Study in Art #2



General Theoretical problems of Art Study

Chaban V.O. - Scientific directions of Belarusian bayan school

Aliokhina E. V. - The concept of genre in Sh Lekkok’s operetta "Daughter of Madame Angot"

Antipova N. A. - Yanychary’s music and Lully’s theatre

Sorochan M.A. - The method of analysis of traditional eight vocal chants ( on the example of monastic chants of Glinskaya Pustyn’)

Music Performance

Markova E. N., Androsova D.V. - Directing aspect of  vocal performance of an opera singer’s

Davydov N.A. - Performing Rhythmodynamics of bayan intoning

Iergiyev I.D. - Artistic consciousness of the performer-actor (to the issue statement)

Chayka E. V. - National figures in the artistic positions of guitar instrumentalism

Psychology and pedagogy of art

Sova M.O. - The innovative technologies of the educational process in the universities of culturу and arts

Naumenko S. I - Musical art as a social phenomenon

Dienizhna S.O. - Information culture of the personality and the using of musical computer technologies in the course of it formation

Shcherbina I.V. - Psychotrainig in vocal art

Novytska O. V. - Features of the adolescent students’ understanding of musical art works

Semukhina I. S. - Innovative culture of an art teacher at higher educational establishments: structural constituents and mechanisms


V.О. Chaban

Scientific directions of Belarusian bayan school

This article deals with the scientific potential of the Byelorussian bayan school. There are stages of its methodological renewal and the enriching of the empirical knowledge by the scientific one.

Key words: Byelorussia, bayan school, academic institutions.

Timeliness. Bayan school in Belorussia, being surrounded by developed foreign bayan and accordion schools (Russian, Ukrainian, West-European), constantly deals with the examples of high-performance skills, deep scientific thought, masters its own new standards of artistry. Outstanding achievements of Belorussian bayan-players, a quick widening of bayan repertoire, a complication of its performance styles – all these leads to the importance of school experience scientific analysis, and stimulates creativity techniques. Reflecting the needs of time, putting its scientific base, the school raised a number of timeline, productive methodological issues on the development of performing thinking. Efforts are directed to the development of stylistic, interpretational problems as well as to improving the performing analysis method. The initial problem-based learning methods are being developed now specific to bayan art as well as to teaching music to preschool children.

While thinking of bayan art at the department of Belorussian State Conservatory it was essential to notify it as self-evolving instrumental style system [4]. It was based on school process, on the development of young musicians’ performing thinking, on the activation of their audio-intonation ideas.

The following problems were solved:

1) the content of bayan intonation art style and it’s organological and technological structures were studied;

2) the socio-historical meaning of the musical instrument  creation was defined, its material bases development principle regularities, the  performing style, the forms and the content of the repertoire were found out;

3) the material and ideal intonation nature of music and its particular means of expression in connection with instrumental capabilities of bayan were shown up;

4) the established forms of performing, mastered within a few historical steps, genres, processes of intonation renewal in music for bayan - from folk unwritten traditions to the universal written ones, combining academic creativity and stylized folklore – all these was defined.

E. V. Alіoкhina

The concept of genre in Sh Lekkok’s operetta "Daughter of Madame Angot"

The article is devoted to the revealing of genetic regularities in the development of the French operetta in the context of reflexion of stylistic features Sh. Lekoka's creative work genre.

Key words: operetta, genre, Sh. Lekok.

Timeliness. With the  emergence of the conceptual category "light music" in the XX century, there are disputes on  the necessity of existence of this type of  musical culture. The operetta was one of the most popular genres. The world of images of the operetta is wide and varied: lyrics and satire, absurd and serious, frivolous and affecting.  The combination of word and music, singing and dance, so being successfully found in a  folk theater in the XIX century, it was  again  opened by Offenbach, has become the essential sign of operetta art creating constantly acting  impulse for development and transformation of the genre.

The actuality of the work is defined by vivifying qualities of  the operetta’ genre which, having appeared once, continues to develop, being transformed to every epoch  in a  new quality, absorbing elements of other types and genres of musical art, remaining, for this reason, viable and demanded in difficult conditions of  modern art.

The object of research is continual qualities of genre of the musical operetta.

