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Axiology of Music and Pedagogical Education at the University

For students of music specialties, important aspects are values and meanings, which can be called the basis of music education in general. The axiological approach, according to the authors, is an effective way in music and pedagogical education, which explains the relevance of this research. In this work, considerable attention is paid to international research by scientists related to the theory and practice of using the axiological approach in universities. To prove the expediency and effectiveness of the axiological element in the methodology of teaching musical disciplines, the experimental method was used. In this study the authors also used the methods of questionnaires, pedagogical observation, testing, interview. As a result of the research, the characteristic features and principles of the axiological approach were identified for use in teaching students of musical specialties. The authors see the prospects for further work in the study of the introduction of cultological and systemic approaches from a methodological point of view, as a result of which the structural and semantic characteristics of the value sphere of music and pedagogical education will become more versatile. Key-words: Axiological Approach, Music Specialties, Pedagogical Methods, University Education, Teaching Musical Disciplines.


Introduction
The dynamic and unpredictable nature of the modern world requires significant and timely responses in the higher education system. After all, only a competent specialist, able to calmly and thoughtfully perceive the challenges of life, can solve complex professional problems and challenges of the present and future. Important for the education of the future professional musician's personality are the values and meanings that today become the core of professional education and future activities of the student in the world of music. That is why the urgent task of higher music and musicpedagogical education is the timely introduction of the axiological approach, which involves valuesbased meaning of the educational process.
It should be noted that for higher music and pedagogical education, cultural-integral and personal-pragmatic approaches are considered to be quite appropriate, which are strongly connected with the content of the axiological approach. Summarising scientific approaches to understanding the concept of "value", we define the latter as a subjective significance, a certain meaning of phenomena that integrally characterises the system of personal, subjective values of the individual (including students) as its essential life, personal and professional regulators and guidelines. In revealing the essence of the outlined approaches, it is necessary to pay attention that the value not only satisfies the spiritual need of the student-musician (future performer, teacher), but also in a certain sense spiritually creates or revives the personality with all its needs, interests, meanings (Ziaziun 2006).
In the context of determining the theoretical foundations of higher music-pedagogical education on the basis of the axiological approach, it is necessary to clarify the essence, content and definition of the axiological approach in the system of higher music education. The axiological approach to the system of higher music education is defined as a methodological paradigm, a system of theoretical guidelines governing higher education of music students in the direction of mastering and creating spiritual, professional, pedagogical, and personal values. In the course of the research the principles of axiological approach to higher musical education of students are substantiated. The principle of spiritual and values-based content of higher education provides emphasis on spiritual content, democratisation and humanisation of music and educational space. It is important to create an axiosphere of the educational process in higher education; recognition of the uniqueness of life, understanding and acceptance of each student as a unique value, the orientation of his professional consciousness on the spiritual, personal, and professional values. In this regard, it is important to encourage music students to spiritual self-development, spiritual maturity, perfection, which will ensure their personal and professional self-realisation (Bekh 2015 The axiological approach was developed in the last century due to the willingness of representatives of philosophical and cultural thought to justify the role of values, the importance of Education, Culture and Art in society and man. According to the analysis of the scientific literature, the leading concepts for the axiological approach are "value", "subjective significance", "evaluation", "attitude", "value orientations" (Kagan 1997). The term "value" is used as an interdisciplinary, intersubjective concept that exists alongside the being.

