Vestnik KemGUKI

personal information culture, information culture of a school student, information society, education, S.A. Sbitnev, federal state educational standards, “skills of the 21st century”.

Authors: Gendina Natalya Ivanovna, Dr of Pedagogical Sciences, Professor, Honorary Worker of Science of the Russian Federation, Director of Research Institute of Information Technologies in Social Sphere, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: nii@kemguki.ru

The paper highlights the role of professor S.A. Sbitnev as a founder of the Kemerovo library school and a founder of the scientific direction on studying the personal information culture. Changes in an education system as a result of development of information society in Russia are characterized. The sense of the concept “Skills of the 21st Century’ or “soft skills” reflecting requirements of employers to potential workers is revealed: ability to solve non-standard problems in dynamically changing world, ability to think critically, ability to find and to critically estimate information, ability to interaction and communication. The paper marks considerable potential of the general education (comprehensive schools) as a basic link in information training of children, teenagers and youth. Activities of Research Institute of Information Technologies of the Social Sphere of Kemerovo State University of Culture as a scientific center according to the theory and a technique of formation of personal information culture are analyzed. The research devoted to detection of information knowledge and abilities of teachers and pupils as a part of federal state educational standards (FSES) is characterized. High saturation of FSES by information terminology and inclusiveness of information knowledge and abilities in all sections of educational standards is set. It is emphasized that for the first time the intellectual activity (work) with information is shown in educational standards for all subjects, including its search, analysis, assessment and interpretation, and not just ability to work with the computer. The entity of the concepts “metaobject results of training” and “cognitive universal educational actions (CUEA) is revealed, and the connection with the concept “skills of the 21st century” is shown. Communication of CUEA with structure of a training course “The Basis of Information Culture of a School Student” is shown. Recommendations of need of professional development for teachers and school librarians in the sphere of formation of school students’ information culture are presented.

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Authors: Skipor Inna Leonovna, PhD in Pedagogy, Associate Professor, Associate Professor of Department of Automated Information Processing, Vice-rector for Academic Affairs, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: skiporil@mail.ru

The article is devoted to development of the ideas of Professor S.A. Sbitnev, the founder of the Kemerovo Library School in the field of creation and operation of electronic information resources. Scientific research and development in this area of the teachers of the Department of Automated Information Processing of Kemerovo State University of Culture are described in a historical context. The article highlights the expansion of typical electronic information resources as the objects of scientific research and development according to a level of information technology development at a certain time in history. It points out the advantages of using the integrated technologies of electronic information resources creation in both: the development of various types of electronic information resources, and in organizing the education, professional development and retraining the library staff. The article considers the evolution of staff training in solving the challenges of creation and operation of library electronic information resources. The correspondence between the level of development of information technologies, electronic information resources and requirements to the level of training the library staff is established in its emphasizes the role of universities of culture in the staffing of libraries, taking into account modern requirements. It underlines the anchoring the possibility to carry out training the specialists for libraries and information institutions that provide digital content development at state level. The article covers the experience of modeling the educational programs on the specialty “Library Information Activity” 51.03.06, profile “Technology Automated Library and Information Systems” in Kemerovo State University of Culture. The content of subjects of study, directed on the formation of professional competences of graduates in the field of creation of electronic information resources is given. The article touches upon the relevance of training programs and professional retraining the library staff in the field of formation of electronic information resources. It points out variability of programs of additional professional education. It describes the programs of advanced training and professional retraining the specialists of libraries, aimed at formation of professional competences in the field of creation of electronic information resources, implemented by teachers of Kemerovo State University of Culture. It characterizes the structure and content of advanced training programs, profession retraining and explains the features of organizing the educational activities.

