Stanislav Lyudkevych on the Peculiarities of Musical Education

Abstract

The purpose of the article is to reveal S. Lyudkevych’s ideas on the organisation of musical education, expressed by him at the First Pedagogical Congress in Lviv in 1935. Research methodology. The following methods were used to reveal the topic: analytical – to isolate the essence of the composer’s thoughts, their significance for the advancement of musical education and training; historical – to study the state of musical education in the Polish fence and predict the prospects for using S. Lyudkevich’s ideas in the conditions of the modern musical and educational process. Scientific novelty. For the first time, the speech of S. Lyudkevych at the First Pedagogical Congress (1935) was analysed, the main theses were highlighted, which are very relevant in today’s situation, primarily in the educational process of general secondary and musical education institutions. Conclusions. The First Ukrainian Pedagogical Congress is an important event in the history of Ukrainian pedagogy, which took place in the difficult conditions of Eastern Galicia being under Polish rule and the purposeful Polonisation of Ukrainians. The congress brought together progressive figures of Ukrainian science and culture who were concerned about the cause of Ukrainian schooling, including the musical and national education of schoolchildren and the general public. The section of art education, headed by F. Kolessa, included B. Kudryk, I. Hrynevetsky, and G. Terletsky. Reports were delivered by V. Sichinsky (“Applied Art in the System of Art Education”) and S. Lyudkevych (“Organization of Music Education”). In his speech, S. Lyudkevych put forward a number of interesting ideas that are relevant in our time, when school music education in Ukraine has found itself on the margins. The key leitmotif of the artist’s speech was kalokagatia – the idea of educating a person to be perfect, the ideal of a personality that harmoniously combines beauty and goodness. The presence of a harmonious component turns kalokagatia into an eternal cultural form and contributes to its transformation over time, therefore it can also fit into the context of the modern era.