Vestnik KemGUKI

13-20

Authors: Shunkov Aleksandr Viktorovich, Dr of Philological Sciences, Associate Professor, Rector, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: alexandr_shunkov@mail.ru Ponomarev Valeriy Dmitrievich, Dr of Pedagogical Sciences, Associate Professor, Professor of Department of Directing Theatrical Performances and Festivals, Vice-rector for Scientific Research and Creative Activities, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: ponomarev63@mail

The relevance of the article is determined by the mission that state cultural politics assigns to culture; this is a significant resource for the socio-economic development of the regions of the Russian Federation because it forms the high quality of society and responds to the challenges of the modern world. The purpose of the article is to reveal the key role of education and creativity in the transformation of cultural heritage, formation of spiritual and moral public priorities as the basis of country’s civilizational identity, disclosure of creative potential and creative principles in man. The article substantiates the scientific, educational and creative potential of Kemerovo State Institute of Culture, which will play a major educational role in implementation of this regional project based on the innovative model of “open” art education. The model of open art education in Kemerovo State Institute of Culture is revealed in the article as an “end-to-end” process of the development of professional culture, including all levels: pre-vocational education in the field of art, bachelor’s degree, magistracy, specialty, assistant training, postgraduate study, and additional professional education. At the same time, the article emphasizes the successive and integrative nature of educational, scientific and creative activities in training the personnel for the sphere of culture and art. The article concludes that the state and public recognition of the value of the modern system of vocational education in the field of culture and art preserves the best traditions of national vocational school training the highly qualified personnel for the cultural sector and provides innovative development of the system of art education.

26-32

Authors: Khayrullina Anastasiya Aleksandrovna, Instructor, Department of Social and Cultural Activities, Kazan State Institute of Culture and Arts (Kazan, Russian Federation). E-mail: vinogorova@mail.ru

The article analyzes the methodological aspects of the implementation of spatial-temporal and symbolicocommunicative levels of the festive culture; the main directions of realization of spatial-temporal and symbolico-communicative levels of festive culture are revealed; the basics of using the resources of the modern socio-cultural space in the formation of leisure needs of youth with the means of festive culture are revealed; key problems of organization of holidays for youth are analyzed; innovative components of realization of festive culture are grounded; the main problems of the formation of leisure needs of youth in the conditions of the holiday are revealed; the article uses the socio-cultural practice of the celebratory agency “Artist” in Kazan; the article expands the methodical and organizational spheres of organization of holidays for youth in the context of involving the mechanisms of pedagogical and socio-cultural support for the development of leisure needs of youth; the article reveals the socio-cultural perspectives of basic technologies for organizing holidays. The relevance of this topic depends on the search for new conceptual approaches, the study of the structure of leisure goals for young people, on the basis of which a socio-cultural holiday model is projected. Based on the conducted research, the author concludes that the use of resources of spatial-temporal and symbolicocommunicative levels of festive culture in the formation leisure needs of young people with a wide range of new opportunities for the socio-cultural environment and new social expectations of young people affected by social-cultural and economic trends of the development of society. And also notes that the transformation of youth’s requests in the field of organization of holidays forms new commercial challenges of the present, stimulating the use of a competitive system in organizing the leisure for young people. The market of services and services of festive culture is actively developing with the use of new technologies, ahead of update and with the tasks of long-term development in this direction.

37-47

Authors: Mishova Valeriya Viktorovna, PhD in Pedagogy, Associate Professor, Department Chair of Department of Automated Information Processing Technology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: valeriya_mishova@mail.ru Ogneva Ella Nikolaevna, Sr Instructor, Department of Automated Information Processing Technology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: ella@kemguki.ru

