Personalities of professional heroes in the musical pedagogy of the South Urals

Kirnarskaya Dina Konstantinovna ORCID: 0000-0003-1059-5776 Doctor of Art History Head of the Department of Music History; Gnessin Russian Academy of Music; Vice-Rector for Public Relations; Gnessin Russian Academy of Music 38 Povarskaya str., Moscow, 121069, Russia/ 1 d.kirnarskaya@gnesin-academy.ru Other publications by this author     Sizova Elena Ravil'evna ORCID: 0009-0009-3791-7158 Doctor of Pedagogy Professor; Department of History, Theory of Music and Composition; South Ural State Institute of Arts named after P.I. Tchaikovsky; Rector; South Ural State Institute of Arts named after P.I. Tchaikovsky 454091, Russia, Chelyabinsk region, Chelyabinsk, Plekhanova str., 41, office 100 elsizova@mail.ru Other publications by this author

Taskaeva Anna Vyacheslavovna ORCID: 0000-0002-4398-2644 Doctor of Philology Professor; Department of Foreign Languages; South Ural State Institute of Arts named after P.I. Tchaikovsky; Professor; Department of Oriental and Romano-Germanic Languages; Chelyabinsk State University; Chief Researcher; South Ural State Institute of Arts named after P.I. Tchaikovsky 454091, Russia, Chelyabinsk region, Chelyabinsk, Plekhanova str., 41, office 301 taskaeva_anna@bk.ru Other publications by this author

Introduction

Heroism is a universal phenomenon that preserves throughout the history of mankind the essential basis and functional significance of the image of the hero as a creator, defender, mentor, and engine of progress. The image of the hero and the idea of the heroic "are the result of the centuries-old experience of previous generations, they are stored in the collective unconscious and inherent in every individual" ^{[1, p. 3]}. The image of the hero is the most important component of any national picture of the world and is included "in an extensive network of linguistic and cultural images, concepts, ideas and symbols that form the basis of national identity, preservation and strengthening of statehood" ^{[2, p. 74]}, it is "a complex, socially significant education, the semantic structure of Russian public consciousness" ^{[3, p. 12]}.

Heroization in the professional sphere assumes that the professional hero is the person who has achieved outstanding results in his professional activity and has received public recognition. When glorifying in the professional sphere, it is possible to identify such heroic types as a great scientist, an outstanding figure of culture and art, a record-breaking hero, a pioneer hero, a military hero, a medical hero, a sports hero, a space hero, etc. V.D. Plakhov calls this heroic type "hero-master" and defines it gives the following definition: This is "a man who has achieved outstanding results in the field of work, in the business to which he devoted his life" ^{[4, p. 24]}. According to D.A. Golubev, "a person can show himself a hero by saving people and helping them in emergency situations, in sports, as well as achieving significant results in the field of culture and art" ^{[5, p. 7]}. In our opinion, an outstanding figure of culture and art is the hero of a specific professional activity, since the fruits of his work are the cultural heritage of mankind, and the works he created are able to influence the souls and minds of people, are recognized by the general public.

Glorification in the field of art and culture is a phenomenon that is very common at all times, associated with the veneration of a specific personality of the creator (composer, sculptor, artist, etc.). At the center of the glorification is a professional figure – a creative worker who is engaged in creative and/or pedagogical activities. This activity can be evaluated by society (the professional community and the public) as a heroic service depending on the system of value coordinates. When evaluating an activity as heroic (i.e., as socially significant, supporting an established system of values), society gives a professional figure the status of a hero, hero cultivation takes place, in which mechanisms of glorification and veneration of the hero are involved.

It should be noted that heroization in the field of art and culture is characterized by unconditional recognition of merit, universal admiration for the talent of the hero, accompanied by a kind of cult and even deification of his personality, of which there are many examples (one can recall the universal worship of the genius of Mozart, Paganini, Michelangelo, Leonardo da Vinci, etc.). In the modern world, mass cultivation and glorification of personality are characteristic not only for creators of works of art, but also for performers, which is most clearly manifested in pop and rock culture, where many names of musicians can be named, who are perceived by today's youth as "spiritual idols" (Freddie Mercury, Mick Jagger, John Lennon, Paul McCartney, Taylor Swift, Victor Tsoi, etc.).