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Authors: Pilko Irina Semenovna, Dr of pedagogical Sciences, Professor, St. Petersburg State University of Culture (St. Petersburg, Russian Federation). E-mail: skip_95@mail.ru Taranenko Lyubov Gennagievna, PhD in Pedagogy, Associate Professor, Department Chair of Documentary Communications Technology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: lubgt@mail.ru

The traditions of teaching the course of library local lore are reflected. Outlined the thoughts of S.A. Sbitnev, the founder of the Kemerovo library school, about the organization questions of information support of regional information needs, the formation of regional automated library systems, personnel support of information services of specialists of the region. An attempt has been made to characterize the conceptual foundations of a professional preparation of library and information specialists in the field of library regional studies in the development of the ideas of S.A. Sbitnev. The analysis of changes in the requirements for professional competence specialists in the field of library study of local lore during the XX - XXI centuries has been done. The modern requirements of the professional community for knowledge and to the skills of library historians of local lore identified in this article. The practice of teaching local lore studies in higher education institutions and colleges of culture and art of the Russian Federation has been learned. Has been identified the teaching trend of library study of local lore as an interdisciplinary complex, including disciplines of general scientific, information-technological and professional (library-bibliographic) training. The experience of teaching in the Kemerovo State Institute of Culture course “Information support of regional needs”, conceptually grounded S.A. Sbitnev. His academic content and the subject of scientific research are focused on identifying and understanding the needs of local lore practice libraries. Basic principles of the concept of local lore studies as an teaching object are: interdisciplinary, reflection in the content filling regional specifics, accounting the existing traditions of teaching local history bibliography and other local history courses, orientation to practical needs of local lore activities of libraries.

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Authors: Davydov Viktor Petrovich, Professor of Department of Classical and Modern Choreography of Kemerovо State University of Culture, Deputy Artistic Director of Moscow Region State Theatre “Russian Ballet,” Honorary Artist of the Russian Federation (Moscow, Russian Federation). E-mail:davip02051964@mail.ru

The most important task in the preservation of dance art is the education of a new generation of choreographers for choreographic collectives and troupes of various directions. The author of this study is a professional ballet dancer and choreographer with many years of experience of teaching the choreography in culture and arts institutes. In this paper, he shares his ideas and methodological approaches to training the future ballet choreographers. Recognizing and summarizing the expertise accumulated by his predecessors, he argues that the current development of the choreographic art requires that training should be based on dance vocabulary, and that students should be taught how to create a choreographic text which serves as the basis for the narrative of a piece of choreography. For this reason, a choreographer training should focus on improvisation. The author argues that, unfortunately, theoretical works by choreographers give little attention to improvisation. To fill the gap, the author suggests an original method of using the improvisation in choreographer training. Its didactic significance lies in the gradual build-up of skills of composing the choreographic text. The main methodical principle is spontaneity of composing the dance combinations consisting of simple movements that students come up with using their imagination. The author believes that the unpredictability of the group improvisation process can lead to the creation of most unexpected combinations that can hardly appear in an individual dance composition. By improvising in a group, students accumulate choreographic material which they can use in their future work.

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Authors: Hou Changzhi, Postgraduate, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: foreverzrj0917@gmail.com Chernaya Marina Radoslavovna, Dr of Art History, Professor, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Frderation). E-mail: marina-chernaya@yandex.ru

The article deals with a study of the history of clarinet in China and requires knowledge of the famous teachers, composers and performers. A number of Chinese writers-researchers had addressed this issue in the aspects of the activities of the musicians in China. The purpose of this article is to collect the data on the biggest Chinese teachers-methodologists and clarinetists-performers, since the appearance of the clarinet in the concert and educational practice of this country to the present day, as well as the formation of the centers in studying the clarinet playing. The role of the activities of the first Chinese clarinetist Mu Zhitsin, the first womanclarinetist Tao Zhunsyao, composers, who wrote pieces for clarinet, Tsin Letszyun and Tao Syuiguan, pointed out, as well as the other Chinese who had written their names in the history of clarinet in China, such as Zhao Kunhou, Tsin Penchzhan, Van Duanvei, Zhan U in the 20th century and -- Bai Te, Van Zhensyan, Fan Lei, Tsin Letszyun, etc. – in our days. The authors’ conclusion is that the prominent actors of the art of clarinet playing in China are universals, as a rule. The accent in the article is put on the events connected with the opening of the specialty on playing the clarinet at Chinese institutions and on publishing the methodical books for clarinet teaching. So, the analysis of the formation of the centers of clarinet playing in China, made by the authors of the article, is very practical. The main idea of the article is that the history of clarinet in China is not over, it goes continuously further in our days. The article is based on Chinese resources, fragments of which were translated in Russian by Hou Changzhi.

