INTERPRETATIVE ASPECTS AND EDUCATIONAL POTENTIAL OF MYKOLA LYSENKO’S PIANO WORKS IN THE INSTRUMENTAL AND PERFORMANCE TRAINING OF FUTURE MUSIC TEACHERS

Abstract

The purpose of the article is to reveal the educational and didactic potential of Mykola Lysenko’s piano works and to substantiate methodological approaches to their study in individual instrumental instruction as part of the instrumental and performance training of future music teachers. The research methodology is based on concepts of music pedagogy, performance interpretation, and the culturalcontextual understanding of national musical repertoire. The study employs theoretical analysis and synthesis of musicological and music-pedagogical concepts, comparative analysis, methodological analysis of the performance process, and a practice-oriented examination of Mykola Lysenko’s piano works of different levels of technical and artistic complexity. The scientific novelty lies in specifying the educational and didactic potential of Mykola Lysenko’s piano heritage in the context of the instrumental and performance training of future music teachers and in identifying three interrelated components: ethnocultural, technical-performance, and artistic-interpretative. Drawing on Elegy, Op. 20, No. 3, and the Second Rhapsody on Ukrainian Themes Dumka-Shumka, Op. 18, the article specifies performance and methodological tasks related to the development of cantilena-oriented musical thinking, tone production, phrasing, pedalling, differentiation of textural layers, rhythmic organisation, timbral imagination, virtuoso technique, and an understanding of musical form. The expediency of combining professional-pedagogical orientation, culturalcontextual understanding of music, and artistic-emotional engagement with vocalisation of the melodic line, comparative stylistic analysis, staged work on performance difficulties, and performance reflection is substantiated. Conclusions. Mykola Lysenko’s piano works can be regarded as a pedagogically significant component of the instrumental and performance training of future music teachers when technical, artistic-interpretative, cultural, and methodological tasks are addressed systematically and in an interconnected manner. Such organisation of learning directs students from reproductive rendering of the musical score towards informed interpretation and creates conditions for transferring their own performance experience into future pedagogical practice