The subject of this article is the specific of Сh. Leсocq’s compositions in this genre.

The purpose is understanding of a sinkretizm and continual specifics of operetta’s genre in etymological aspect and in the process of evolution that put  the following tasks:

1) generalization of data on development of operetta in the Europe and world culture as a whole and in France in particular;

2) the analysis of  Lecocq’s works and his operetta “Madam Ango’s Daughter” from cultural idea ofsynthetic types of art in  genre exists in modern musical culture.

In a modern art criticism foreshortening the operetta, as "one of types of musical theater, musical and scenic representation in which musical and vocal and musical and choreographic numbers  mixter of spoken scenes, and a basis of musical dramatic art is made by forms of mass and household and variety music (mainly the couplet song and dance)" [3, page 51], got worthy lighting. The operetta was born  in the Parisian boulevards where  entertaining art  prospered and there lived traditions of  fair theater. As an independent genre it appeared  in France in the middle of the XIX century during  the Second empire and had character of topical satire.

"Madam Ango’s Daughter " is the best of Ch. Lecocq 's operettas, that became a historical event  in the life of Paris.

Charles  Lecocq's work is an important milestone on a way of formation of a genre — a new genre version of the French lyrico-dramatic operetta, a socio-political subject orientation, with a support on inexhaustible intonational and melodic source of a folk music in  city "chanson".

N. A. Antipova

Yanychary’s music and Lully’s theatre

The article is devoted to the phenomenon of «turkish music» its history and its penetration into space of the European cultural tradition of XVII–XVIII centuries. The author writes about musical specificity and symbolic, which is typical to the Turkish military orchestra Mehteran, and also analyses opera Armidaand music of “Turkey ceremonyby Lully, created for the Molière’s comedy Le Bourgeois Gentilhomme.

Key words: turkish music, symbolics, plot, opera, allusion.

Timeliness. For many centuries, the East was a mystery to Europeans and was associated with some amazing "wonderful country." Palaces, peris, violent sultans and viziers, witches and wizards, spirits and ghosts, genies and ifrits ... All the variety of characters appears on the background of fascinating eastern nature, warm sea, hot sun, heady aromas of herbs and flowers. Amazing tales and legends, full of incredible events and mysteries, music, incredible with its beauty and miraculous properties, magnetically attracted the attention of writers, poets, artists and musicians. "Longing for fabulous East" [1, p. 397] has a number of works created by composers of various national schools and styles. A special place in the cultural history of music in the XVII-XVIII centuries takes Janizary Music (German for – Janitscharenmusik), characterized with a certain set of Turkish military musical instruments. Janizary Music was taken as noisy, rattling, wild and barbaric.

The purpose of this article is to trace the penetration of Turkish military music to the European culture of XVII-XVIII centuries (on works by J.-B. Lully created in this historic time).The origin of Janizary Music is directly linked to the era of the Ottoman Empire and the traditions of "Mehteran" military band. As the current head of Military and Historic orchestra, Mustafa Uğur Akten, says that "Mehter" is one of the oldest orchestras in the world. In "Divani Lyugati" work by Mahmud  Kashgarsky, of the XI century, there is a description of a military march, which was performed in the presence of the ruler [2, p. 3].

The main attributes were considered – a Mehteran drum, as a symbol of the sun, a boncuk and a horse-flag, as symbols of power and independence of Turkey and the Islamic world as a whole. Symbols have an important place in its external attributes. Three flags are taken during ceremonial orchestra parades: red – a symbol of the state, white – a symbol of independence and green – the symbol of Islam. Number "nine", as well as number "three", is honored in the East. Nine is the number of strength, destruction and war; it symbolized iron – metal from which the weapons were made for war: "Since ancient times, the Turkish khans considered nine as a lucky number, so that the ceremonial orchestra parades are of nine inline" [2, p. 12].

M. A. Sorochan

The method of analysis of traditional eight vocal chants

( on the example of monastic chants of Glinskaya Pustyn’)

The article is about the complex methodology of the monodical choral songs analisis (XVIII–XIX ages). For example, the serioso antiphon by the melody of the monastery Glinskaya pustyn.

Key words: method of analysis, raspevy, monastyr Glinskaya deserts.