Principles and Foundations of the Axiological Approach
Possibilities of using certain provisions of the axiological approach in the preparation of student youth (Davydova 2013), future teachers (Shemyhon 2008), teachers (Varenko 2011), medical workers (Kurenkova 2009) were studied. Some aspects of axiological education of future teachers of music art are covered in the studies of Ukrainian scientists O.P. Rudnytska (2002), N.A. Seheda (2011) and others. A thorough analysis of the axiological approach in the training of music teachers was carried out by the Russian scientist A.I. Shcherbakova (2004). At the same time, Ukrainian authors do not pay enough attention to the problem of substantiation and implementation of the axiological approach in higher education of modern musicians and music teachers.
The study by N. Tkachova (2004) investigates the different approaches to determining the essence of value, in particular: semiotic-etymological, logical-historical, system-structural, culturalintegral, scientific-epistemological, theological-transcendent, irrational-mythical, subjectiveindividualistic, ethical-biological, personal-pragmatic. Each approach was found to promote different types of values that help to adapt to the environment. Each point of view on value uses revelations, explanations, proofs, arguments, acting by translating values between communities. H. Rickert (1910), studying the objects of culture, identifies the "six spheres of values" embedded in it: scientific knowledge, art, pantheism, theism as faith in God, ethics, the benefits of life. R. Ingarden (2005) in his version of phenomenological axiology distinguishes vital (utilitarian, value of utility, pleasure) and cultural (cognition, aesthetic values, values of social customs and moral values in the aesthetic sense) values. V.E. Frankl (1990) interprets values as meanings, life strategies, activities, actions. It is revealed that the integrative unity of all points of view creates a holistic, contradictory semantic picture of values as a leading concept of the axiological approach.
The study involved identifying the essence of the concept of "competence" (Grinyova 2016), "axiological competence of music students" (Rudnytska 2002, Seheda 2011 as an integrated personal quality of future musicians and music teachers, which reflects the level of their emotional and values-based attitude, understanding and subjective comprehension of spiritual, personal and professional values in music. The analysis of modern studies allowed to choose an innovative direction of the axiological approach introduction in practice of higher musical education. It is a pedagogical technology, the theoretical basis of which is developed in the works of Ukrainian and foreign authors. Pedagogical technologies provide personal and professional development and self-actualisation of the individual, his professional mobility, notes S.O. Sysoieva (2001).
The principle of focusing on the values of musical art emphasises the organic connection of music with philosophy, emphasises the spiritual, moral and aesthetic, ideological, cognitive significance of musical works (Kolomiets 2012). The value of music as a self-sufficient art form lies in its ability to reflect dialogue, the interaction of the macrocosm (infinity of the universe, space, time) and the microworld of the human personality, its musical creativity and musical activity (Kolomiets 2012). Music as a self-sufficient value, the art of time, is at the same time a way of values-based interaction of a person with the world. The principle defines the phenomenon of musical art as a combination of conscious and unconscious, the generation of emotionally coloured knowledge, emotional thinking, sensory-intellectual experience. The axiological core of music as its semantic content provides translation and creation of values of musical art as values of the Universe to values of the internal world of the person (Shcherbakova 2004).
The principle of regulating the emotional and value experience of a musician emphasises that the basis of the content of musical creativity are musical and artistic knowledge and musical values as a unity of musical images, aesthetic feelings and moral attitudes, which are recorded by expressive means of music (Shcherbakova 2004). Their value assimilation involves the translation of the content of musical creativity into the "inner world of emotional and aesthetic experiences and attitudes of the individual" (Ziaziun 2006). Therefore, there is a need to regulate the experience of emotional and values-based experience of musical works, its orientation to the spiritual and personal professional sphere of the future musician. Control of emotional and values-based attitudes involves the activation of spiritual, personal and ideological aspects of the musician's personality, promotes the development of his self-awareness and aesthetic sense.
The principle of searching for the personal meaning of higher musical education emphasises the need for personal development of a student-musician, diagnosing and merging the system of his subjective (moral-aesthetic, professional) values (Shcherbakova 2004). Personal meaning is a unique acquisition of a student musician. He defines his inner world in a combination of the subject of meaning, understanding and emotional and aesthetic experience of semantic content (Leontiev 1999 Finding personal meaning for students' future careers (musician or teacher) preserves their spiritual and physical health (Frankl 1990). The search for personal meanings as phenomena of the subjective consciousness of the musician takes place on the basis of complicity, co-creation of the teacher and the student by mastering the practical experience of successful musical or pedagogical activity. The student's sensory comprehension of the system of subjective values of the future life and professional path is implemented through the dialogical connection of his inner world with the surrounding world.