However, for the sphere of pedagogy, the heroization of personality is characteristic to a much lesser extent, one can name only a few names of world–famous teachers whose status in the public consciousness is approaching heroic - Jan Amos Kamensky, Maria Montessori, Konstantin Ushinsky, Anton Makarenko. The names of heroes in music pedagogy are even less well known to a wide range of society, although the professional community highly reveres such musical teachers as Heinrich Neuhaus, Yakov Flier, Konstantin Igumnov, Lev Oborin, Peter Stolyarsky, Yuri Yankelevich, Mstislav Rostropovich, etc. All of them have created their own pedagogical schools of performing arts, educated a huge number of outstanding pianists, violinists, cellists, and formed a value system for many generations of musicians.

The scientific works of recent years present criteria for the glorification of a musician-teacher, determined on the basis of an analysis of the set of requirements established by the Decrees of the President of the Russian Federation on the honorary titles "Honored Artist of the Russian Federation" and "Honored Worker of Culture of the Russian Federation" ^[6]. The main criteria are the following: 1) the presence of its own methodological teaching system, reflected in scientific and methodological works; 2) the presence of outstanding students in a high segment of professional musical art and education (artists of professional orchestras, ensembles, theater troupes; successful teachers in specialized universities and colleges); 3) the presence of a large number of positive reviews in the public space and socio-cultural environment; 4) recognition of outstanding achievements by the pedagogical community, presentation of the hero's pedagogical activity as a model for young generations of musicians.

The object of this study is the process of glorification of a teacher-musician; the subject is aspects of the glorification of teachers of the Tchaikovsky Law School in accordance with the criteria defined above.

The purpose of this work is to present the activities of famous musical teachers of the Southern Urals who meet the criteria of heroization in an integrative context: as a manifestation of heroic service to the cause (the heroic paradigm) and as the realization of the creative potential of the individual in art (the personal-creative paradigm). Achieving this goal determines the setting of a number of tasks:

1. to reveal the transformative, cognitive, value-oriented and communicative potential of the musical and pedagogical activities of professional heroes;

2. to identify factors in the activities of famous teachers of the Tchaikovsky Law School that meet the criteria for glorification of a teacher-musician;

3. to determine the importance of the activities of professional heroes in music pedagogy and artistic culture of the Southern Urals.

In this paper, the hypothesis is put forward that the activities of outstanding musical teachers should be considered as a phenomenon of the spiritual culture of society in the unity of transformative, cognitive, value-oriented, communicative potential, and only integrative perception allows us to identify aspects of the glorification of personality most fully and in relief.

The scientific novelty of the article lies in the fact that the heroization of the personality of the teachers-musicians of the Tchaikovsky YUrGII is revealed integratively: in the didactic aspect (creation of its own outstanding pedagogical school), culturological (enrichment of cultural achievements of the region through fruitful and highly productive creative work of professional heroes), communicative (establishment of stable artistic communication with the public through creative activity of students), axiological (formation of reference principles and methods of work of a professional teacher, acting as axiological guidelines for the younger generation of musicians). The theoretical significance is expressed in a systematic and consistent study of the pedagogical heritage of outstanding masters of art of the Southern Urals, which allows us to enrich the history of the development of the Tchaikovsky Law School as one of the leading creative universities in the region.

The integrative potential of musical and pedagogical activity

Musical activity is an integral part of the spiritual culture of society, which every person learns to some extent in the process of growing up and accumulating social experience. The outstanding music teacher G.M. Tsypin argues that a person is initially endowed with such qualities as the pursuit of perfection, harmony and beauty, which he intuitively seeks to awaken in his children. "From here, one can assume, such specific, initially humanistic ways of human life were born, which were much later called pedagogical and educational" ^{[7, p. 280]}.