Timeliness. Singing Culture in Ukraine is an integral part of the national heritage of our country. The depth of the ancient church music today has become more and more attractive for both modern musicologists and performers. The researchers found out that there was a strictly organized structure of canonical systems to regulate the poetic and musical forms, the principles of coherence of melody and the text, graphic structure and organization of ancient mode chants. Each of these characteristics is now the subject of many researches that have various options of analytical approach to the ancient Russian traditional chants. Thus, a significant contribution to eliciting the structural nature of ancient Octoechoe Chants in terms of its pastiche structure and mode analysis is made by such modern scholars as A. Kruchinina [7], G. Alekseeva [1], N. Zakharyina [4], N. Seregina, N. Ramazanov [3], B. Shindin [14], O. Shevchuk [13] and others. They proposed different approaches to the analysis of ancient chants. Thus, the existence of a number of "schools" and researches, based on certain principles of methodological and musicological analysis of the canonical church chants has become evident nowadays. Accordingly, it will be essential to join all different approaches to develop a common methodology for the musicological analysis.

The purpose of this article is to: a) overview the analytical approaches to study the ancient church chants and methods of their musical analysis, and b) to show a complex methodology for using the methods on the example of the Song of Degrees (that is a kind of Kiev chant) that has been a subject for research for the first time.

Let’s determine the structure of the ancient chants according to their mode. A musical and theoretical base of the Orthodox chants is octoechoe that is a system of eight voices. It appeared in the Byzantine church practice and was later taken over by ancient Russian church after the adoption of Christianity in Russia.


E. N. Markova, D.V. Androsova

Directing aspect of vocal performance of an opera singer’s

The article is dedicated to the discovery of the complex-artistic factor of the performance of the opera actor, which oroginates from the type of vocalization, that is named as the producing aspect of the opera singing.

Key words: vocal, opera artist.

Timeliness. Multifunctional meaning of musical profession is defined ontologically and historically with the performance that is mastering and presenting the material in the integrity of author's composition, as well as determining "supraphysical" traits of human beings by means of sound. The highest purpose of music has internal sense of hierarchical arrangement of music performing, within which the aesthetic, Noetic, combinational, suggestive, ecstatic and other functions logically bring to a directing component (from Lat. Rego – «manage» [8, p. 576]) as a factor of directing complex interactive components.

The terms "director, direction" are not specified in the music reference books, the six-volume Encyclopedia of Music [6,] Encyclopedic Dictionary of Music [7], that is determined with their meaning – staging plays, films variety and circus performances, i.e. the spectacular shows. Director's work is treated as an activity based on the "creative vision" ("interpretation of art pieces"), combining "work on the production involving all participants – actors, artists, composers and operators" [9, p. 1109]. In all above mentioned types of creative activities the  first place should be given to video performing, which is essential in opera as well, that was developing under the aegis of music and musicianship from the era of Viennese classicism and especially in the romantic XIX century."Antiopera" – the cantata and oratorio ("scenic cantata - a scenic oratorio") is a metagenre music direction of the twentieth century [5, p. 122-137] that emancipated in the neo-Baroque art appetency of opera performances during past century productions, in which video sequence is applied to symphony-orchestra, arioso-ensemble scenes, as well as stage costumes and staging updates, opposed to a composer's stage directions, has become a stereotype directorial approach to the opera performance.


Performing Rhythmodynamics of bayan intoning

The article concerns the characterising rhythmical dynamic renolition pronunciation; the problem of technology of logically contour pronunciation of elements of linear structure-form of musical composition in button accordion's execution; includes detailed description of the complex of 12 methods based on conceptually artistic synthesis ear-motoric realising performing actions directed at audience's perception.

Key words: micro-macro intonation; conjugation; stability of the linear rhythmodynamic’s dash; rhythmodynamic’s expressive means.

Timeliness.The authors of numerous scientific and methodical works, proclaiming the thesis about performing equipment as means of art expression, often consider it separately from the semantic intonational context  of playing  piece of music, out of a context of expansion of dramatic art. Such separation is expedient in the course of the analysis of elements of mastery when it is methodically reasonable. So, according to my thesis "Theoretical bases of formation of mastery of the bayan player" is the the concept of art mastery are  in two aspects: manual and motive, "sports" which includes acoustic-motor skills of orientation on the keyboard, the methods  of touching contacts with the keyboard, psychomotor feelings as peculiar "a technical dominant", a series of receptions of articulation receptions.