Development of information processes in the society arises the problem of taking the prompt managerial decisions in both commercial and public institutions. There has been a significant change in the requirements for the competence of the specialists in the area of documentation management support and archiving. The contradiction between the state setting the task of transition to a digital economy and the unreadiness of bachelor graduates in the preparation of document management and certain reluctance of the 46.03.02 “Documentation management and archiving” graduate bachelors to applying modern information technologies for the needs of records management support and archiving are observed. The results of the analysis of the websites of 58 higher educational institutions of the Russian Federation, training the specialists in the field of records management and archival studies, are presented. There is an insignificant share (8 %) of higher education institutions of the Russian Federation training the profiles focused on the design and implementation of electronic document management systems, creation and operation of electronic archives, databases and other electronic information resources. The activities of the Department of Automated Information Processing Technology of Kemerovo State Institute of Culture for the implementation of the main educational activities on the training profiles “Organization of Electronic Documents Management” and “Electronic Documents and Archives” are described. It reveals the use of the technological approach in the development of a list of disciplines that provide training for these profiles. It is characterized by a block of subjects which builds competencies aimed at meeting the modern society’s needs in specialists who have the skills to develop and implement modern information technologies in the system of documentation management support.

53-61

Authors: Paliley Aleksandr Vasilyevich, PhD in Pedagogy, Associate Professor, Professor at the Department of Choreographic Art, Dean of the Faculty of Choreography, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: palileyav@mail.ru Buratynskaya Svetlana Veniaminovna, Associate Professor, Department Chair of Choreographic Art, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: svvbur@mail.ru

The article deals with the problems of professional development of students of choreographic faculties of universities of culture at the present time, which are in close relationship with the essence and content of choreographer and pedagogical activity and depend on the basic laws of the pedagogical process of professional training of future choreographers. The author suggests approaches to solving the issue of professional and pedagogical training the students, including the method of sustained interest in it, a tendency to engage in various types of choreographic activity, which embodies the specifics of the profession, awareness of the fact that the professional capacity of a person is fully manifested. The ways of creative individuality of ballet masters, heads of choreographic amateur groups with high figurative and abstract thinking, owning ways of expressing the ideas of the future creative work through pedagogical methods of transmitting their knowledge and skills to future performers are revealed. The stages of creating the choreographic statement based on the laws of compositional construction are considered: the emergence of the “concept” of choreographic work, collection, accumulation and processing the material, genre-style definition, construction of a composition plan, work with musical material, composition of lexical material, creation of lexical structure, production and rehearsal work, performance of choreographic composition on the stage for the audience, analysis of the created work, taking into account the emotional hydrochloric culture performers.

69-75

Authors: Sakharchuk Natalya Yuryevna, PhD in Psychology, Associate Professor, Associate Professor of Department of Acmeology and Psychology of Development, Kemerovo State University (Kemerovo, Russian Federation). E-mail: budich_natalya@mail.ru Kagakina Elena Andreevna, Dr of Pedagogical Sciences, Associate Professor, Professor of Interuniversity Department of General and University Pedagogy, Kemerovo State University (Kemerovo, Russian Federation). E-mail: shkola3a@yandex.ru Lesnikova Svetlana Leonidovna, PhD in Pedagogy, Associate Professor, Associate Professor of Interuniversity Department of General and University Pedagogy, Kemerovo State University (Kemerovo, Russian Federation). E-mail: lesnikova_cl@mail.ru Rusakova Nina Aleksandrovna, PhD in Pedagogy, Associate Professor, Associate Professor of UNESCO Department on Information Technologies, Kemerovo State University (Kemerovo, Russian Federation). E-mail: rusakovana@mail.ru

Relevance of the research. The article is devoted to the theoretical and applied aspects of future teachers’ project training implementation in accordance with the Federal state educational standard of basic general education (FSESBGE), in particular, to the preparation of future teachers for the organization of project training of school students and formation of their creative activities under these conditions. For the effective implementation of the FSESBGE requirements to the projects implementation by secondary school students, it is important to analyze the content of students-future teachers’ training, represented in basic professional educational programs and work programs of relevant disciplines, as well as to determine and investigate the psychological characteristics of students’ readiness for creative activity under conditions of project training. The aim of the work consists of a theoretical analysis of future teachers training for the organization of project activities at schools and the study of school students’ readiness for creative activity under conditions of project training. The results are as follows: it was shown that students’ training for the school students project activities organization under conditions of FSESBGE can be improved in the following areas: updating the content of the relevant disciplines included in basic professional educational programs; determination and study of students’ readiness of for creative activities under conditions of project training. Summary. The effectiveness of future teachers’ training for the organization of school students project training is provided if the content of the main disciplines included in the relevant basic professional educational program is consistent not only with the characteristics of this activity but also with the criteria and indicators of students’ readiness for creative activity in the conditions of project training.