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Authors: Nezhinskaya Tatyana Albertovna, PhD in Pedagogy, Associate Professor at Music Software Technologies, Cinema and Television Department, Institute of Humanitarian and Socio-economic Education, Russian State Vocational Pedagogical University (Ekaterinburg, Russian Federation); E-mail: tat7093@yandex.ru

The article briefly covers the experience of using the music and computer technologies in the educational content of a Russian higher educational institution. The article presents the results of a scientific research on the development of the author’s structural and functional model of developing the special professional competencies of Bachelor students mastering the basic professional educational program in the sphere of music and computer technologies. For the research purposes, the full educational cycle of the basic professional educational program is based on studying the music and computer technologies and represented by five components, with the accent on the key, the information and computer component, as the most attractive for applicants, students, and employers. The article covers the importance of scientific and practical research of special professional competencies of Bachelor students in the dynamically developing industry of information and communication technologies of music and computer technologies. The author identifies the list of knowledge and skills, subject-related actions and professional operations, personal skills and experience of specialists in the sphere of music and computer type of professional activity. The author substantiates the integrative complex of special professional competencies in the sphere of music and computer technologies and the role of practical training at higher educational institutions in this process. The author’s definition of special professional competencies of Bachelor students in the sphere of music and computer technologies is formulated.The author has explored the specifics of developing the special professional competencies of Bachelor students in the conditions of students’ practical training at higher educational institutions.

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Authors: Malygina Irina Viktorovna, Dr of Philosophical Sciences, Professor, Moscow State Linguistic University (Moscow, Russian Federation). E-mail: irinamalygina@yandex.ru

The article is devoted to the phenomenon of regional identity, cultural and economic contexts of its formation. The reasons of actualization of regional identity in post-Soviet Russia are considered. Among them are the features of cultural and historical dynamics and ethnogenesis, which led to the formation of regional specifics already at the early stages of the development of the state, as well as the socio-political reforms that took place in its recent history. The phenomenon of the crisis of Russian identity, which was manifested after the collapse of the USSR in the complication of its contours and the expansion of borders, is analyzed. Two different vectors of the dynamics of Russian identity are singled out in the post-Soviet period: on the one hand, to expand its foundations and form a transnational (civilizational) identity, and, on the other hand, to localize the grounds for identity and actualization of local, particularly grounds for social consolidation and identification. The author believes that these trends correspond to global trends in the dynamics of ethnocultural identity in the context of globalization. At the same time, each of the described processes differs the expressed national specificity. The point of view is argued that the active development of local/regional forms of identity in post-Soviet Russia was a kind of “sublimation” of searching for grounds for social consolidation in the cultural and symbolic environment of territorial loci in a situation of self-determination crisis. The dialectic of cultural and economic factors of regional development and the formation of local forms of identity are represented through the prism of the concepts of “cultural turn,” “new economic geography,” “impression economy” and “desire economy.”

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Authors: Gordeeva Tatyana Yuryevna, PhD in Philosophy, Associate Professor, Kazan State Institute of Culture (Kazan, Russian Federation). E-mail: Gordeeva-muz@rambler.ru

