THE METHODOLOGY OF FOSTERING THE CREATIVE POTENTIAL OF ACCORDIONISTS (BAYANISTS) IN THE PEDAGOGICAL ACTIVITIES OF SEMEN KOZLOV

Abstract

This article presents a study of the creative and pedagogical activities of Semen Mykhailovych Kozlov, a representative of the Bukovinian regional accordion and bayan school. Special attention is focused on his methods of fostering performers’ creative abilities, which, in light of recent scientific advancements in the fields of neurobiology and neuropsychology, gain particular significance. The study provides biographical data of the teacher, which helps to better understand the specifics and methods of work developed by him throughout his creative career. The main stages in the process of training a performer in S. Kozlov’s pedagogical approaches are considered, aimed at developing the creative abilities of accordionists and bayanists. Specifically, areas such as work on the musician’s technical skills, including the teacher’s system for mastering scales and exercises for developing various types of techniques, are highlighted. Another area is related to the student’s work on their spiritual development, where high moral and cultural-aesthetic education come to the forefront as the foundation for the performer’s creative and artistic independence. Additionally, the imitation method serves as an intermediate link, where the student learns to accurately reproduce the proposed performance model by the teacher. The aim of the study is to investigate and analyze Semen Mykhailovych Kozlov’s pedagogical activities, identify the components of his methodology and the main approaches he used in the training process to promote the formation of a high level of professional skill in his students. The research methodology includes the use of methods such as a systematic approach for analyzing Semen Mykhailovych Kozlov’s pedagogical activities. It allows identifying how interconnected elements such as moral-aesthetic education and the development of technical skills interact and contribute to the effective formation of performers’ creative abilities. Additionally, methods of document analysis, bibliographic, interviewing, observation, and an interdisciplinary approach involving knowledge from various scientific fields such as neurophysiology, pedagogy, and psychology were used to evaluate his pedagogical activities. The scientific novelty lies in the fact that for the first time, Semen Kozlov’s pedagogical activities and the detailed interaction of the mentioned components in his methodology for fostering performers’ creative abilities have been examined. Conclusions: Semen Kozlov’s pedagogical activities contributed to the formation of a whole cohort of highly professional performers thanks to his effective systematic approach to nurturing professional musicians. Further research can focus on analyzing the impact of these methods on modern music education and can be used in pedagogical practice.