Article is devoted to a problem of technology of logically consecutive abresny pronunciation of elements of linear structure form of a piece of music performed by on a bayan; includes the detailed description of a complex from 12 methods which are based on conceptual and art synthesis of acoustic  realizing performing actions, directed on audience.

The article concerns the technique of expression, abresny performing . This means the mastering of playing on the basis of handing exercises of fingers as means of mastering exercises on the basis of feeling of weight of hands. There are many positions that improve the playing  n bayan.

Exactly the last positions — pronouncing voices, is initial and very actual for the further  development in this section.  The detailed development of formulas of a microstructural intoning was an essential step to complete functioning of performing equipment in above mentioned work (predict, ict, the postict [2]) in which a variety of linear characterizing melodious structures. Also it is shown a technique of their performing intoning on a bayan. In the conclusion we may see  that micro -macro  intoning is a key to control the  emotions at emotionally talented  performers, and a sensuality development tool at performers of a rational  state of mind is the result  of emotional perception of logic of development of the melodic line.


Artistic consciousness of the performer-actor (to the issue statement)

The article explores the category of artistry and problems of its development by the performer's in the connection with the formation of the artistic performance consciousness.

Key words: artist, artistry, artistic consciousness, artistic universe, the experience, signification, consciousness, universalism, artistic technique, artistic visualization, artistic reception, emotional thinking, energetism.

The distinctive feature of modern musicology, including performing musicology is the changes in subject and object essence of research. The inanimate "concreteness" – text comes animate substance – the person.

In the last decades in the Ukrainian musicology in the center of scientific researches even more often there is a figure of the performer – the artist, the creator, the actor. The problem of virtuosity isn't new to scientific researches: attempts of the indirect analysis in the direction of specifics studying "instruments virtuosity" were carried out by A. Chernoivanenko, T. Verkina, T. Siryatinskaya, S. Savruk, E. Markova, other. However the special works devoted to the identity of the musician-actor as a phenomenon of consciousness in philosophical and psychological sense, don't exist.

Nowdays virtuosity is transformed actually to a universal way of existence of the person, extends on spheres of economy, policy, science, religion, education, art and mass culture, and visualization of the dramatized performances becomes the symbol. Rather large audience constantly is an object of representations of a flashmob, show both spectacular and entertaining, and political, and, certainly, information character. Therefore existing interpretation of virtuosity only as high level of skill or as bright intensive expressiveness of sounding (including — the instrumentsl aren't adequately full and comprehensive.

In the encyclopedic dictionary "Performing Musicology" of N. Davidov is coverв the  achievements of modern research  in the main spheres of the Ukrainian performing musicology for the last twenty years.The problem of performing virtuosity rather small fragment is devoted: "Virtuosity of musical performing in the section "Psychology". It is specified two aspects of communicative self-expression and mental mutual communication of the performing musician with audience: "deep content of playing music" and "theatricality as showing of the individual personality" [2, p. 45].

E. V. Chayka

National figures in the artistic positions of guitar instrumentalism

The article is devoted to the national idea of implementation of in artistic position of guitar instrumentalism, exposure of conformities to the regularly of semantic property of national specifity, connected with the creative process of performing interpretation.

Kеy words: style, national style, national specifity, national tradition.

The actuality of the research is defined by the importance for musical culture of the present a tendency of growth  a creative role of the performer in the  life of a piece of music. The perception of a piece of music from the performer, instead of from hypothetically unique perfection of composition "read" directly from record of the musical text, formed a turning point in the  development of a modern performing musicology.

The object of the research is the musical performing art, the subject is a national lines of performing activity in the field of guitar music on the example of Y. Mertz’ composition.

The purpose defines the characteristic of special lines expressing the national quality in the performing act, identification of dialectic communication between the musical text and performing versions, definition of level and ways of interaction of national lines of composer and performing mastering.

The concrete tasks: 1) synthesis of data of rather national nature of musical expression; 2) picking up the pecularities of showing  national in a musical material of the Elegy by Y. Mertz; 3) identification of rhythmical showing  of national typicalness in performing versions of studied composition.