84-90

Authors: Fleenko Darya Alekseevna, PhD in Culturology, Associate Professor of Department of Theater History, Literature and Music, Novosibirsk State Theatre Institute (Novosibirsk, Russian Federation). E-mail: da-sdr1@ yandex.ru

The article deals with an important trend of the modern theater directing to the expansion of genre boundaries. This expansion is associated with learning from other arts. Drama theatre in Russia of the beginning of the 21st century is interested in horror genre, which is traditionally related to cinema and literature. Increasingly,directors try to adapt the horror genre to theatrical language, read theatrical text using the horror’s optics. Interest of directors in this genre is associated with finding the new ways to display a tragedy in modern theatre. Appealing to this genre allows to provide new opportunities for creation of an atmosphere of an ambiguity, a concern and an existential fear on stage. The author argues that in a theatre a horror genre doesn’t have to be associated with a specific type of story but a director can force public to see in outwardly realistic story some terrifying connotation. The performance “Before Sunset” (by Gerhart Hauptmann) directed by Anton Malikov in Novosibirsk Drama Theatre “Old House” is an example of such work. The genre of the performance is defined by the director as a “conditionally mystical horror.” In this case an introduction element of horror into the intellectual drama is attempting to depart from social and politic interpretations and to show its tragic basis. The author notes orientation of performance to the first level of existence and perception of horror genre (on the classification of S. King). The director sought to present a story which has nothing outwardly disgusting in such way that a spectator in his imagination could have a percept of this story as a “quintessence of horror.” Appeal to the genre of horror is important for the director in his refleсtion of the nature of terrible as a part of human nature, as a result of unconscious breakthrough into everyday life.

94-100

Authors: Pospelova Rimma Leonidovna, Dr of Art History, Associate Professor, Professor of Department of Music Theory, Moscow State Tchaikovsky Conservatory (Moscow, Russian Federation). E-mail: psplv@mail.ru

The article briefly covers the practice of using the music terminology in the birdsongs’ descriptions. The attention to a subject is caused by the need for clarification of the question: whether it is simple analogy,or it is about certain real general principles of the formal organization of birdsong and music (in some known limits). Scalars (on bioacoustics) point existence of a characteristic balance between repetition and variation as an interesting link between birdsong and music. This balance is considered in article also from positions of an orientation of a musical form on a listener that contacts efficiency of communication and overcoming the monotony. In the article, the music origin problem in the context of proximity (in a number of parameters) of birds’ singing and so-called primitive music is also briefly touched (works by J. Gordania, A. Kazankov, etc.). As a result of short comparison of some scientific hypotheses of an origin of music (on the ground of music of natives), data of bioacoustics of birds and musicological tradition of understanding the principles of a musical shaping, the author is inclined to consider that these analogies aren’t superficial and aren’t casual, but they speak about a certain community of basic principles of archaic forms of vocalization and sound communication. From these positions, the assessment is also given to some directions of modern music, in particular, to minimalism, whose specifics speak from unexpected positions (the appeal to archaic forms of vocalization, comparable to hours-long singing of birds).

105-112

Authors: Afanasyeva Anzhela Aleksandrovna, Associate Professor, Associate Professor of Department Musical and Instrumental Performance, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: afanaseva_anjela@mail.ru

