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MUSICAL TEMPORALITY AND THE MUSIC TEACHERS PROFESSIONAL TRAINING
Shyp S.
Dr., Prof., Ushinsky South Ukrainian National Pedagogical University. Music and Choreography Department. http://orcid. org/0000-0003-2569-4240.
Wang Chunjie
postgraduate student of Ushinsky South Ukrainian National Pedagogical University. Music and Choreography Department. https://orcid.org/0000-0002-5620-8957.
Abstract
The article is devoted to clarifying the theoretical concepts of the temporal properties of music, which are necessary for a modern music teacher. The authors argue that the theoretical knowledge in musical temporality (in particular, knowledge about musical rhythm, meter, tempo, syntax and tectonics of composition), which is taught today in pedagogical institutions, as a rule, lags behind the modern level of scientific understanding of this side of musical art. They does not meet the current requirements of teaching practice. The authors come to the following conclusion: mastering the temporal properties of music by both future teachers of music schools and teachers of professional educational institutions should take into account the ambiguity of the category of time. New pedagogical approach should be based on modern scientific knowledge about the relativity of the physical nature of time, the multilevel complexity of its psychological reflection in perception and thinking. From this point of view, it is necessary to revise both the content of theoretical knowledge about musical rhythm, meter and tempo, and the methodology of teaching this knowledge to future music teachers. In particular, it is necessary to introduce the concepts of duration's rhythm, melodic rhythm, dynamic rhythm and syntactic (phrasal) rhythm. It is also necessary to include in the training process the concept of chronotechtonics, which reflects the temporary organization of the compositional level of musical form. It is necessary to provide students with theoretical and empirical knowledge about modal systems of metric organization of music, common in national traditional cultures, about the principles of "free rhythm" regulation in professional music of the twentieth century. The theoretical provisions and preliminary didactic remarks given in this article can serve as a methodological basis for the assimilation of music by teachers and the development of their theoretical knowledge and practical skills.
Keywords: music, teacher, temporality, rhythm, meter, tempo, chronotectonics.
Problem statement. The cultural transparency, the world-outlook tolerance, the multicultural tendency of the current artistic education make the modern Arts teacher broaden his knowledge and skills, necessitate his professional training development. In particular we mean the importance of knowledge intensification in such area as musical rhythm, meter, tempo and chrono-
tectonics of musical compositions, as well as the mastering of the corresponding music performing and creative skills.
Our long-term experience shows that nowadays the majority of musical art teachers possess rather poor notion of the music temporal properties. Their idea of the musical rhythm, meter and tempo phenomena is regulated by the simplified statements taken from the "Elementary Music Theory" manuals, and bolstered
with scanty performing practice of the simple classic and romantic musical pieces intoning. Thus, for instance, the majority of teachers understand the rhythm as the succession of sounds, similar or different in their duration. The musical meter is usually explained to the students as the principle of the tone duration splitting up; the bar is represented as the distance between the stressed beats. Such approach to the musical rhythm understanding and mastering should be qualified as unreasonably simplified and scientifically defective. Furthermore, it is unproductive and unpromising in practical application. Such approach prevents the perception and understanding of the folklore artifacts, of the world religions music, of the XX -XXI century's composers' creations, of jazz and art-rock samples. It also prevents the formation of scientific concepts about musical rhythm, its metric organization principles, and its shape-generating and expressive properties. The primitive notions of meter, rhythm and tempo don't promote the teacher's musical performing activity; in particular, they hamper the solution of the interpretation problem of the musical-syntactic and compositional units integrity. The short range of the musical rhythmic concepts negatively influences the quality of the teacher's musical compositions interpretation. This can be manifested in "dry" statements of the most obvious temporal properties of the musical form: time signature, presence of tempo changes, some typical rhythmic structures. The Music teachers often find it difficult to provide the reasonable, stylistically clear and figurative explanation of the features, organizational principles and expressive effects of the rhythm in musical compositions.
