAbstract
The purpose of the study is to conduct a comprehensive analysis of the activities of the Department of General Piano at the Kyiv Conservatory during the 1960s–1970s. The focus of the research is on the systematic work of the department as an essential component in the training of specialists in various musical disciplines. The study identifies the impact of the teaching, methodological, scientific, and concert activities of the department’s instructors on the development of piano education in Ukraine. Methodology. The research is based on an interdisciplinary approach that combines historical-documentary, biographical, and analytical methods. The source base includes archival materials from the Central State Archive-Museum of Literature and Art and the Kyiv City Archive, as well as professional publications dedicated to the activities of individual instructors of the Department of General Piano at the Kyiv Conservatory during the 1960s–1970s. Particular emphasis is placed on the institutional transformations of the department and its role in fostering interdepartmental cooperation within the conservatory. Scientific Novelty. For the first time, an attempt has been made to identify specific students of the Department of General Piano from the studied period and their instructors. Special attention is given to creative tandems, as well as to the concert, compositional, and scientific activities of the faculty members. A number of quotations and evaluations of the instructors’ compositional works are introduced into academic discourse for the first time. Conclusions. In the 1960s–1970s, the Department of General Piano played a key role in the professional training of composers, conductors, vocalists, and instrumentalists, laying the foundation for their professional mastery. Its activities had an interdepartmental nature, contributing to the exchange of experience and the popularisation of Ukrainian piano art both within the Kyiv Conservatory and beyond. The research findings expand our understanding of the role of general piano training in the structure of Soviet music education and the development of Ukrainian musical culture.
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