The scientific actuality  of work is defined by novelty of idea of searching for a national creative position that rises the novelty of a foreshortening of analytical approach in consideration of a musicological perspective.

Multinational nature of modern musical art stimulates persistent searches of optimal chacteristics of that is national in works of art in general and in music, in particular in musicology. The national culture represents the process, the developing phenomenon. And the special sense for understanding of specifics and a being of the last has its genesis — that cultural and social status which concretly historical defined "the starting mechanism" of this process.

M. O. Sova

The Innovative Technologies of the Educational Process

in the Universities of Culturу and Arts

The article deals with the innovative technologies of the educational process in the universities of culture and arts. Forms and methods of the pedagogical process control and the development of creative independence of students in problem-searching activity.

Key words: innovative technologies, problem-searching technology, artistic picture of world.

Timeliness. On the way of modernization of educational process in higher educational institutions of culture and arts before domestic science there were the tasks which decision is reflected in activization of creative potential of the student's youth, capable to carry out essential changes in polycultural space. The necessity of development of creative abilities of future experts, formations the valuable relation to surrounding reality makes up the actuality of a problem of using  the latest means of study. That’s why a special attention is given to make a new innovation technologies.

So it is necessary to research the educational process from the positions of cross-cultural purpose to approach the prolonging and expanding the limits of studying a subject of knowledge, allows to find interconnection in the system “person – culture – civilization – the Universe" which provides realization personally oriented and cultural education paradigms in  the educational system .

However, the existing models of culturological preparation of future experts are directed considerably to realization of the gnoseological concept of development of cultural values. Under such circumstances the understanding of spiritual acquisitions turns cultural dialogue into means of a reconstruction of highly artistic samples, classical traditions and canons.

Thereby, practice of culturological preparation of future expert in the Crimean University of Culture, Arts and Tourism in has shown expediency of realization of сross-cultural approach to improvement the educational process thanks to introducing  of innovative technologies, creating  favorable conditions for complete development of the personality, her activization, creative potential. Being a peculiar industry of knowledge, intellectual treasury of the Ukrainian society, the Crimean University of Culture, Arts and Tourism plays an important role in inner world enriching of youth in Ukraine attracting them to cultural activity.

S. I. Naumenko

Musical art as a social phenomenon

From the psychological and medical points of view the article examines the influence of music on the individual, the nature of musical talent; interaction of the cerebral hemispheres in the structure of endowments. There is a definition of musical talent.

Key words: musical talent, synthesis, space, time, emotion.

Timeliness. Since ancient times the art has taken   a significant part as in life of societies, and the certain person. When the person was more open for the nature and considered itself by harmonious part of the Universe, instead of his owner and the winner as it occurs presently, art was integral  part in life. The person created art which, in fact, upbrining itself.

The purpose of article is the analysis of existing views of a problem of  musical art  influence on the state of mind  of gifted person. The special place among arts was taken by music. We can agree with the opinion Gustav Hess de Calve сoncerning an origin and a music role in human life which was expressed by them in the article "About Music, Its Aims and Act". In  the article  the author writes that all arts as time or expression, and space, come from special feelings on which each of them does mutual action.

But the most convenient for perception of impressions is the hearing. That’s why various impressions which are produced through it on internal feelings, happen stronger, than that turn out thanks to other to receptors.  Having agreed with Hess de Calva’s opinion about the nature and music origin, we underline that wild people who kept the culture in primary view till our times, music still takes  a leading  position in society life. So we come possible to make a conclusion that the origin of music belongs to one era with the birth of the person.

Really music played very important role in the soсiety life. In was listened for pleasure and inspiration, it was used for upbrining and treatment. It was compared with civil life, thinking that life is an orchestra in which every person has his own role as an instrument in an orchestra. Maybe Piphagor, as his students rememberd, chose some melodies and rythms, which had necessary influence for the formation of youth’s spiritually (the correction function for inner person’s world)

At the same time, Platon considered that power and force of the state depends on which music sounds in it where the most important role was provided to systems and powerful influence of a rhythm. Considering modern aspects of development of the society on a global scale, with this statement there is an opportunity complete agreement. So, when the state allows to use without any restrictions musical "orgy" (mechanical rhythms, lack of a melodious material as natural, using of physiologically exciting rhythms and timbres of electric instruments and so on), youth on whose directs this powerful influence, reacts inspirituality, aggression, cruelty, deviant behavior and other illegal actions.

