Studying the Tatar piano repertoire as element of national musical traditions is an important factor of ethnocultural development of the future music teachers of Tatarstan in the course of vocational training in higher education institution. It is caused inexhaustible by opportunities of ethnomusical heritage in formation of the personality, need of development in students of professionally significant ethnopsychological qualities, readiness for the solution of musical and educational tasks on the basis of the Tatar national culture. Disclosure of potential of the Tatar piano music in ethnocultural development of future music teachers became a research objective. On the basis of synthesis of experience of musical and performing training of future music teachers -students of Leo Tolstoy Institute of Philology and Intercultural Communication of Kazan Federal University, the performing analysis of the Tatar piano music, authors submit compositions in which found the brightest embodiment of tradition of the Tatar folk art. It is shown that, working on piano works, students learn deep moral and esthetic meaning of the Tatar folklore. They develop ethnocultural ideas of love, family values, gratitude to parents and respect of seniors, devotion to traditions of a sort, the importance of family education. Performance of songs always opened the emotional world of the person, reflected his intimate thoughts and experiences connected with hard destiny, aspiration fortunately and belief in the best. The deep moral and esthetic meaning of the Tatar folklore embodied by means of expression of piano music is shown in article; musical contents of works of the Tatar composers, their variety and opportunities in ethnocultural development of future music teachers reveal.

The problems of training composers of the national republics of the USSR came to the fore in the 1920s and 1930s of the XX century, when the accelerated formation of national professional cultures began. Professional training of national composers in the 1930s was largely undertaken by the capital higher educational institutions, in particular by the Moscow State Conservatory. It was during this period that the national studios and departments with composer groups were opened in it. This article highlights the process of teaching Tatar composers (S. Saydashev, M. Muzafarov, Dzh. Fayzi, F. Yaarullin, Z. Habibullin, etc.) in the Moscow Conservatory within the framework of the working faculty, ethnographic department, as well as the Tatar opera studio. We revealed the issues of educational tactics of the curator and teacher of the composer group G.I. Litinsky, who was looking for new, nationally oriented methods of teaching. We describe the creative problems encountered by both teachers and students. It is outlined the genre range of the composers creativity. The author of this article analyzes the positive and negative aspects of the educational process aimed at achieving academic level professionalism by the European composers. When studying the problem posed, the author used a complex approach combining the features of historical and analytical methods of research, introduced new, documented facts into scientific circulation. The article is an attempt to build the fullest possible picture of the phenomenon as a basis for a broad scientific interpretation of musical education of national composers in the Soviet era. The materials of this article can be used in the training courses on the history of native and Tatar musical culture.