As was stated above the majority of musicians-teachers possess very poor knowledge of the musical rhythm systems multiplicity. Their outlook is limited by the bar-system notation, which dominated in the Western European composer's music from XVII to the early XX century. Yet, the modern music of academic tradition has been remarkably enriched with the new rhythm organization principles. The most important among them are the rhythm systems based on the modality principle. Being understood by both teachers and students, these systems can help to discover and comprehend the ancient folklore samples, the music of Asian cultures (Turkish, Iranian, Indian, Chinese, and Indonesian etc.) The modern musical education practice should include mastering rhythms of declamation and choreographic art (such as, for instance, rhythmic progressions, typical to the Chinese theatre music or in the modern music avant-garde artifacts). The musical-performing training of the music teachers shows that the understanding of the polyphonic polyrhythmic texture (beginning from its simplest manifestations in the form of additive rhythms up to the more complex pol-yrhythm structure, typical for the modern music language) represents the remarkable difficulty for students. The given observations characterize the large-scale practical problem of musical education. Its solution depends mainly on the music teacher's competence level and consequently on the quality of his training at the pedagogical educational establishment.
Analysis of recent research and publications. The problem of musical-rhythmic training has been
worked out in the pedagogical, musicological and philosophical literature since early times. Those who dealt with the problem usually spoke of sense of rhythm, notion of rhythm and rhythmic skills. Special attention to rhythmic training was paid by ancient Greek philosophers - Pythagoras, Plato, Aristotle. European scholasticism treated musical rhythm as some mathematical pattern. However the development of rhythmic training was mightily promoted in the medieval art practice: in Iranian, Arabic culture (VII-XV centuries) and in European culture (XII-XVI centuries). The main factor of the medieval musical rhythmic rapid development was the flowering of the professional poetry (the art of ash-iqs, syairs, akyns, troubadours, trouvères, minnesingers) as well as the various dancing practice represented by hundreds of ritual, carnival, courtly, stage dances. This period of the musical chronotectonics comprehension is represented by the works of Al-Farabi, al-Shi-razi, Jami, Ying Shao, Su Xun, Guido Aretinus, Johannes de Muris etc. At the initial stage of the New History the musical rhythm was discussed in the theoretical treatises on musical-performing art and in recommendations to the instrumental pieces collections by
C. P. E. Bach, J. N. Hummel, J. Quantz, F. Couperin, L. Mozart, D. G. Türk etc.
Not until the XIX century the musical-rhythmic education of children and young people as a part of general esthetic education became the subject of discussion for philosophers and teachers. The central figure in this discussion was a Swiss scientist E. Jaques-Dalcroze (1930). His pedagogical conception and teaching methods influenced the world educational practice greatly. The outstanding German composer K. Orff (1950) creatively developed E.Jaques-Dalcroze's principles and built up the original musical-pedagogical system Schulwerk, in which the rhythmic imagery and rhythmic skills mastering occupied the central place. Orff's approach can be called synthetic as its main principle is training of musical rhythm in combination with the rhythms of poetry, dance, and game activity. The methodological principles of Dalcroze and Orff formed a kind of mainstream in world musical pedagogy. Their experience was adopted by numerous teachers in modern Ukraine and other post-soviet countries as well as in China, where the task of European musical culture introduction was set (as can be seen from the works of Ding Shangde, Xiao Youmei, Chen Zhongzi etc.). Along with traditional approaches, in the twentieth century, new ideas about musical time were developed. They were prepared, on the one hand, by updated concepts of the time of physical phenomena (general theory of relativity, quantum mechanics), philosophical concepts (T. Adorno, A. Bergson, B. Russell, M. Heidegger); as well as innovations in musical creativity (I. Stravinsky, C. Ives, A. Webern, D. Cage,
D. Ligeti, O. Messiaen, etc.).
Contemporary musicologists investigate musical temporality in the aspects of the new cognitive psychology data of time perception, time experience and time imageries (G. Buzaki (2006), Huron D. (2006), Large
E.W. (2010), J. London (2012), A.D. Patel (2014), B. Tsukanov (2000), etc.); problems of art philosophy and music analyze (R. Adlington, B. Barry (1990), M. Kon
(2014)); composing poetics and technologies (R. Glover, B. Harrison, J. Gottschalk (2018), H. Krebs (1999)); problems of the art of interpretation (m. Arkadiev (2012), H. Honing (2002)); the foundations of semiotics (T. Reiner (2000), E. Tarasti (2000)).