Elements of pedagogical activity can be found in any social experience of an adult, since when mastering new ways of life, a person invariably chooses the most convenient forms of adaptation to the environment, optimal types of communication, trying to assimilate the experience of previous generations. The content of musical activity is the creation, preservation and dissemination of works of art, the development of optimal ways of performing music, therefore, it also contains pedagogical overtones.

Musical and pedagogical activity is a very specific process due to the predominance of artistry in it as an alloy of beauty, spirituality and morality, most fully expressed in art ^[8]. There is no unity among scientists in the interpretation of this activity: some define it as educational, others as creative. We adhere to the opinion of L.G. Archazhnikova, who argues that musical and pedagogical activity is an educational activity in terms of its goals and functions, and artistic and creative in terms of content, it solves pedagogical tasks by means of musical art ^[9].

As a form of human social activity, musical and pedagogical activity combines transformative, cognitive, value-oriented, and communicative potential ^[10].

The transformative potential of musical and pedagogical activity consists in the creation of musical works, artistic interpretations of musical compositions, accompanied by a change in the consciousness of the subjects of this activity. By studying works of art, the student consciously or unconsciously enriches his inner world, transforms it under the influence of the spiritual world of the composer who created the musical composition, as well as under the influence of the teacher who guides him along the path of knowledge.

The cognitive potential of musical and pedagogical activity manifests itself in enriching the student's knowledge and ideas about the world of art, about ways of artistic cognition of reality, about forms of self-knowledge. As a result, any activity of the student directed at the object is reflected by him and returned to the subject in the form of knowledge about this object.

The value-oriented potential of musical and pedagogical activity consists in the fact that it has a subject-subject character and gives the student information primarily about values, not about entities. In the process of mastering works of art, the student evaluates himself as a subject of activity, and compares his own result with artistic norms and values formed in his mind.

The communicative potential of musical and pedagogical activity manifests itself in various forms of communication both with the subjects of activity (students) and with listeners and - indirectly – with the authors of works of art. At the same time, active feedback and information exchange are constantly carried out, as a result of which the student implements the processes of cognition, transformation and formation of value orientations. That is, the communicative potential determines all types of activity of the subject in the process of musical and pedagogical activity.

Consideration of musical and pedagogical activity in the heroic paradigm presupposes the maximum realization of transformative, cognitive, value-oriented, communicative potential in educational work, which sets the highest bar for mastery and ensures the achievement of the highest result of pedagogical work.

Realization of the integrative potential of musical and pedagogical activity in the work of professional heroes (on the example of outstanding teachers of the Tchaikovsky Law School)

Let's consider the activities of outstanding Jurgic teachers in accordance with the criteria defined above for the glorification of the personality of a teacher-musician, revealing the integrative potential of their musical and pedagogical activities.

Evgeny Georgievich Bykov (born 04/19/1959) is a concert performer, composer, arranger, teacher, Honored Artist of the Russian Federation (1998), professor (2009), laureate of All–Russian and international competitions. He graduated from the Ural State Conservatory named after M. P. Mussorgsky (1983) in the balalaika class. From 1985 to 2022, he taught at the South Ural State Tchaikovsky Institute of Arts, combining pedagogical work with concert activities for 40 years. He has performed solo concerts, as part of ensembles, with orchestras of Russian folk instruments in various cities of the Chelyabinsk region, Russia and abroad.

The cognitive potential of Evgeny Georgievich's creativity is realized in his graduates, who occupy a high segment of professional musical art and education. Russian Russian National Orchestra "Malachite", one of the best professional orchestras in Russia. K.R. Asylgareeva and D.E. Zhebel are soloists of the Orchestra of Russian Folk Instruments "Sadko" in Yemanzhelinsk. Many graduates combine creative and performing activities with teaching: A.V. Prosvetov is a senior lecturer at the Department of Orchestral Folk Instruments of the Tchaikovsky Law School, T.O. Kochetova teaches at the Department of Folk Instruments and Orchestral Conducting of the Chelyabinsk State Institute of Culture. Many of E.G. Bykov's students are diploma holders and laureates of various competitions, participate in the programs of the International Charitable Foundation "New Names" and actively tour Russia and abroad.