S. O. Dienizhna

Information culture of the personality and the using of musical computer technologies in the course of it formation

Scientific approaches to opening of essence and content of person's information culture are analysed in the article, the features of its forming by facilities of musical computer technologies.

Key words: information culture, musical computer technologies.

Timeliness. The transformation to information society is characterized by the increasing of current information, improving  of the computer equipment, impetious development and introducing the information communication technologies to all spheres of human’s life, fast increasing and refreshing of volumes of information resources.

Therefore the competent expert needs to know features of information currents  in professional branch, to be able to conduct independently information search from different sources, to use effectively information in the activity. For this purpose the graduate of the higher educational institutions  not only has to control information knowledge, but also be able to organize knowledge process  independently.

At the same time, the transformation to informatization and a study computerization hasn't yet solved the tasks of effective information preparation. A certain paradox is observed: the processes of informatization and computerization are growig, and the volume of knowledge is reducing. Such contadictory situation predetermines the necessity of the solution of a question of transformation from computer lcompetence to information culture of future expert.

The analysis of scientific researches and publications. Theoratical and methodological aspects of formation the information culture of the personality were considered in S. G. Antonova, N. V. Makarova, E. L. Semenyuk's works. Problems of definition of the contents and structure of the concept "information culture" are considered in D.I.Blyumen's researches. The questions of formations of information culture of future expert in the conditions of professional education are considered  in V. P. Bespalko, O. P. Merkulov, Polyakov's works; criteria and indicators of formation of information culture, methodics of its diagnostics, are examined  in N. E. Kasatkin, N. V. Kuzmin, A. D. Markovogo's researches. However the analysis of pedagogical experience from formation of information culture of the personality has shown that it  available opportunities are used by an insufficient measure in educational process in the higher school.

The article purpose is to make more precise the essence and the content of the concept "information culture of future expert", to open features of its formation by means of musical computer technologies.

Examining the essence and the content of a phenomenon "information culture", we will pay attention that in this concept the main   is the word "culture" which contains most of all semantic meaning.

I.V. Shcherbina

Psychotrainig in vocal art

The theoretical principles of psychotraining in vocal art are considered: which is the structure, the functional load, the aim, the tasks, the principles of selection and use the vocalist’s psychotraining in the context of solving the specific psychological problems, namely entering the state of psychological balance, psychological adjustment for the corresponding role, emotional realization of the artistic character.

Key words: psychotraining, singing, art, music, exercise, adaptation.

Timeliness. Today, in all fields of modern urban society it is important to learn and use different measures for occupational health of people of any age [1]. According to that universal truth, an integral part of improving higher educational conditions is a significant change in vocal students’ valeological life-support that should be conducted through their involvement in healthy lifestyle, keeping to systematic voice and singing hygiene, using the elements of occupational diseases prevention [2; 3, 4]. Highly qualified specialists of modern vocal pedagogy prove the facts that:

- improper voice hygiene, poor vocal technique, forced vocality, delayed treatment of diseases and neglecting phonologopedic defects bring to occupational diseases and vocal professional disablement [5-8];

- psychological basis of sound quality, full interpretation of vocal works with a free implementation of the image while performing is an appropriate emotional and psychological adaptation to the concert and vocal activity as well as self-confidence [9-10], i.e. even a perfect vocal technique and phenomenal vocal abilities of a vocalist mostly have secondary meaning, lose brilliance and identity, if the singer is not self-confident [11, p. 90; 12, p. 178, 185, 204].

The purpose of the article is to study the theoretical basis of psychotrainig, the principles of its selection and use in vocal art in the context of solving specific psychological problems and implementation of the artistic image.

During the existence of vocal art, vocal teachers and singers paid great attention to the practical measures to strengthen the singer’s physical and neuropsychic health and to full implementation of the artistic image – the regime of work and rest (regular hours), strengthening and conditioning body with various natural factors, gymnastics etc., principles of nutrition, hygiene of sexuality, prevention of nervous diseases, the main symptom of which is phonation dysfunction [6].

