Vestnik KemGUKI

13-23

Authors: Umnova Irina Gennadyevna, Dr of Art History, Associate Professor, Professor of the Department of Musicology and Applied Musical Arts, Kemerovo State University of Culture, Corresponding member of the Russian Academy of Natural Sciences, Member of the Union of Composers of the Russian Federation (Kemerovo, Russian Federation). E-mail: umnova@kuzbass.net

The article deals with the peculiarities of the activity of creative associations of professional and amateur composers, strengthening the values of academic, amateur and folk music in the industrial region of the Russian province, traditionally rich as much in natural resources as in talented human assets. The compositions of the musicians of the “second row” are quite often conditioned by the unity of the composing and performing activity, which to a large extent initiates their creativity. A new impetus at the turn of the century for musicians in the province was a peculiar turn of the Russian state to face religion, which allowed many composers to actively use their creative abilities to compose and perform various genres of sacred music. These and other sources of motivation have influenced in recent decades the various facets of contemporary composing and the musical life of the region as a whole. Therefore, the purpose of this article is to characterize a rather colorful picture of the works of composers of Kemerovo region, which fixes the importance of the role of creative composers’ associations and individual musicians for the processes inherent in modern culture. However, the definition of the specificity of the composing communities’ activity in the context of the peripheral musical life in comparison with the large cultural centers of the district will clarify the features of the dynamics of the music of academic and amateur traditions in the light of political and socio-cultural changes in the country. In this context, the most significant would be the community of composers, performers, composers, and teachers/mentors, whose artistic and reflective activities contribute to the functioning of various forms of musical culture in the modern industrial but remote from the center of Russia region.

33-38

Authors: Chernaya Marina Radoslavovna, Dr of Art History, Professor of Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: marina-chernaya@yandex.ru Zhao Yú, Applicant of PhD in Art History, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation, Tianjin, China). E-mail: zhaoyuchina@ mail.ru

The article deals with clarinet concertos composed in the 20th–21st centuries. There were composed many different clarinet concertos at that time. Some of them have one part, some have few ones. The longest concert that is mentioned in the article (composer K. Meyer, 2000) has seven parts. Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture, sometimes the scheme has variants. We have a question: how does the concerto genre function in the 20-21st centuries? To answer it we had to search many musical compositions of the 20-21st centuries in the clarinet concerto genre. In some cases, the clarinet is accompanied by the orchestra, in some cases it was surrounded by the ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez (‘Domaines’), J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. There is an especially complete analysis of the Pierre Boulez’ concerto named ‘Domaines’ in this article. This one was written for the clarinet and 21 instruments that were divided into 6 groups. At the very beginning, the composer made 6 sheets for clarinet. They were named from A to F. Each of them has its “mirror” version, so the composition contains 12 sheets having 6 fragments of music. Boulez’s attitude to the concert routine is based on the aleatory principle. So, the authors made the following conclusions in the article: the clarinet concerto genre was developed very highly in the 20-21st centuries; structures of clarinet concert compositions have a very high diversity; as a rule, concerto’s music has very big expressiveness and technicality, the soloist’s part is connected with the expressive concertizing; the special role acts in the Pierre Boulez’s composition called “Domaines,” where is a new interpretation of the concertizing principle.

45-55

Authors: Bobina Elena Mikhaylovna, Postgraduate, Department of History, Theory of Performing Art and Music Pedagogy, Magnitogorsk State Conservatory (Academy) named after M.I. Glinka (Magnitogorsk, Russian Federation). E-mail: bobina.elenka@mail.ru