The transformative potential of Evgeny Georgievich's musical and pedagogical activity lies in his creation of over 200 works for the balalaika, published in numerous collections, which are performed by folk musicians throughout the country. The secret of his success, as E.B. Ishchenko notes, is that "Evgeny Bykov very often presents famous music in a different wrapper: with jazz rhythms, enchanting technique and with unusual techniques" ^{[11, p. 12]}. A number of treatments and original compositions by E.G. Bykov have been published in collections of works by leading balalaika musicians in Russia. In the last 3 years alone, 16 educational music editions have been published, which are actively used in the educational process.

According to his fellow musicians, E.G. Bykov's great merit lies in expanding the range of visual means, techniques and techniques of playing the balalaika, the depth of the volume of the sound of the Russian three-stringed instrument, which is reflected in his methodological teaching system and is imprinted in published methodological works and curricula of academic disciplines. The performing techniques discovered by the master are now widely introduced into educational and concert practice by his students, who successfully perform in front of the South Ural public, actively give concerts, conduct master classes in educational and creative institutions of the region, thanks to which fruitful creative communication has been established both with listeners, lovers of folk performing arts, and with professional musicians.

E.G. Bykov gained fame among the general public and recognition of outstanding achievements by students and the teaching community. In honor of the anniversary dates of the virtuoso balalaika, large festive concerts are organized at the Chelyabinsk State Philharmonic, the Tchaikovsky YUrGII, where music performed by the author, his students and colleagues is played, which invariably receives rave reviews in the press. Evgeny Bykov's school today is the standard of education for virtuoso balalaika players, which indicates the effective realization of the value-oriented potential of the master's musical and pedagogical activity.

Viktor Viktorovich Kozlov (1958-2021) was a Russian guitarist, composer and music teacher. In 1988, he graduated from the Ural State Conservatory named after M.P. Mussorgsky, and began teaching a year earlier, in 1987. He was one of the first in the Urals to become a laureate of international competitions of composers and guitarists abroad and was awarded the III prize of the International Competition of Composers (Esztergom, Hungary, 1989), a diploma of the International Guitar Competition (Tykhi, Poland, 1990). In addition, he has numerous victories at prestigious Russian competitions and festivals among them: winner of the I degree of the All-Union Guitar Art Festival (Frunze, 1989), diploma winner of the All-Russian Competition of performers on folk instruments (Gorky / Nizhny Novgorod, 1990), winner of the II degree of the International Competition of Composers (Chelyabinsk, 2014). Successfully combining pedagogical and concert performance activities for many years In 1997, V. Kozlov received the honorary title of "Honored Artist of the Russian Federation", and in 2000 – the academic title of professor.

For more than 20 years he was a member and artistic director of the Trio of Guitarists of the Urals, created in 1990 as an ensemble of classical six-string guitarists and successfully performing concerts throughout the country and abroad. In addition to Viktor Kozlov himself, the trio included Honored Artists of the Russian Federation Sharif Mukhatdinov and Viktor Kovba.

The significant cognitive potential of Viktor Kozlov's musical and pedagogical activity consists in educating a whole galaxy of professional guitarists. V. Kozlov is the founder of the South Ural guitar school, the author of educational programs for all levels of education of young guitarists. Among his students are laureates of international and all-Russian competitions, fellows of the International Charitable Foundation "New Names" I. Kulikova, N. Fedorenko, E. Pushkarenko, O. Kiselyov, M. Baklanova, A. Belousov, D. Ivchenko, etc. Graduates of V.V. Kozlov conduct successful teaching activities: M.V. Kasatkina, D.A. Chernov, A.A. Fedulov teach at the Department of Orchestral Folk Instruments of the Tchaikovsky Law School; O.V. Graf and O.V. Kuzmina work at the Department of Folk Instruments and Orchestral Conducting of the Chelyabinsk State Institute of Culture; A.V. Kulikova and K.T. Sabirov They are teachers of the Department of Folk Instruments of the Ufa State Institute of Arts named after Z. Ismagilov; P.A. Ryabova is a teacher at the Surgut College of Music, A.V. Shakenov is a teacher at the Kazakh National University of Arts (Astana, Republic of Kazakhstan); E.A. Pushkarenko is a teacher at the Moscow Provincial College of Arts (Moscow).