The article deals with the artistic interpretation of a musical work as the basis of conductor’s performance. The importance of mastering the multi-element specific complex of conductor’s technique, including manual technique, technique of contact, technique of concentration of one’s and collective attention, speed of reaction to orchestra playing, technique of rehearsing, as well as technique of reading and hearing the scores is noted. The necessity of bright performing talent, which is the basis of work with the orchestra, is substantiated. The author states the predominance of the explanatory and illustrative method of mastering the art of conducting at educational institution, and the attraction to the formal-logical way of comprehension of musical material. The connection between the ability to control performance and active performing thinking is established. It is noted that the ability for artistic interpretation cements the performing activities as a system, being essentially creative. The “interpretation” concept and factors determining the creation of the performing interpretation, the established technological stages of the conductor’s formation of specific tasks-impulses to the musical collective, absolutely adequate to the text and personal attitude of the conductor to the author’s score are considered. Based on the statements of the leading conductors of the 20th century, it is concluded that the motor process of the conductor is not an independent “technological factor” isolated from the whole complex of his purposeful creative activity, but an interdependent and determined component. Recommendations for optimization of professional training the conductor, in particular, the adjustment of learning plans and programs from the viewpoint of integral education of the creative personality, one element of which may be the inclusion to the learning process of the course “interpretation of the music” are given.

120-125

Authors: Chestnova Nadezhda Igorevna, Sr Instructor, Department of Musical Instrument Training, Institute of Music, Theater and Choreography, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: n.chestnova@mail.ru

This article is dedicated to the comparative analysis of the two variants of the Second version of Rachmaninoff’s First Piano Concerto. Until now, it is not widely known that the Second version of this Concerto has two variants which were written in 1917 and 1919. First, Rachmaninoff turns to the revision of his early work in 1917 in Moscow where he composes the Second version of the Concerto. However, in 1919 while in New York, the composer decides to revise the Concerto again and introduces some changes to the 1917’s variant and registers a Copyright for it as a new work. The article carries out an analysis of the piano part of the two variants of the Concerto’s Second version which helps follow the peculiarities of the author’s editing and reveal the causes of the appearance of the new variant. The emphasis is placed on the author’s fundamentally different approach to the editing work and on the particularity of pianistic thinking of Rachmaninoff as a composer. The 1917’s variant was a profound creative rethinking of the youth work, whereas the 1919’s variant had more of a “facelift” nature – its appearance was dictated by the stage experience of playing the Concerto and the need to officially publish it in the USA – because Soviet Russia did not join 1886 Bern international copyright convention, therefore foreign publishers could freely print Rachmaninov works already published in Russia before. The article also gives a chronologically uncommon history of the publication of the above-mentioned variants in Russia.

133-139

Authors: Pomortseva Nina Vladimirovna, PhD in Art History, Department Chair of Musicology and Applied Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: musiclogist@ mail.ru

One of the actual problems of modern music Ethnography is the study of factors of formation and development of musical life in provincial regions of our vast country. This article is devoted to the study of cultural factors in the development of musical life in rotation in Kemerovo region during the Great Patriotic War. This period for many regions of our country has become a key point in the stormy development of cultural construction of provincial regions, reducing the existing distance between the province and the Center. No exception would be Kemerovo region formed in 1943, which housed a large number of evacuees musicians-teachers, performers and creative groups. During this period, the research could reveal signs of cultural rotation that emerged in the musical life of Kemerovo region. First of all, there was the introduction of the musical traditions of central regions of the country, affecting the formation of musical infrastructure. Secondly, clearly traceable signs of rotation in the form of enriching the repertoire of musical region during the tour visiting musicians, creative teams and concert events of evacuated intelligentsia. The undeniable importance of personnel rotation, manifested in the large influx of professional musicians, have revitalized the professionalization of musical art in the region and the creation of the first impact on professional education institution training for musicians.Therefore, the years of the Great Patriotic War became a powerful impetus for the development of musical capacity of the industrial region: nurturing the high level audience, forming the high performing culture, the establishment of cultural institutions such as the Concert Bureau (Kemerovo State Philharmonic of Kuzbass named after B.T. Shtokolov) and Theatre of Musical Comedy (now Musical Theatre named after A. Bobrov); as well as the formation of professional base for education of young specialists in the field of musical art.