Analysis of Components of Pedagogical Technology
The structure of pedagogical technology of axiological competence establishment as a result of introduction of the axiological approach includes motivational-axiological; value-content; activitycreative components. The motivational-axiological component is conditioned by the need to increase the interest of students in experiencing the aesthetic content of musical works, determines the purpose and motivational basis of axiological education of musicians and music teachers. The theoretical basis for determining its content are psychological and axiological positions on the value of emotional and aesthetic enthusiasm, spiritual enrichment through the harmonisation of the values of musical art (Ziaziun 2006).
Valuable are the provisions on the installation of positive subjective experience, enrichment of the motivational sphere of students with motives of the significance of musical activity, novelty of content, subjective creativity of a musician and a teacher of musical arts. This block includes personal qualities that are necessary for building a professional and personal axiosphere of students. These include spirituality as an integrative personal formation that allows to consciously understand, translate and focus the individual on the search for spiritual values, spiritual and creative attitude to the world of music culture. Morality as kindness, sensitivity, empathy, tolerance, dignity, honesty, decency, friendliness (Rybalka 2009). Creative and aesthetic features of axiological competence of music students are easiness, originality, emotionality, aesthetics, charm, inspiration, stability (Ziaziun 2006). interpretation, etc. The group of moral values is embodied by such phenomena as goodness, will, mercy, commonwealth, decency, diligence, honour. Added a group of concepts that guide students to understand and master the Gnostic terms: "truth", "insight", "innovation", "creativity", "artistic image", "reflection".
The group of professional and musical values includes concepts that reflect the values of musical art: "intonation", "musical work" (aesthetic, hedonistic, moral, compensatory, cognitive values-based), objective and subjective values of perception, musical activity (understanding, interpretation, performance of music). According to the classification of musical values by V.I. Dryapika (1997), were added the terms "instrumental value of a musical work", "educational and worldview value", "intrinsic value", "commercial value", "ideological value", "innovative value", "artistic-actual value", "masterful performing value".
The group of musical and pedagogical values includes personal and professional values that represent the group of values and goals (personality, individuality, student-musician, student, teacher of music disciplines, musician-teacher); group of values-attitudes (emotional and aesthetic experience of music, personal meaning, subjective significance); values-means (dialogue, interaction, emotional contact, empathy, compassion, co-creation, musical and creative cooperation, unity, togetherness, cohesion and mutual assistance); values-qualities (friendliness, pedagogical optimism, teaching tact, justice, professional responsibility).
The activity-creative component of pedagogical technology is conditioned by the importance of musical skill of the future performer, musical-pedagogical skill of music teacher from the standpoint of generating professional and personal meanings, regulation of students' value orientations. The process of gaining experience by students in value-oriented and creative activities involves the development of introspective, emotional-volitional dialogic and assertive-organisational skills. Introspective skills allow self-assessment, self-analysis, adjustments in student behaviour (in

Research of the Problem of Introduction of the Axiological Approach in the Theory and Practice of Music and Pedagogical Education
Throughout 2019-2020, a pedagogical experiment was carried out to test the pedagogical technology for development of the axiological competence in future musicians and music teachers.  Table 1, according to all the defined criteria and indicators, the students who were part of the experimental group, recorded more significant positive changes in the levels of axiological competence than the students of the control group. The probability of the results of experimental work is proved by means of mathematical statistics using Pearson's criterion (Sidorenko 2002).  Cognitive: quality of acquired knowledge about the integrated value system: demonstrate the depth, systematisation and sufficient scope of value concepts; lack of volume, inconsistency and superficial knowledge of values; almost no concept of value system. +22 +18 -40 -+5 -5 Procedural: show a high level of mastery of introspective, emotional-volitional, dialogical, organisational-assertive skills: a sufficient level of self-esteem skills, the ability to argue a personal position, to organise a conversation; demonstrate an insufficient level of creative interpretation, make judgments, organise dialogues regarding the emotional attitude to music. In this study the authors used the methods of questionnaires, pedagogical observation, testing; method "Names-symbols", methods of diary, group and individual interviews, method "Value orientations of the student"; test card of communicative activity of the student. The study of the problem of introduction of the axiological approach in the theory and practice of music and musicpedagogical education allowed to outline debatable issues: 1. The analysis of methodological integration of axiological, systemic, culturological approaches, which will allow to deepen and diversify the structural and semantic characteristics of the axiosphere of higher institutions of music and music-pedagogical education, seems promising.
2. Based on the analysis of scientific works of A.I. Shcherbakova (2004) and G.G. Kolomiets 3. To consider the possibility of conducting an experimental study of the implementation of the axiological approach in the preparation of bachelors, which will improve the quality of music and music-pedagogical education.
4. To continue research of psychological and pedagogical conditions of education of axiological competence of musicians and teachers of musical art on the basis of studying of the maintenance, functions and structure of professional and axiological competence of musicians and teachers of musical disciplines (Seheda 2011). 5. To continue research using the axiological approach in the theory and practice of higher music and music-pedagogical education with the use of historical-genetic and historicalchronological methods, which allow to generalise the periods of birth of spiritual, moralaesthetic, musical values of Ukrainian music community.

Conclusion
Thus, the axiological approach to the training of students in institutions of higher music and pedagogical education is defined as a system of methodological guidelines that regulate and guide students to learn and create spiritual, pedagogical, personal values that become the core of axiological competence of music students. An effective means of developing the axiological competence in students is the pedagogical technology, in the structure of which the following components have been identified and studied: motivational-axiological, value-content, activity-creative. At the stage of evaluating the effectiveness of the introduction of pedagogical technology of axiological competence development in higher music and pedagogical education, according to all defined criteria and indicators, the students who were part of the experimental group recorded more significant positive changes in the levels of axiological competence than the control group.
It is considered promising to diagnose the axiological competence of music students by the method of expert assessment, modelling, ranking, using the methodology of life values. It also requires further research to identify the content and detail of the integrated system of values that are the foundation of the professional consciousness of musicians. In particular, it seems important to