FROM THE HISTORY OF PEDAGOGY OF MUSIC EDUCATION IN NORTH OSSETIA: THE ORIGIN AND DEVELOPMENT OF PROFESSIONAL EDUCATION TO PLAY THE OSSETIAN HARMONICA
The article is devoted to the subject understudied in the modern scientific literature: the history of pedagogy of music education and playing the Ossetian harmonica. The author considers the process of the transition to the academic form of the national instrumental music, a way of professional development and education for the Caucasus (Ossetian) harmonica. Three main stages in formation and development of academic training in the playing the Ossetian harmonica are revealed. During the first period is from the middle of the 19th century to the 1940th years when the diatonic instrument was mainly exists in the national environment as a genre and household tool of art. Popular harmonica-virtuosos K. Merdenov and B. Kornaev act as the musical teachers, who train the first semi-professional musicians. The next stage of the development of the national harmonica is the period of 1950-1970s. At this time, chromatic instruments appear. Harmonists S. Revazova, B. Gazdanov, R. Gurieva and others have got a secondary special musical education, composed their repertoire collections and textbooks. The third stage (since 1980th years) is characterized by distribution of harmonicas of a ready and made design, the edition of anthologies and manuals for pupils of music schools, appearance of musicians with the higher education. The musicians have begun to teach playing the Ossetian harmonica. The teachers A. Gazatseva, S. Dzutsev, A. Baskayeva, E. Gazdanova, Z. Kozaeva, A. Kha-balov and others developed methodological principles of academic folk instrumental pedagogy. Ossetian harmonists successfully participate in Russian and international competitions of academic performing musician. The relationship of the pedagogical process with the concert and creative activity of accordionists, technical improvements of the instruments, appearance of a chromatic ready-made and made accordion is shown. The forms of interaction of national composer creativity with performance and pedagogy, processes of formation of the original highly artistic repertoire are analyzed. A contribution to development of the instrument by composers H. Pliev, I. Gabaraev and the innovative role of Concerto for the Ossetian harmonica with D. Hakhanov ’s orchestra are noted. The article describes the Ossetian accordion players who had brought a great contribution to the development of instrumental pedagogy. Also the musical collections, albums, educational and methodical grants which are used in pedagogical activity of accordion players are listed.