Among the works of Cesar Franck, organ works occupy a special place: these are numerous organ miniatures, and major works that the composer has made throughout his creative biography. The objective of this work is to study the textual peculiarities of the chorales of Cesar Franck as a leading side of formation of the image and genre. Analytical and comparative methods are chosen as the most important research methods. The article reveals the specifics of elements’ ratio at various levels of the melody and accompanying voices, interaction of texture with the pitch line, influence on the rhythmic and modal organization, harmony are revealed. The texture is analyzed as a method of presentation, as a method of deployment, as an element of dynamic pressure, and as a factor in the “detail of emotions.” Various manifestations of the texture in Franсk’s chorales are investigated, systematics of the most typical types of texture for these works are proposed, special attention is paid to the processes of texture melodization in the choral and textural variation. The preservation of a single textured model throughout the chorale is a rather rare phenomenon. In the process of development, “texture deviation” or “texture modulation” occurs: the type of presentation changes, the warehouse, and their rethinking is observed. Often there is a psychologization of polyphonic receptions, the saturation of specific linguistic properties (time distance and interval step, direction, number of conduits, etc.) with bright semantic meanings, an introduction to the context and the reflection of the lyrical hero’s fate. In this way, the musical language of Franсk’s chorales can be considered as encyclopedia of texture techniques: with varying degrees of completeness, almost all of the forms are involved, all types of presentation, striking ingenuity in the interpretation of musical fabric is obvious. Receptions of many past epochs are revived, on their basis surprising textural finds and synthetic compounds arise. This aspect in musicological literature is not yet covered. The studies devoted to Cesar Franck have two main directions: in some of them, the creative way is fully revealed, the personality of the composer is described, in others, his main compositions are clearly presented. However, there is not a single special musicaltheoretical study reflecting the peculiarities of texture in the chorales of the French composer.

60-64

Authors: Pozdnyakova Tatyana Ivanovna, Professor, Department Chair of Music Education, Irkutsk State University (Irkutsk, Russian Federation). E-mail: muzobr01@mail.ru Loseva Svetlana Nikolaevna, PhD in Psychology, Associate Professor of Department of Music Education, Irkutsk State University (Irkutsk, Russian Federation). E-mail: Loseva@bk.ru

The article describes the approach to the perception of musical texts using the synesthesia or intersensual connections in the psyche. A scientific system of several basic concepts is built on the basis of a study by N. Kolyadenko. The article considers the practical analysis of the synesthetic perception of a musical text on the example of work of Irkutsk composer A. Teplyakov. It describes the basic biographical data of the composer. The main direction of the composer’s work is archaic music and avant-garde. Among the writings of the author: symphonic music, vocal and choral, chamber, works for orchestra of Russian folk instruments, music for performances and film music. Choral music occupies a special place in work of the composer. The article establishes that, along with external program images, in Teplyakov’s works one can find distinct intersensual connections, which make it possible to clarify their semantic nuances. Choral works by A. Teplyakov: “The Five Ballads” on the poems by R. Mukha for children’s (female) choir with piano; a cantata for an unaccompanied choir to the verses by V. Skif “Russian Songs,” a cantata for the women’s (children’s) choir, an oboe and a percussion “Five Russian Folk Songs,” “Seven poems of Russian and Soviet poets” for the male chorus without accompaniment, a collection of works for the Russian folk choir, a collection of choral works, etc. The compostor’s synesthetic thinking is presented in “The Five Ballads” on Rinata Mucha’s poems, in the choral works “Silver Road” and “The Seagull.”

72-79

Authors: Samitov Dmitriy Gennadyevich, PhD in Sociology, Associate Professor of Department Producing and Management of Performing Arts, Production Faculty, Russian University of Theatre Arts – GITIS (Moscow, Russian Federation). E-mail: goodluck@bk.ru

The article analyzes the reasons for the appearance of the first drama theatres in the United States as opposed to commercial Broadway, where producers sacrificed everything for the sake of financial success. The Provincetown Theater (1915) devoted itself to staging plays by E. O’Neill, attracted new audience and formed an actors’ ensemble. The history of the Civic Repertory Theatre (1926) under the direction of Eva Le Gallienne, the Guild Theater (founded in 1918), and the Group Theater approved that an art theatre cannot exist without constant financial support from the state or individuals. Their activities of these companies as well as others prove that a theater can achieve real artistic success not only in virtue of the personal talents of individual actors, the so called ‘stars’, but as a result of the organization of the whole team subordinated to the same creative tasks. The Barter Theatre (1933) was able to withstand commercialism through a policy of public recognition and additional subsidies. Professors of Princeton University W. Baumol and W. Bowen, relying on the activities’ data of the Barter Theater, consider it highly indicative and representative and include this theatre to the list of the thirteen non-commercial regional theaters to be studied. Its positive organizational and creative experience helped to create the first regional theatres. The emergence of theatres “Arena Stage” in Washington, “Old Globe” in San Diego and others has become a new stage in the theatrical business in the United States. The creation of new theatrical groups in the period of market economy is relevant for the modern Russia with its need for different forms of support for non-profit theatres.