The author of this article suggests a potential way of singing sound cultural space establishment from the standpoint of the theory of gesture and plastic basement of the art way of thinking. The determining factor of it is gesture and plastic mental activity of the psychoid unconscious. This mental activity is related with the phenomenon of “ineffable,” which infallibly arises when two interrelated though non-identical components - one of which is ideal and imagery and the other -- exemplified -- of singing sound meet, thus representing the entelechic basis of singing sound and singing culture in general. It possesses introversive and extroversive intentionality. The former is related with the spatial concept of a human, innate in the antenatal period of his existence. Extroversive intentionality invokes the emergence of various variants of sound substance dependant on shades of spiritual and gesture potential of psychoid unconscious (hand-like, flicker, mouth-like). The author suggests a process-dynamic model of the cyclic process of self-movement of singing sound. This theoretical model shows how the singing sound develops from itself, going through the following stages: “pre-sound – sound – post-sounding” by solving the sequence of situations of “nonequilibrium identity” initiated by each stage and each transition from stage to stage of singing sound. The formation of the singing culture takes place, therefore, as a result of the preservation and consolidation of the most successful invariants of the “removal” of the problems of “nonequilibrium identities” that accompany the entire “life cycle’ of the singing sound. This model explains the source of the artistic quality of the singing sound, which is associated with the “inexpressible”.

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Authors: Fedorova Anastasiya Sergeevna, Applicant, Department of Fine Arts, School of Art, Culture and Sports, Far Eastern Federal University (Vladivostok, Russian Federation). E-mail: krasnas@inbox.ru

The article is devoited to the main components of the Great Mother archetype in the history of art, including Russian and Primorsky art. The current situation in the art revives interest by traditional values, which historically solve a problem of the value orientation, identification of Russian culture. The author focuses on the system of values at the turn of the XX-XXI centuries. Political and social events of the 1990s are reflected in the visual arts. But despite the external situation and internal changes, the image of common symbolsarchetypes, among which the Great Mother occupies an important position, is actualized in the artistic sphere. The main concern is the Great Mother in the Russian art. This aim may be achieved by comprehensive and thorough study of art-works of contemporary primorsky artists – Andrei Kamalov, Veniamin Goncharenko and others. Artists innovatively represent the image of motherhood, using the author’s techniques and techniques of the Old Russian art. Artists interpret the traditional forms of the iconographic image of the Mother of God, develop individual creativity and personal world views. The author considers the image of motherhood in the works of artists of socialist realism in the central region of Russia in 1960 – V.I. Ivanov, G.P. Yegoshin, I.S. Ivanov-Sapchev, V.E. Popkov and in the artistic movement “Socialist art” (Vitaly Komar). Thus, the given archetype passes a red line through all Russian art of the XX-XXI centuries. And can be considered as a value phenomenon of artistic creativity.The author emphasizes the special importance of the archetype of the Great mother and stress that in the Russian art are present the archetypes of the Tree of Life, the Hero, the archetypical concepts of the Road, Matsya, Stairs.

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Authors: Kulemzin Anatoliy Mikhaylovich, Dr of Culturology, Professor, Leading Researcher, R&D Institute of Intercultural Communication and Sociocultural Technologies, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail:kulemzin41@mail.ru

Historical and cultural heritage has a huge potential in terms of information about the past. And the society can use this information for different purposes: to reconstruct authentic history and culture or to ideologically cultivate social consciousness. The article researches how objects of history and culture have been used for these purposes throughout Russian history from the time the state was formed up to date, and which forces have been involved in the process. Being created, scientific historic societies as well as state boards intending to preserve the heritage were led by the nobility or state authorities of high rank. Informal structures made up of clerisy and political opposition regarded the heritage a source of accurate information for scientific development and used i t for education purposes. Anyway, both parties agreed that the heritage had to be preserved. After the socialist revolution, the democratic forces were defeated the members of the parties were subjected to repression, many of them executed. After the Second World War all the attempts to revive democracy were constantly resisted by the government and the Central Committee of the CPSU. Only in the middle 1960s, as a result of scientists and clerisy’s enforcement, a public organization called All-Russian Society for the Protection of History and Culture Monuments was initiated. In today’s Russia, the attitude to the heritage was reconsidered. The ideological percepts were expelled from the legislation. On the other hand, the right to turn the objects of cultural heritage, which make up national heritage, into private property was incorporated into it. This regulation doesn’t improve the society’s consolidation and thus should be seized from the legislation.

