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The article has analyzed and systematized the development of musical-pedagogical education in Ukraine in the 60's -70-ies of XX century. It has summarized the experience of training of specialists with higher musical-pedagogical education at the faculties of Humanities, where the 50's - 60's graduates received diplomas of philologists, historians, geographers with additional qualification of a teacher of music and singing. It has also been grounded the establishment of the first musical-pedagogical faculties at educational institutions in different regions of Ukraine (Kyiv, Luhansk, Drohobych, Odesa, Zaporozhia). Having based on the analysis of the archival documents it has been revealed the main directions of the formation of teaching staff of specialized departments, organization of the educational process, creation of the art groups, participation of students in research work, teaching practice at secondary schools. It has been proved the importance of concert performance and musical educational work in the pedagogical formation of prospective teachers of music and singing. Their role in raising the level of musical and aesthetic education of children and youth in the 60's of last century has been proved. The 70‟s years of the twentieth century of the history of Ukraine are known as the years of corresponding changes in the socio-political processes, "thaw" in all spheres of life, particularly in the organization of higher education activity. This period of musical-pedagogical education is characterized by democratization and the search for more advanced forms of the educational-upbringing process.
). Teaching Musical Awareness: The development and application of a ‘toolkit’ of strategies for instrumental teachers, British Journal of Music Education , 24 (01), 21-36, DOI: 10.1017/S0265051706007200
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Theatre, dancing and singing are arts born out of a common body that share the same idea and means of expression - the human body, these arts manifesting through the most important condition - the artist. The openings exhibited in the theatrical space, spiritless in some people, pragmatic in others, pass on the intimate message of dancing: substance, essence, density.
A public, non-violent act not abiding by a recognized rule, and conscientiously done with the intent to frustrate the latter, is called an act of civil disobedience. Those who practice civil disobedience reject a specific rule, considering it unfitting with their own ethical, religious, or artistic values, and are prepared to suffer the indignities which may greet their act. The paper offers a comparative view on civil disobedience in the legalpolitical and the musical field, basing on the conceptualizations by philosophers and legal thinkers as Thoreau, Bedau, Rawls and Dworkin, and briefly analyzing some works by Monteverdi, Mozart and Liszt as examples of civil disobedience.