92-99

Authors: Morozov Nikolay Mikhaylovich, PhD in History, Sr Researcher, Federal Research Center of Coal and Coal Chemistry of the Siberian Office of the Russian Academy of Sciences (Kemerovo, Russian Federation). E-mail: oven.777@mail.ru

The attention to a subject is caused by the need for clarification of content of a method of generations, a little studied, but perspective in respect of knowledge of the nature, rhythms and cycles of history, mechanisms of continuity and a specification of historical experience of people living during in that period so far. The History of Generation of the Winners (born in 1900-1923) who had to restore the economy of Russia destroyed during the Civil War, to hold the collectivization in the Soviet village, to create the industry in days of the first five-years periods, to participate and fall a victim of mass repressions in the 1930s, to be at war on fronts of the Great Patriotic War and again to restore the destroyed economy, and to provide welfare growth of the Soviet people in the 1950-1970s. In case of the history of Russia in general, and Taiga, in particular, historical conditions of formation of valuable reference points of the Generation of Winners are defined. Thanks to the gained historical experience in the characteristic of its representatives occurring in public consciousness of that time, there was such distinctive feature as consistency, ability to resist, be firm in the opinion, not to come under some harmful effects, influence. Developing and approving the collectivist and personal values formed in the course of Winners’ work owing to historical circumstances were capable only blindly be guided by ideological heritage of Wanderers, including the delusions put in it and utopianism.

106-115

Authors: Markov Viktor Ivanovich, Dr of Culturology, Professor, Professor of Department of Culturology, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: vikt-markov@yandex.ru Egle Lyudmila Yuryevna, PhD in 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

The culturological vision of the world of culture is based on two axioms: the recognition and accentuation of cultural diversity and the tendency toward a holistic, systemic consideration of cultural phenomena. The article provides an analysis of the existing approaches to musical culture from the point of view of its consistency. But often, the general principle is not taken into account that each methodological approach and technique has its limitations, beyond which they become non-heuristic and even unacceptable in general. It can be argued that, generally, when applied to a culture, its level structure should be taken into account. And only some of these levels, it makes sense to consider in a systemic manner, namely, national and ethnic cultures. In relation to regional musical culture, one can only talk about individual manifestations of systemic nature. But in general, it does not and cannot achieve a sufficient level of integrity. Due to its maximum openness, a regional musical culture is not a system but rather a mosaic of heterogeneous in origin, different at different times, different in sociocultural and ethnic foundations and manifestations of musical phenomena and forms, which are interconnected only partially but mostly intertwined into the overall picture of Russia and, moreover, world music culture. Accordingly, the description of the musical culture of the region cannot be strictly logical presentation of subordinate and coordination links, the allocation of system-forming moments, etc. It will be, as close to reality as possible, if it does not explicitly explain everything but naturally the most vivid and specific forms and manifestations of the musical culture of a given region in conjunction with the general conditions of their origin and development. Further, the empirical material demonstrates the stated thesis about some systemic effects that still occur in the region’s musical culture. One of the most vivid manifestations of this effect in Kuzbass is the various transformations of the German music and singing culture, which turned out after the forced relocation during the war years in a foreign cultural environment.