The transformative potential of V.V. Kozlov's creativity is realized in his compositional activity. Viktor Viktorovich has created more than 200 works for solo guitar, guitar ensembles and guitar ensembles with other instruments. The author's compositions, which represent modern guitar music written with subtle professional humor and a certain programming, are widely known and published in significant editions in Russia and abroad. V.V. Kozlov, being a recognized master of comedy works, paid a special place in his work to composing music for children. In 1999, the collection of musical works "Little Secrets of the Guitar Senorita" from the cycle "Album of a young guitarist" was recognized by the Russian Guitar Center (Moscow) as the best in Russia. The maestro's works, as well as his methodological works, which set out a coherent system of educating a professional guitarist, are very popular not only in performing activities, but also in the educational process of music schools, colleges and universities, attracting the attention of young teachers with a sequence of pedagogical techniques and means of educating young guitarists.

The value-oriented and communicative potentials of V. Kozlov's creative activity were realized in his long-term work as chairman of the jury of the International Guitar Virtuosi Competition in St. Petersburg, as well as chairman of the Association of Classical Guitar Figures of the All-Russian Musical Society, the main purpose of which was to provide information to professional classical guitar figures of the Ural region about modern trends in the development of guitar art, as well as the organization and regular holding of the Ural classical Guitar festivals. So, since 1991, V.V. Kozlov initiated the international festival "Classical Guitar in the Urals" in Chelyabinsk, which was later supplemented by a competition and renamed the All-Russian festival-competition "Guitar in Russia". It should be noted that since 2023, the festival has been named after its creator and ideological inspirer – the Viktor Kozlov International Guitar Art Festival and Competition. More than 30 scientific and journalistic works have been written about the personality and work of the master ^{[12, 13, etc.]}, biographical essays, articles in encyclopedic publications; in November 2023, the first of the planned five volumes of the "Complete Works of Viktor Kozlov" was published, which confirms the recognition of Viktor Viktorovich's outstanding achievements by the musical and pedagogical community.

Alexander Alexandrovich Heineman (1950-2024). – military conductor, Honored Artist of Russia (2006), Professor (2012). In 1973 he graduated from the full course of the Military Conducting Faculty at the Tchaikovsky Moscow State Conservatory with a degree in Conducting. For 22 years he served as the chief conductor of the brass band of the Chelyabinsk Higher Military Aviation School (CHVVAKUSH), for 10 years he was a consulting conductor and arranger of musical compositions for the brass band at the Chelyabinsk Higher Tank Command School. Since 1995 he worked at the South Ural State Tchaikovsky Institute of Arts, since 2001 he has been the permanent head of the Department of Orchestral Wind and Percussion Instruments. He successfully combined the leadership of the department and teaching activities with creative work – he led the Tchaikovsky Wind Orchestra of the YUrGII and the ensemble of wind instruments, whose repertoire included classical works of orchestral and wind musical art, arrangements of works of academic tradition and the best examples of popular music of various directions. The student brass band is widely known in the Ural region and is the constant winner of the All-Russian brass band competition "Ural Fanfares", where it took only the first places and the Grand Prix. The orchestra was also awarded the Grand Prix of the International Children's and Youth Competition-festival "Breath of Spring" (Chelyabinsk, 2011), among the latest achievements - I place at the XXX All–Russian competition-festival "Ural Fanfare" (March 2020).