O.V. Novytska

Features of the adolescent students’ understanding of musical art works

The article concerns the results of research in relation to the features of perception and understanding of teens, the stylish features of music of different directions (classic, rock and pop-music).

Key words: perception, understanding, rock music, classic music, teenagers.

Timeliness. Nowadays sometimes it is difficult to agree with A. Tolstoy’s idea, that the spectator comes to the theater not just to watch the action. He lives a second life there [5, p. 66]. During a few decades the lifestyle has changed so much that art is disappearing. It is not just for literature, theater and cinema. "Nowadays music is like a decoration that can fill empty evenings just attending opera or philharmonic ... That is the paradox that music can be heard more than ever "[7, p. 4]. It gradually loses its former meaning, being, according to N. Harnonkurt, a "nice decoration."

The majority of respondents who participated in the research, devoted to the problem have confirmed the correctness of the thesis mentioned before. This fact determined and confirmed the timeliness of the problem among people who are influenced by music according to their psycho-physiological and personal characteristics (age, peculiarities of nervous system, etc).

The object of the research is the process of music perception and feeling it.

The subject of the research is the peculiarities of music perception and feeling it by teenagers.

The purpose of the research is to determine teenagers’ aesthetic preferences and the peculiarities of music (rock and classical) that influence children’s psyche.


• to analyze the problem from psychological and musicological point of view;

• to reveal the features of music influence on adolescents;

• to develop a methodological basis;

• to interpret the results.

The main material. Since its inception, music has always been an integral part of both the individual and society as a whole. Over the years people took music as an entertainment, partially having lost the ability to feel its deep meaning.

According to their age and aesthetic preferences people choose appropriate music to listen to. The overall decrease of cultural level of society caused a significant decline in attending art institutions by population (classical music concerts, opera and ballet performances). The questions are how and what kind of music teenagers are listening to, whether they feel what they are listening to,  whether they can analyze the changes in their psycho physiological condition during the "dialogue" with this kind of art.

I. S. Semukhina

Innovative culture of an art teacher at higher educational establishments: structural constituents and mechanisms

The article concerns the essence and the content of the innovative culture of teacher in higher educational establishment; its structural constituents and mechanisms of development are marked in the article as well.

Key words: innovative culture, innovative potential, innovative consciousness, innovative conduct, innovator.

Timeliness. Innovation processes at higher educational establishments require some changes in teacher’s professional activity. A new educational resource of transformation is the capacity for innovation – a combination of cultural and creative possibilities that are necessary for certain activities. In order to improve the efficiency of innovative activity a teacher should have some specific skills and master techniques that include the generation of new ideas, professional competence, out of the box thinking, commitment to the development and introduction of new technologies, the ability of self-improvement and self-realization, which reflect different aspects of the innovative cultural phenomenon.

In the process of teachers’ innovative activity at universities the created and mastered innovations are transformed into a system of general cultural values, individual psychological qualities and behaviors that lead to teachers’ personal formation.  So, the importance of innovative culture proves its timeliness as a system of those values that promote the formation of teacher’s creative personality being an active individual of self innovation.

Thus, it is essential to study the characteristics of innovative cultural development as a culture of innovation and the psychological aspects of teachers’ self-improvement.

Previous researches and publications showed that the phenomenon of innovative culture was studied by B. Buyko, B. Lisin, A. Nikolaev. Pedagogical conditions and methods of its formation are shown in the works by B. Avramenko, R. Mylenkova. Socio-psychological determinants of innovative cultural development and its influence on the personality of teaching staff and students are determined in the works by V. Noskov, A. Kalyanova, A. Yefrosinina.

The theoretical achievements of the scientists underline the necessity to study the peculiarities and psychological aspects of innovative culture at higher educational establishments, determining teachers’ creativity and improvement in the process of innovation.

The purpose of the article is to make a detailed analysis of innovative cultural development at higher educational establishments.

The main material. To solve this problem it is necessary to make a categorical analysis. Modern scholars interpret innovative culture as a complex of socio-cultural phenomenon, which integrates culture, education, science, technology, production, economics and social practice [2].