126-130

Authors: Klimenko Natalya Sergeevna, Sr Instructor, Department of Latin and Foreign Languages, Prof. V.F. Voino-Yasenetsky Krasnoyarsk State Medical University (Krasnoyarsk, Russian Federation). E-mail: Favour85@mail.ru Karelina Natalya Andreevna, Sr Instructor, Department of Latin and Foreign Languages, Prof. V.F. Voino-Yasenetsky Krasnoyarsk State Medical University (Krasnoyarsk, Russian Federation). E-mail: Nataly_karelina@mail.ru

The article analyses the cultural and social content of the “motherhood concept.” The relevance is primarily due to depreciation of maternity as a universal human value as well as most others general social and cultural meanings: traditions, love, marriage, family, etc. The authors set the goal to pull away from the standard perception of motherhood as unchanging and inevitable feminine social and cultural practices. Reproductive culture has never been a sphere of exclusively private life and has always experienced the influence of society, its status, evolutions and transformations. Thus, being a product of social culture, the motherhood cannot be a homogeneous and fixed category. The authors proposed a typology of the modern motherhood (from the most traditional to the most modernized interpretations) that suggests women’s different attitude to their own maternal experience, as well as the actualization of “reproductive choice problem.” In the situation of “reproductive choice,” the universal scheme of feminine reproductive culture -- “daughter-mother-grandmother” -- ceases to be the only possible and inevitable scenario of a woman’s life. According to the authors’ position, the prospects for studying the motherhood as a social and cultural concept are mostly determined by the acceptance or rejection of “reproductive choice idea” both at the level of feminine self-consciousness and at the level of social consciousness of a particular society. The refusal to understand motherhood as a natural manifestation of biological instinct in favor of studying the social and cultural components of currently relevant feminine reproductive practices is much more responsive to the social needs and to the demands of modern humanitarian science.

139-146

Authors: Sinelnikova Olga Vladimirovna, Dr of Art History, Associate Professor, Professor of the Department of Musicology and Applied Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: sinel1@yandex.ru Glushkova Anna Ivanovna, Instructor, Kuznetsk Industrial College (Novokuznetsk, Russian Federation). E-mail: Annxen2007@rambler.ru

The article is devoted to the study of intertextuality in the artistic culture of the postmodern era. Intertextuality is considered as a mechanism of borrowing and returning to the symbols and texts of past cultural eras, actualizing and simultaneously updating them today. The aesthetic practice of the postmodern era is very diverse, mosaic and pluralistic, which is confirmed by its difference from previous cultural periods. The integrity and unity of the picture of the world of past historical eras is replaced in the era of postmodern by polyphonic thinking and perception of the world: there is a capture of any practice, categories and elements of any style, direction, any artistic culture of different historical periods. For the modern author, everything is valuable: culture is seen for him on a planetary scale. This article presented and analyzed examples of intertextual prose, the so-called “non-linear” novel, polysensual layers which affect its composition as it becomes variable, fragmented, mosaic games. The authors of the article focus on the novels of Milorad Pavic “Khazar dictionary” and “Seven deadly sins” and Umberto Eco “The name of the rose.” The article draws analogies with the musical composition of the 20-21st centuries, where there are also a variety of intertextual, historical connections with the musical culture of bygone eras and styles. The contemporary author cites synthesizes, elects and combines artistic heritage in search of new content. In this regard, innovation and individual style of the author increasingly extends to the field of form.

152-158

Authors: Gavrilova Marianna Fridrikhovna, Applicant, Department of History, Philosophy and Culturology, Kazan State Institute of Culture, Director of the Museum of A.M. Gorky and F.I. Chaliapin, Branch of the National Museum of the Republic of Tatarstan (Kazan, Russian Federation). E-mail: marian_74 @ mail.ru

The article analyzes the experience of one of the oldest literary museums of the Republic of Tatarstan, Kazan Museum of A.M. Gorky (renamed the Museum of A.M. Gorky and F.I. Chaliapin in 2018) to preserve and promote the literary heritage of the region associated with the names of the Tatar writers. The article reflects the most important stages of the formation of the museum, previously unpublished facts from the history of the museum, positioned by one of the leading providers in the process of cultural construction of the region. The author emphasizes the unique arrangement of the museum. Almost from the moment of its discovery, the main strategic directions were defined. In addition to the theme reflecting life and work, the biography is associated with Kazan, great Russian writer Maxim Gorky, a theme appears revealing the history of the relationship between Gorky and the Tatar writers (later a theme representing the creative legacy of great artist F.I. Chaliapin). The scientific research of the staff allowed the theme “A. Gorky and the Tatar Literature” to be stated not only in the exposition space of the museum but also on the basis of the museums created in Tatarstan dedicated to the classic Tatar writers. The author of the article attempted to restore facts, events, chronology, stages of the creation of literary museums in the region. The author emphasizes the exceptional role of the Museum of A.M. Gorky and F.I. Chaliapin in the process of perpetuating the names of outstanding writers – national authors – who were and are of great importance for the cultural policy of Tatarstan. When studying the sources stored in the archives of the republic, including the museum’s archives, the author of the article drew attention, first, to previously unpublished documents.