A.A. Heineman's teaching activity was distinguished by high professionalism. Paying great attention to the issues of teaching methods on wind and percussion instruments, Alexander Alexandrovich educated several dozen students who are musicians of the country's leading orchestras, laureates of All-Russian and international competitions, which confirms the enormous cognitive potential of his musical and pedagogical activities and the effectiveness of the methodological teaching systems he uses. Among his students are the winners of the Grand Prix of the wind Ensemble competition of the XIX All-Russian Wind Music Festival "Ural Fanfares" I.M. Lushnikov, A.R. Zabigulin, E.S. Sokolov, K.P. Minyaev, D.A. Vasilchenko, P.A. Drap, etc.

The transformative potential of A.A. Heinemann's musical and pedagogical activity is realized in his extraordinary talent as an arranger. By creating author's arrangements for brass band, A.A. Heineman significantly enriched the repertoire of brass bands with works of various genres and styles, which are successful in the performance practice of many professional brass bands of military districts and educational institutions of Russia. Being an experienced methodologist, Heineman created training programs in all special disciplines of the performing cycle of brass musicians, starting from a special instrument, an ensemble, to an orchestra class, pedagogical and performing practice, which have been used in the educational process for many years at different levels of the school-college-university system.

The value-oriented and communicative potentials of A.A. Heineman's creative activity are realized in his leadership of advanced training courses for spiritual teachers, brass band conductors of children's art schools and studios of the region, as well as in his work as chairman and jury member of numerous music festivals and competitions, such as: the All-Russian competition-Festival "Ural Fanfares", Zonal competition of performers on brass and percussion instruments named after V. Gustov, Regional competition-festival "Star Kaleidoscope", All-Russian competition-festival "Novouralsky fanfares", Regional competition of performers on orchestral instruments "Tutti", International Art Competition "Melodies of the malachite box", Regional competition-festival of brass and pop-jazz groups "The city is playing jazz." For 50 years, A.A. Heineman has fostered respect and love for wind classical music among young musicians.

A.A. Heineman's fruitful professional activity has received wide public recognition and has been noted Honorary Diplomas of the Minister of Culture of the Russian Federation (2001), the Governor of the Chelyabinsk region (2008), the Minister of Culture of the Chelyabinsk region (2010), the Minister of Education and Science of the Chelyabinsk region (2012), the Badge of the Ministry of Culture of the Russian Federation "For Achievements in Culture" (2002). Creative activity of A.A. Heineman It is reflected in reference and encyclopedic publications (Encyclopedia "Chelyabinsk", 2001; Encyclopedia "The Best people of Russia", 2011) and in publications of the periodical press of the Ural region ^{[14, etc.]}.

Conclusions

The results of the activities of outstanding teachers of the Tchaikovsky Law School allow us to conclude that each of them has maximally realized in his work the transformative, cognitive, value-oriented, communicative potential of musical and pedagogical activity. This allowed them, together with their students, to create many interesting author's interpretations of musical compositions, appreciated by listeners and the professional community; to educate outstanding students with broad musical knowledge and high performing skills; to form a coherent system of reference pedagogical methods and teaching methods, which is the foundation of axiological orientations of students; to effectively implement a variety of artistic communication systems with listeners, students and fellow musicians who have provided unconditional public recognition and solid professional authority.

The maximum realization of the potentials of musical and pedagogical activity is a confirmation that the personality of each teacher considered by us can be endowed with the status of a professional hero, who created his own creative and pedagogical school of students and followers, enriched the cultural landscape of the region with the achievements of his students, approved a high professional standard of skill and artistic values, perceived by most listeners as an aesthetic standard. The significance of the multifaceted activities of the professional heroes of the Tchaikovsky Law School for the region lies in the fact that it made it possible to present the achievements of the Chelyabinsk region at the national level, put the South Ural music Pedagogical school on a par with the leading metropolitan schools, provided the musical culture of the region with nationwide fame and recognition.