149-155

Authors: Bychkov Vladimir Vasilyevich, Dr of Art History, Professor, Professor of Department of Variety and Orchestral Creativity, Chelyabinsk State Institute of Culture (Chelyabinsk, Russian Federation). E-mail: kafdjazz@ chgaki.ru Tarasova Yuliya Borisovna, PhD of Culturology, Associate Professor, Department Chair of Ethno-cultural Education, Chelyabinsk State Institute of Culture (Chelyabinsk, Russian Federation). E-mail: jt70@mail.ru

The conservation of cultural heritage for any nation is always a topical task. In its solution, an important role is played by the reproduction of folklore traditions, which are a binding link between the culture of the past and the present.The aim of this work was to determine the representation of folklore in national professional button accordion (bayan) art of the 1930s–1980s. In the article, the authors analyze the options for the treatment of the folklore heritage in the national button accordion music of the 20th century. On the basis of the method of comparison, there are two stages of development of the bayan art. The first stage (the 1930s-1950s) characterized by a direct connection between folklore source, and modern author’s work. The role of folklore was manifested in the fact that the majority of musical works of different forms were built on direct quoting the folklore material and folk music variation. The second stage (1960s-1980s). Composers writing for button accordion, in addition to using the quotations from Russian folk art, addressing the heritage of other peoples. The large musical forms are developed that have a connection with folk culture (for example, Rhapsody). At the same time, this stage is characterized by a gradual departure from folklore sources, a roll towards academic music. The authors come to the conclusion that the analysis of the works for the button accordion, as well as any other musical instrument in terms of representation of folklore in them, in the long term can be carried out taking into account three indicators. The thematism of folk tunes (songs, dances) and the means of its refraction in the bayan literature, technical and performing means peculiar to folk music and their modification in the genres of the concert, suite, sonata, coloristic sphere of folk instruments and its reproduction by means of musical instruments.

162-169

Authors: Egle Lyudmila Yuryevna, PhD of Culturology, Associate Professor, Associate Professor of Department of Musicology and Applied Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: legle@mail.ru Bazhina Anastasiya Sergeevna, Instructor of Department of Conducting and Academic Singing, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: asyabazh@mail.ru

Despite the close socio-cultural interaction of Lutherans (Germans, Finns, Swedes, Estonians, Latvians) living in Russia for several centuries, we can still observe today the manifestation of the “ethnicity” of their religion, expressed in musical culture, national ritual, mental features. The erosion of religious boundaries in recent years in the field of the music-religious culture of the Russian Germans of the Lutheran religion proves the relevance of this study. At the beginning of the 21stcentury, the German Lutheran communities commit worship not only in German, but also in Russian. During the liturgy, bilingual compilations are used, newly completed in the 1970-1980s. The performance of chants translated from German cannot but affect the melodic line, there is also a shift in musical accents due to the need to use poetic translation, and not literal. Chorales are taken from different traditions, not only of the Gospel churches but also of the Orthodox. The main factors for the transformation of musical religious traditions include the destruction of the mono-confessional German settlements, anti-religious policy of the Soviet State, lack of religious education, reduction in the number of parishioners, loss of the national language, and use of various musical material in the service. The transformation of culture as a holistic, translational-transformative process, which aims at modifying culture through the introduction of foreign elements into it violates its usual rhythm, always sets a new vector of cultural development that requires in-depth understanding.

175-183

Authors: Paliley Aleksandr Vasilyevich, PhD in Pedagogy, Associate Professor, Professor at the Department of Choreographic Art, Dean of the Faculty of Choreography, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: palileyav@mail.ru Bondarenko Svetlana Grigoryevna, Associate Professor, Department of National Dance, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: reingardtvi@mail.ru Wagner Tatyana Vladimirovna, Head of Department of Amateur Art Creativity Organization, Novosibirsk State Regional House of Folk Art (Novosibirsk, Russian Federation). E-mail: vagner.dnt@mail.ru