165-172

Authors: Rodionova Darya Dmitrievna, PhD in Philosophy, Associate Professor, Department Chair of Museum Sciences, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: kafedramd@ yandex.ru Pobozhakova Anastasiya Alekseevna, Graduate Student of the 1st Course, Master Training in the “Museology and Protection of Cultural and Natural Heritage Objects”, Department of Museum Sciences, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: pobojakova_anastasia@ mail.ru

The problem of adaptation in a society of citizens with disabilities in the modern world is of particular relevance and becomes an important task of various social institutions and the state as a whole. A full life in society for people with disabilities is impossible without various types of assistance and services that correspond not only to their social but also cultural needs. The article analyzes the work of the museums of merovo region with such a category as people with disabilities. The authors describe the main programs and activities of museums aimed at working with a special category of museum visitors. Many museum employees have no experience with this audience, unfamiliar with the rules of etiquette, communicating the people with disabilities. Focusing on the diversity of museum projects, the authors conclude that these projects can form the basis of one of the directions of development of the Siberian cluster of arts. These projects are particularly relevant because it is necessary to increase the level of accessibility of priority facilities and services in the life of people with limited health opportunities, to overcome social disunity in society and to create a positive attitude towards them. People with disabilities have the right to be included in all aspects of society, independent life, self-determination, freedom of choice, like all other people. Independent life implies the removal of dependence on the manifestations of the disease, weakening the restrictions they engender, the establishment and development of the autonomy of a disabled person, formation of skills and abilities necessary in everyday life, which should enable integration and then active participation in social practice of full social life.This new activity development of the modern museum today, in our opinion, is one of the priorities.

180-194

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

The article considers the problem of media and information literacy of future journalists, teachers and professors, social workers, psychologists, youth specialists and librarians. Activity of UNESCO and IFLA in the sphere of training for life in information society is characterized. Concepts and terms in the sphere of information and media education are analyzed. The role of the UNESCO training program for teachers on media-information literacy is emphasized. Experience of implementation of the international UNESCO project on the basis of the Atabask University (Canada) “Media and information literacy and cross-cultural dialogue” is described. The comparative analysis of subject structure, which form media and information literacy for future journalists, teachers and librarians, is carried out. Experience of training in Taganrog Institute named after A.P. Chekhov acts as subject of the analysis (branch of “Rostov State Economic University”), Moscow Pedagogical State University and Kemerovo State Institute of Culture. An activity of Kemerovo State Institute of Culture on media and information training of librarians as translators of the UNESCO and IFLA ideas on formation of media and information literacy, beginning with the elementary comprehensive school is considered. A list of disciplines lectured in Kemerovo State Institute of Culture directed to formation of media and information literacy of librarians is characterized. The course “Bases of Person’s Information Culture” is analyzed from the point of including a media component. The paper concludes that there is a need on cross-disciplinary researches in media and information literacy on materials of library science, informatics, journalism, philology and media education.

207-216

Authors: Moroz Elena Vladimirovna, Dr of Historical Sciences, Professor of Department of Theory and History of State and Law, Professor of Department of Civil Law and Procedure, Kemerovo Institute (Branch) of the Plekhanov Russian University of Economics (Kemerovo, Russian Federation). E-mail: morozkem@yandex.ru Bolotnikova Anna Alekseevna, Instuctor, Department of Philosophy, Law and Socio-political Disciplines, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: anutka-bol@mail.ru