At the same time, the rhythmic development quite rarely gets into focus of theorists and methodologists of musical education. Nowadays the development of the given musical-pedagogical problem is the extensive process of discussions, based upon the particular cases of application of the typical XX century pedagogical approach. It should be noted that nowadays the invention of separate forms and working methods can not be enough for the musical-rhythmic development practice improvement.
Approach: The investigation is based on the system approach to the theoretical explanation and the methods of the musical art temporal properties comprehension. Alongside, it is based on the culturological approach, which allows to shape the future music teachers' temporal imageries on the base of different historic epochs in the music art development and of different ethnic traditions.
Discussion: The expression "temporal imageries" in the context of the given work is used as a capacious category. It involves the sensory imageries, empiric knowledge and theoretical concepts, which reflect the temporal music nature, characterize temporal relations of all the elements and structures on all the levels of musical form organization. In music theory, in the composer's and performer's creativity the music-temporal imageries are elaborated first of all in images and concepts of rhythm, meter and chronotectonics. Let's analyze these concepts and try to specify their meaning correspondingly to the up-to-day musical-theoretical views.
In the first place it is reasonable to adopt the widest definition of the term "musical rhythm". Let's agree to understand the term "musical rhythm" as temporal relations between any musical form elements. We should specify that temporal relations here can have different psychological quality. These may be definite acoustic impressions from the perceived or imaginary sounding music. These can be also abstract spatial images of the musical composition temporal structure.
In accordance with the adopted definitions rhythm is intrinsic to all the levels of the musical form organization, namely to material- sound level, to intonationspeech level, to composition level. In this interpretation the notion of rhythm covers the repeated and non-repeated musical existences, periodic and non-periodic ones, arranged and chaotic ones. Musical existence is treated here as the moment of change in structure or property of the musical for, which is singled out and fixed by the perception, imagination, and mentality. In particular, such events- elements of the rhythmic "tissue" can be: single tomes, noises, pauses, accents, timbres, mode tensions and relaxations, tonal deviations, tunes, harmony, chords, cadences, themes, thematic sections etc.
Let's analyze the rhythm manifestation on the material- sound level of the music form organization.
Tones and noises are known to be the material substratum of the music art compositions. Tones (as the best -ordered rhythmical material) are the sounds which are (unlike the noises) characterized by the oscillations periodicity. For human perception, this rhythmic quality of the oscillation process is imprinted as the definite pitch. Musical tones are also featured by the phase rhythm, given by phase rhythm specified by temporal characteristics of oscillations amplitude changes. The existences of this rhythm are: attack, decay of the amplitude top, sustain oscillation phase, and finally, oscillation release. (In special literature this process is denoted as Attack-Decay-Sustain-Release ADSR). In perception this rhythmic structure generates the sound articulation image. The process of the dynamic overtones properties changes has its own rhythm, perceived as timber nuances. Unfortunately this important professional information on the rhythm at the level of a musical form sound material is not included in the standard music teachers training program. Such knowledge is supposed to be gained in the process of future teachers' practical (laboratory) work with the sound sources (voice and musical instruments)
The rhythm at the intonation-speech level of the musical form arrangement is represented by a complex structure, which is made up by several temporal relations parameters. Namely: a) the relation of tones durations, which create quantitative rhythm (in elementary school formulation - "alternation of long and short sounds"); b) relations of the sounding dynamic properties (for instance, the rhythm formed by the accented sounds); c) relations of tones of different pitches, which, conventionally, create melodic rhythm; d) relations of timber changes (this "section" is the best seen in the ensemble instrumental music).