The article is about a problem study of development features of national dancing cultures, their conservation in the modern stage in case of Lithuanian folk dancing culture. Research of orchestics of the Lithuanian national culture in a culturological aspect as one of major constituents of traditional culture acquires the special meaningfulness. Developing the styles, forms and directions of choreographic art in the 21st century in modern artistic activity causes interest outside not only ballet-masters and teachers but also art critics, ballet scholars, and culturologists that educed the negative receptions of drawing on the results of dancing work in spiritual reorganization of the world. The scientific going near the decision of these problems will allow to find certain, positive ways of their embodiment in modern sociocultural space. The artistic culture of dancing work of the Lithuanian ethnic group of Siberian region largely stipulates the task of conservation their cultural heritage. The modern choreographic culture of Siberian region is characterized by a leak of processes of return to the roots, traditions: revivals of authentic folklore. The traditional dancing culture of people and ethnic groups of Siberian region occupies the special place not only by virtue of riches of her multinational colour but also as a source of valuable spiritual traditions for further development of society. The guarantor of conservation and development is study, protection and development of folk dance of indigenous peoples and ethnic groups of Siberian region.

191-197

Authors: Rodionova Darya Gennadyevna, Acting Department Chair of Management of Musical Art, Faculty of Folklore Art and Production, Russian Gnesins’ Academy of Music (Moscow, Russian Federation). E-mail: ffignes@gmail.com

This article discusses some of the methodological foundations of the “management” concept, which constitute its content. The author in this analysis relies on philosophical concepts developed in the works of foreign and Russian philosophers, paying attention to the unity of the rational and emotional, interaction of quality and quantity, and concepts of value and creativity. The synthesis of data that considers the various structural and content components of this concept makes it possible today to look at management as a multifaceted complex phenomenon that operates in the spiritual culture of a particular country as art, reflecting the best achievements in producing the new creations and replications of world masterpieces of the past, as creativity, which allows to find new unique, as a value due to which there is an effective distribution in society of not only the best examples of art but also the active development of spiritual culture in general. In this regard, the author turns to the historical peculiarities of understanding the origins of scientists' ideas about the theory of management, guiding the people, producing the different content of creative activities that brings true value and benefit to others. The author refers to the German classical philosophy and theory of I. Kant, which pays attention to the rational mastering the world, unity of objective and subjective, rational and emotional, their changes in time and space. Considering the ideas of G. Hegel are about the interaction of quality and quantity, their spiritual value and about the concept of measure. At the same time, the author cites the materialistic point of view of Karl Marx, who gave the great importance to the problems of labor activity, division of labor and competence, clear leadership, as well as the concept of F. Engels, connecting the management problems with public relations, professionalism of managers, and their practical experience.

203-207

Authors: Martynov Anatoliy Ivanovich, Dr of Historical Sciences, Professor, Professor of the Department of Museum Sciences, Kemerovo State University of Culture, Chief Researcher, Museum-reserve “Tomskaya Pisanitsa” (Kemerovo, Russian Federation). E-mail: prof_martynov@mail.ru

The article contains an assessment of the immovable historical and cultural heritage of the Asian space of Russia, points out to a particularly high concentration of immovable heritage monuments in the southern regions of Siberia and the Far East, and the presence of unique monuments of archaeological heritage of Eurasian and world importance. Attention is drawn to the fact that for 350 years, the most valuable items of the archaeological and ethnographic heritage were exported from Siberia to the central part of Russia by scientific expeditions. It is indicated that the region has poorly used materials, carried out in the last century of the colossal work on accounting, certification and typology of immovable monuments of the historical and cultural heritage of Russia. Unfortunately, the material on cultural monuments available in every region of Siberia is poorly used or is not used at all in order to develop science, education, culture and tourism through their museification, creation of museum-reserves, and tourist centers. In the regions of Siberia and the Far East, there are few museum-reserves created on the basis of immovable monuments of historical and cultural heritage. Great attention of local authorities is demanded by annually emerging museums in regions, municipalities and rural municipal territories with no urban settlements. The article points out the lack of attention of the Ministry of Culture of the country to the vast territory of Asian Russia. There are no museums of federal significance here. The central museums that are not involved in the creation of branches in Siberia including the State Hermitage Museum, the Russian Museum, the Museum of Ethnography, the State Historical Museum, which have collections of archaeological artifacts and ethnographic materials in Siberia at their foundations.