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Authors: Chernova Anastasiya Aleksandrovna, Senior Instructor, Museology and Documentation Department, Altai State Institute of Culture (Barnaul, Russian Federation). E-mail: 84stasia@mail.ru

In the article, the main stages of the museologists’ appeal to the term “document science” are considered. The notion of “document” is disclosed in the museum environment, the terms “museum object” and “document” are compared, and the chronology of use of these terms in the museum sphere, their philosophical comprehension and application in practical work is explored. At the beginning of the 20th century, the notion of “document science” in the museum was taken from axiological positions, which is characterized by a system of views of both domestic and foreign philosophers: N.F. Fedorova, and P. Otle. Philosopher Paul Ricoeur’s point of view, who is a representative of hermeneutics direction, about the documenting history process is noted separately. During the period of the establishment of Soviet power, the interpretation of museum terminology continued, and the notion of “document science” began to be used in the framework of museum institutions work. The creation of documenting theory in Russia refers to the 1980s, when the scientist A.M. Razgon was engaged in the development of this concept, which laid the foundation for the practical work of the museum in this direction. In his works A.M. Razgon proved the necessity of scientific approach to the procces of acquisition and accounting in museum work, so at the end of the 20th century the concept of documentation, as a rule, associated with the scientific fund museum work. At the present time, this concept has expanded and requires additional analysis. At present, documenting in the museum is understood in a narrow and broad sense, it is the basic social function of the museum and one of the scientific directions of museum idea.

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Authors: Prokopova Natalya Leonidovna, Dr of Culturology, Associate Professor, Dean of Faculty of Directing and Acting Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: n_prokopova@kemnet.ru Magdalena Zaorska, Associate Professor, PhD of Art History, University of Warmia and Mazury (Olsztyn, Poland). E-mail: magzaorska@gmail.com

The relevance of the themes associated with the positioning the theatre-pedagogical speech technologies based on the control role of imagination. It discusses historical, theoretical and methodical aspects of theatrepedagogical speech technologies. The purpose of the article relates to the argument of originality and effectiveness of theatre-pedagogical speech technologies based on the control role of imagination. Tasks related to the consideration of basic methodological grounds mentioned technologies, with a justification for their originality, with proof of their effectiveness, with the reasoning of their borrowing directions of preparation do not belong to the sphere of art. The originality of technologies based on a management role, justified through the facts of History, Theater Arts and Theatre Pedagogy. Focuses on the primacy of these theatre-pedagogical speech technologies, on their property to intensify the process of creativity. It considered theatre-pedagogical speech technologies, based on a management role, being positioned as the opening of a new strategy in theatre education. It presents method of integrated effects and methods of mediated effects on voice and speech and reveals the principles of construction of exercises of theatre-pedagogical speech technologies and criteria for their implementation. Effectiveness of theatre-pedagogical speech technologies is proved by their borrowing the humanities training areas. Specific examples of the use of theatre-pedagogical speech technologies are in the practice of speech therapists. The possibility of their use in practice of speech therapists is argued by the presence of common positions among the theatre-pedagogical and logopedic technologies. It presented and formulated their main characteristics in modern theatre-pedagogical technologies. It explains the reason for the effectiveness of the use of techniques of theatre pedagogy mediated effects and proved the effectiveness of their application in speech therapy. The feasibility of adapting theatre-pedagogical speech technologies in speech therapy relies on the arguments extending remedial teaching methods, practical methodology.

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Authors: Moroz Tatyana Ivanovna, PhD in Philosophy, Assosiate Professor, Assosiate Professor of Department of Musicology and Music and Applied Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: tatyana.moroz7@mail.ru Basalaev Sergey Nikolaevich, PhD in Culturology, Assosiate Professor of Department of Theatre Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: sat3@mail.ru