The demonstration and musical-performing mastering of these intonation rhythm parameters prepares grounds for acknowledgement of various systems of the rhythmic relations metric ordering. The musical speech rhythm can hardly ever be chaotic. In the overwhelming majority of cases it obeys the language-grammatical pattern, called musical meter. The school-adopted music theory introduces only two ways of the metric rhythm ordering - the bar way and the mensural one; besides, it doesn't differentiate between them but presents them as a single grammatical norm. The today's music teacher training meets higher requirements and thus the trivial notions of music rhythm organization metric principles should be made more exact and profound.
It's reasonable to start the musical-metric systems mastering from the pulsation principle. Pulsation is the foundation of all the known musical rhythmic grammar standards and serves the universal principle for perception, understanding and sound implementation of musical-temporal imageries. The phylogenesis of this standard is connected with motor skills of labour, military and ritual human activity (as it mentioned in the works by K. Bucher (1899), I. Morley (2013), A.D. Pa-tel (2008, 2014), C. Sacks (1988), etc.).
In the simplest form the pulsation principle is realized in the rhythm of sounds, similar in duration and
separated by similar temporal intervals. In more complex and perfect form this principle shows itself, for instance, in the Eastern Christian church vocal tradition, where all the tone duration alternations, all stops and pauses obeyed the single, general unit of time. In the ancient Greek prosody theory this unit was called mora (or chrónos protos). It was seen as a sensomotor model of musical thinking, which is an experienced and imagined pulsation but a soundless one, with which the whole process of poetic prosody or vocalization was co-measured. The practical and theoretical mastering of this principle promotes the widest possibilities for the further comprehension of different musical rhythm organization systems.
After comprehension of the pulsation principle we can follow to the modal metric systems. The modi (or, in other words, formulae or standards) of the intonation rhythm, as well as the pulsation rhythm have genetic connection with human activity since early times. It reflects a great variety of typical labour or dancing movements, expressive rhetorical or theatrical gestures, specially the developed rhythmic means of the poetic art. For example, the musical rhythm of ancient Greek melodies was regulated by the formulae of the long and short sounds correlations. These formulae -iamb, choree, dactyl, anapaest, amphibrach and others - were of dancing origin but later became regulatory prosody art forms. In modern European culture these formulae changes their quality. Now they reflect not long and short sounds, but the accented and non-accented ones.
Such formulae are obligatory given in the elementary theory music textbooks. The future music teachers should comprehend the lexical-grammatical nature of such formulae. The best way to achieve this goal is the acquaintance with different systems of the music language ordering. For instance, it can be of interest for musicians-teachers to study "arud" - the modal rhythm system in the Arabic and Persian music-poetic art, or the rhythmic formulae system of the traditional Hindu music "Karnataka" etc. The lexical meaning of the rhythmic formulae, their semantic individuality vividly represent the standard Turkish music rhythms: aksak, mandyra, haff, sakil. The applications of the rhythmically identical mnemonic verbal forms are recommended for the effective rhythmic modus practical mastering. In the process of the similar rhythm organization systems studying the future music teachers should develop the following skills: a) the ability to take into consideration and memorize the short rhythmic melodies and phrases (with any quantitative, pitch, dynamic rhythm) b) the ability to correlate these rhythm units with the standard forms - modi; c) the ability to cultivate bright and clear ideas of the music rhythm metric organization standards in different national cultures. They should also possess the vast studied rhythmic formulae thesaurus - sui generis multicultural "music-rhythmic" lexicon.
