INTRODUCTION TOTHE RUSSIAN MUSIC CULTURE AS A WAY OF CHINESE MUSIC TEACHERS TRAINING

Article purpose – to open the ways of introduction of the Chinese students who are trained in Chinese pedagogical higher education institutions to musical culture of Russia.

Methods. The paper is based on ideas of extrapolation of the Russian and Chinese teachers about interrelation of arts and types of art activity of children in the process of vocational performing cello training of future music teachers at pedagogical universities of China; the traditional methods and means of music education that proved the efficiency in pedagogics of professional music education in Russia. The research methods involve the analysis, generalization of literature, the analysis of a condition of modern process of professional pedagogical education of future music teachers at universities of China and Russia.

Results: The methods and means of introduction of the Chinese students – future music teachers to cello musical culture of Russia are shown on the basis of interrelation of arts and different means of art activities, and mastering at cello fingering techniques. It is noted that such means and ways serve mutual enrichment of national cultures, and strengthening of international relations.

Scientific novelty. The most effective methods of vocational training of music teachers are revealed: polyart education that is based on comparison of different types of art (music, poetry, dance, theater, the fine arts) and search of their crossing for deeper penetration into plasticity of intonations of a piece of music; the method of a retrospective and prospect consisting in the comparative analysis of the classical, borrowed from an arsenal recognized masters and modern manners of performance and ways of training at fingering and playing the chosen musical instrument; the method of the Russian teacher, musician and composer D. B. Kabalevsky based on perception and reflection about music, expanding ideas of the range of bag, opportunities of interpretation of a piece of music, specifics of individual equipment and its esthetic features of each musician. Basic abstracts which are offered to be created by students in the course of such reflection can be used further by them in real professional activity as the main material for the musical analysis of works at school lessons.

Practical significance. Recommendations on the ways realization of polyart education, method of prospect and a retrospective, perception and reflection of music and also modern tutorials of students are offered: the computer, a movie camera for vocational training of future music teachers who are trained in cello performance.

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19. [摘要]：20世纪以来,随着新音乐在中国的传播与发展,作为西方弦乐艺术重要组成

20. Chen Go. Problema podgotovki magistrantov po muzykal’nym special’nostjam v universitetah KNR. [Problem of training of undergraduates on musical specialties at universities of the People’s Republic of China]. Izvestija Rossijskogo gosudarstvennogo pedagogicheskogo universiteta im. A. I. Gercena. Serija: Obshhestvennye i gumanitarnye nauki. [Bulletin of the Russian State Pedagogical University named after A. I. Herzen. Series: Public and Humanities]. 2012. № 3 (133). P. 250–254. (In Russian)

21. 部分的大提琴艺术在中国得到了一定程度的发展,并经历了逐步中国化的历史进程。新中国成

22. Chou Sen. Zhivopis’ perioda Sun (Х–ХIII vv.) i kitajskaja narodnaja kartina e ketayskaya narodnaya kartina. [Painting of the period Sung (the X-XIII centuries) and Chinese national picture]. Izvestija Rossijskogo gosudarstvennogo pedagogicheskogo universiteta im. A. I. Gercena. Serija: Obshhestvennye i gumanitarnye nauki. [Bulletin of the Russian State Pedagogical University named after A. I. Herzen. Series: Public and Humanities]. 2008. № 60. P. 294–299. Available at: http://cyberleninka.ru/article/n/zhivopis-perioda-sun-h-hiii-i-kitayskaya-arodnaya-kartina-nyanhua. (In Russian)

23. 立60余年来,大提琴艺术中国化的当代实践主要体现在两个方面,一是中国风格大提琴音乐作

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25. 品的创作实践,二是中国风格大提琴音乐作品的演奏实践。这两个方面为大提琴艺术在中国的

26. Uymeng Che. Priobshhenie studentov kitajskih muzykal’no-pedagogicheskih vuzov k Rossijskoj violonchel’noj muzyke. [Introduction of students of the Chinese musical and pedagogical higher education institutions with the Russian cello music]. Pedagogicheskoe obrazovanie v Rossii. [Pedagogical Education in Russia]. 2015. № 6. P. 80–85. (In Russian)

27. 发展提供了可资借鉴的有益资源。(In Chinese)

28. [摘要]：20世纪以来,随着新音乐在中国的传播与发展,作为西方弦乐艺术重要组成

29. 在20世纪中国音乐的现代性进程中,“新音乐”的创作与表演有力推动了西方器乐文

30. 部分的大提琴艺术在中国得到了一定程度的发展,并经历了逐步中国化的历史进程。新中国成

31. 化在中国的传播与发展。随着中国作曲家对“中国风格”器乐作品的探索与创作,西方器乐艺术

32. 立60余年来,大提琴艺术中国化的当代实践主要体现在两个方面,一是中国风格大提琴音乐作

33. 开始走上了逐步中国化的艺术实践之路。一方面,中国风格旋律音调的运用丰富了西方器乐艺

34. 品的创作实践,二是中国风格大提琴音乐作品的演奏实践。这两个方面为大提琴艺术在中国的

35. 术的表现风格 (In Chinese)

36. 发展提供了可资借鉴的有益资源。(In Chinese)

37. 大提琴艺术中国化的当代实践《吉林艺术学院学报》 2013 年03期 赵嘉楠 Available at: http://www.cnki.com.cn/Article/CJFDTOTAL-JLYY201303001.htm (In Chinese)

38. 在20世纪中国音乐的现代性进程中,“新音乐”的创作与表演有力推动了西方器乐文

39. 化在中国的传播与发展。随着中国作曲家对“中国风格”器乐作品的探索与创作,西方器乐艺术

40. 开始走上了逐步中国化的艺术实践之路。一方面,中国风格旋律音调的运用丰富了西方器乐艺

41. 术的表现风格 (In Chinese)

42. 大提琴艺术中国化的当代实践《吉林艺术学院学报》 2013 年03期 赵嘉楠 Available at: http://www.cnki.com.cn/Article/CJFDTOTAL-JLYY201303001.htm (In Chinese)