INCLUSIVE MUSIC EDUCATION: PERSPECTIVES AND PROBLEMS

Abstract

If you can fill the unforgiving minute

With sixty seconds' worth of distance run,

Yours is the Earth and everything that's in it,

And – which is more – you'll be a Man, my son!"

("If" by Rudyard Kipling)

The article is devoted to the topic of introducing inclusive education in Ukrainian art institutions. The historical background of the genesis of the phenomenon of inclusion in society is presented, as well as a description of the state of art education during the Soviet totalitarianism. It is noted that inclusion in art is a synthesis of a number of components, among them relevant are: legislation (national and international), historical background, mental features, socio-cultural context. The content of inclusive education in art schools and specialized music schools operating at conservatories is also considered. Attention was drawn to the problems of implementing inclusion in such educational institutions, because just a few years ago, such a model of education with its equal opportunities and barrier-free access was not a priority and was not even considered. It is noted that the new paradigm in general (and, in particular, in art education) is a complex system of knowledge in pedagogy, medicine, psychology, which is necessary for the integration and adaptation of a special contingent of people into society.

One of the pedagogical art programs for working with children with disabilities in educational institutions, created by direct participants in the educational process – music teachers of one of the regional art schools, was presented. It is noted that the document approves the education system for children with special educational needs as vertical-horizontal (in fact, the usual simple Descartes coordinate system), because the level of the program takes into account the age qualification of the applicant (child) and is directly related to the psychophysical development of the applicant. The main provisions, goals and principles, directions of implementation of the "Concept of inclusive art education" are also outlined, which cover the entire spectrum of this paradigm in education.

The article highlights the non-institutional form of inclusion in art: festivals, creative competitions. It is noted that this form of entry of a child into society is no less important than the actual education in educational institutions.

The study uses empirical research methods: observation, synthesis, and analysis.

The paper concludes that the needs of society (including the humanization of education, Ukraine's attempts to join the European community), which required urgent solutions, created a situation in which professionally high-quality personnel of art educational institutions were psychologically unprepared to work with children with special educational needs. That is why the presented work indicates that the teaching staff prepared for specific working conditions is the primary link, the basis for further successful development of inclusion in art education.