At the present stage, a teaching process inevitably replenished with variety of innovative methods. Progressive introduction of such methods in educational process is an important aspect of teaching. Symbiotic processes between classical and innovative methods of teaching in higher educational institutions observed. The relevance use of innovative methods consists that modern engineering processes get into all spheres of public life, not excluding area of education. The commitment only to “old traditions” promotes short reception by students of knowledge, therefore of their non-competitiveness on the world scene. The purposes of introducing the similar methods are improvement of higher education quality, formation of students’ aspiration to fullest and effective studying the course. Various forms of manifestations of innovative methods are considered on the example of a subject history of political and legal doctrines in this article, such as method of “cases,” method of “brainstorming,” heuristic method, method of problem statement and others. The synopsis of its contents, given to each method, described in the article, and purposes for each method within studying the course of history of political and legal doctrines are revealed. Materials of scientific works of N.V. Kukina, V.S. Lazarev and other researchers of innovative teaching methods are used in this work. The result of this work is to identify the main innovative methods, which can be applicable in practice within the Russian system of higher education. Positive sides of application of any given innovative methods disclosed in the conclusion of article; importance of their complementarity with classical methods is also emphasized.

224-230

Authors: Sushchenko Lyudmila Aleksandrovna, Sr Instructor, Department of Socio-cultural Activities, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: alexei.kemerovo@gmail.com

Features of social status adversely affect the all-round development of personality of a child in an orphanage, hampering his development in various fields of activity. In this regard, there is a practical need for organizing work on the socio-cultural adaptation of children from an orphanage, facilitating the realization of their abilities and opportunities, and ensuring positive changes in their lifestyle. However, in order to maximize the potential of each child, it is necessary to consider socio-cultural adaptation as a complex and long-term process. The undoubted factor in the successful integration of pupils into society is the professionalism of teachers of educational institutions, readiness for individual work with pupils, humanism and ability for empathy, altruism and above all love for children. The problem of socio-cultural adaptation of orphans found their practical solution in adaptive educational activities. These are purposeful practical conditions that realize the desires, readiness and ability of the child to get comfortable in a particular situation or activity. As the main method of research on the adaptability of pupils to the socio-cultural environment, we have chosen the method of included observation. The main advantage of this method is the direct contact of the researcher with the object of study, the ability to ask clarifying questions, conduct a survey, talk. An important condition for the effectiveness of the educational work of an orphanage lies in the correctional and developmental orientation of the educational process, the creation of conditions for the success of each child, and the increase in intrinsic motivation. This approach to the organization of the process of education is possible with the implementation of a set of measures to accompany the child in the institution: - functioning of a diverse range of circles and sections; - creation of specialized programs for working with children at risk.

237-246

Authors: Ershov Denis Ivanovich, PhD Applicant, Lipetsk State Pedagogical P. Semenov-Tyan-Shansky University (Lipetsk, Russian Federation). E-mail: pismo-69@rambler.ru

The relevance of the study is due to the challenges facing the modern universities in general and language education in particular. The purpose of the research of this article is to study a foreign experience in training and retraining the specialists in the field of a foreign language to determine the role of the process of advanced training for teachers and instructors of a foreign language in the modern world, theoretical substantiation and development of methods for improving the communicative and methodological competence of a foreign language teacher of specialized classes as a set of goals, principles, content and technologies of training in the system of advanced training. Methods: in the course of the study, we used the following methods; cognitive-generalizing: the study of domestic and foreign philosophical, psychological, pedagogical and methodical literature on the problem of research; theoretical: analysis and synthesis of scientific literature; comparative: modeling method, design in the development of programs; empirical: questionnaire, diagnostic (questioning and interviewing, conversation); the study of educational software and guidance materials; included an observation: generalization of pedagogical experience. Results: the article examines the foreign experience of advanced training the university teachers. This research carried out studying the models of several countries. In the process of advanced training, the principles of Pham Van Zyong were established based on personal, interdisciplinary and culturological approaches, successfully proven in the process of experiential training based on the MPU Master’s Degree, both, in training the students and teachers, and in the process of retraining and advanced training already working and qualified foreign language teachers. Conclusions: Summing up the comparative analysis of various advanced training positions across countries, it should be noted that the comparative perspective allows identifying the similar and excellent features of teachers’ training. For example, the various degrees of autonomy of individual teachers are one aspect of the differentiation of national systems.