The features of manifestation of a phenomenon of theatricality in performing art are considered in the article, changes which are undergone by concert piano performance in the light of realities of modern art culture are displayed here. Theater, having the huge potential opportunities which are “genetically” put in it in modern culture acts as the universal basis for formation of new syntheses, considerably enriching the synthesizable elements, showing the hidden opportunities in them. Emergence of instrumental theater as one of the leading genres of modern musical art became a new stage of synthesis of theater and music. Theatricality is a concept with totality of means of expression, which creates a special reality, in which there are actors according to certain laws. Entrée of theatricality as a special property in musical performance is connected with introduction of the extra musical factor that consists of available director’s approach, free actor’s improvisation, inclusion of various plastic elements, special performance technique on the instrument, appeal to word and voice sound extraction, spatial movement on the stage. The interpretation of some types and signs of theatricality, which are shown in practice of modern piano performance is given in the article. Following the tendencies which are shown in staging the modern culture, mixture of genres, synthesis of arts, tool performance opens for itself the additional communicative potential which is expressed in emergence of one more semantic layer allowing to considerably broaden the semantic sphere of the modern art. Introduction of theatricality into musical art promotes new, deeper comprehension of music as reality, as a special art phenomenon.

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Authors: Georgievskaya Olga Vladimirovna, PhD in Art History, Associate Professor, Associate Professor of Department of Musical Art, Institute of Culture and Arts, Moscow City Pedagogical University (Moscow, Russian Federation). E-mail: olgageo@rambler.ru

The analysis of some distinguishing characteristics of J.S. Bach’s texture is presented in the article. The example of one section of Bach’s clavier toccata in E minor is given to show them. It is a detailed examination of observed texture phenomena that permits to define fundamental effective forces of music development process and to reveal the interior dialectic of polyphonic and harmonic principles. As it is demonstrated, the universality of composer’s musical thinking is reflected in the texture of the fragment not containing a great number of notes. For instance, a series of texture transformations is described. Initially, unfolding the monophony makes to feel a harmony that is only implied by the melodic line. Then a many-voiced polyphony gradually is unfolded, originated from the same single voice. Finally, traditional polyphony techniques make it possible to emphasize the importance of harmony and to realize the leading force of harmonic hearing. Thereby, there is a significant parallel with global changes of creative musical thinking, the examples of which are given by the history of music. The results of the analysis have a profound effect on our understanding the specific features of Bach’s texture and musical language, his stylistics, as well as texture transformations in music generally. The proposed method of analysis is based on the synthesis of analytic and practical approach, theoretical study of the score and a performer hearing the sounding texture. Opening up the uncharted horizons and new perspectives for scientific research, this point of view is also promising to allow more thorough study and rich interpretation of Bach’s compositions.

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Authors: Lesovichenko Andrey Mikhaylovich, Dr of Culturology, PhD in Art History, Associate Professor, Professor of Department of Folk Art Culture and Music Education, Novosibirsk State Pedagogical University (Novosibirsk, Russian Federation). E-mail: lesovichenko@mail.ru Shefova Elena Aleksandrovna, PhD in Art History, Associate Professor of Department of Musical Training and Socio-cultural Projects, Institute of Culture and Art, Lipetsk State Pedagogical P. Semenov- Tyan-Shansky University (Lipetsk, Russian Federation). E-mail: shefova_e@mail.ru

The interesting parts of the composers’ heritage of Borodin, Cui, Lyadov and Rimsky-Korsakov are the parts of collective works created by them. The article gives a description of “Paraphrases,” the only collection of light piano pieces in the history of music, consisting of twenty-four variations and fifteen different genre numbers for the unchanging children’s theme “Ta-ti, ta-ti.” “Paraphrases” are not a formal combination of variations, but an integral concert work created based on the joint work of four outstanding Russian musicians. On the title page of Paraphrases, the addressee is indicated: “It is dedicated to small pianists who can play a theme with one finger of each hand”. Borodin played these plays with humor“ with people who cannot play the piano”. Meanwhile, it may seem that the cycle is written in the spirit of musical fun and consists of some playful jokes. However, this is a formal side of the question. Obviously, the free form of “Paraphrases” and, in particular, variations, opened the possibility of practical application created by the Couchkists, the means of a musical language, to hear the topic in the new genre and stylistic conditions. Was the collaboration a simple hobby, a “genius joke” and if not then what are the reasons for writing such an unusual in every sense of the work? These and other issues are to be clarified in this article.