At the final stage of the musical speech rhythm the future music teachers must make up a new, more substantial notion of the bar metro-rhythmic system. To solve this problem it's reasonable to be guided by the historic-cultural approach, which enables us to discover
the circumstances and pragmatics of the bar metric system origin. The practical need/ necessity in bar metric is known to appear in the Renaissance period, and it consisted of vocal or instrumental parts coordination in the compositions of polyphonic, heterophony homoph-ony harmonic texture. To a large extend this principle was formed under the effect of the music graphic notation evolution. The future music teachers should be aware of the fact that at the early stage of the ensemble music graphic fixation means development, the compositions were written in the form of tablature - single vocal and instrumental parts. The complication process of the ensemble music required the singers and instrumentalists coordinating actions. The concertmaster -the most experienced and skilled musician took the coordinator function. Later this role passed to the conductor. The necessity of the temporal rhythm coordination for all the ensemble voices promoted the musicians to bring all the separate written parts together in one score, in which bar lines served an important visual guideline. They indicated boundaries of the bars - the metric units of the polyphonic European music.
The modern bar metric system unites and coordinates three principles: a) the pulsation principle, b) the modality principle (the bar system does not prevent the intonation process on the formulae base), c) mensural metrics principle. The essence of the latter one is in the total division of the musical time into quanta by means of the relative duration units: the whole tones, semitones, quarter tone, eighth tone etc. In the mensural rhythm of the musical speech any tone or noise element is commensurable, perceptionally or mentally, with any other element of the given form. The set of relative duration standards of each tone can be realized in sounding only if the whole process is subordinated to the fundamental accent-pulsation principle. In bar metric pulsation (inner sensorimotor and cognitive actions) is realized on two levels: on the level of motor motion (chronos protos) accounting unit and on the level of periodic accent, marking the bar beginning.
The mastering of the mensural system of the musical rhythm organization presents the special difficulty for the pedagogical process. Usually while explaining this rhythmic organization principle the teachers use the analogy of dividing some object into the even or odd quantity of parts (in Ukraine they deal with an apple). Such an explanation method demands mental identification of the temporary tone characteristics with the spatial image of the volume or mass of the body. This operation of sounding time "fragmentation" is unnatural. It contradicts the acoustic and muscle-motoric intoning experience. The sensory experience provides much more reasons for the image of prolongation, growth, supplement of sound-rhythmic units. Therefore the more effective way to master the mensural-bar metric system (from the methodic point of view) is the way, which begins from the mastering of simple relations of the quantitative rhythm units summing on the accent-pulsation principle base.
After the profound understanding of the simplest summing up formulae (two quarters is a half tone, three quarters is a one-and-a-half tone etc.) pedagogical pro-
cess may pass to the mastering of these formulae regulations in the boundaries of such a "net" and beyond it. Such method can be called additive. It provides the possibility to master modi of any complexity by means of addition of short or long tones (as well as noises and pauses) in any proportion. The suggested way gives possibility to master the folklore rhythmic modi (for instance, quintuple meter formulae of the ancient Ukrainian folklore, complex septuple, octuple, ninthuple formulae characteristic for national Bulgarian, Romanian, Serbian, Turkish, Azerbaijanian etc. dances).
The highest step in the future music teacher's theoretical and practical training of the music speech metric organization is mastering of the great variety of the bar principle combinations with different metric systems in the XX and XXI centuries composers' music. This period is notable for the intensification of musicians' interest to the artistic possibilities of free, non-symmetric, non-ordered rhythm. In many musical texts the bar becomes a conditioned "container" of rhythm, which can be rather diverse in its metric qualities. The modern bar meter often becomes a conditioned virtual chronometer, which lacks the simple expressiveness of the accent- pulsation rhythm and stipulated just by the necessity to keep the musical -intonating process rhythm in some kind of "temporal riverbed".
Musical tempo, at the first sight, is the most understandable quality of the musical-intonating process and the composition formation process. Unfortunately pedagogy pays little attention to theoretical and practical mastering of this side of musical time. The concept "tempo" (from tempus - time) is usually defined as the speed of the "unfolding" of a musical form in the process of its performance or internal auditory perception. The simplest understanding implies: a) the frequency of the physically percept or imagined (represented) musical pulsation; b) the regular accent frequency (in the bar-mensural metric system); c) the frequency of the periodic rhythmic formula repeating (in module metric system). It's obvious, that theoretically, tempo is a function of musical meter. Therefore it is right to unite these terms into the expression "tempo-meter". However, musicians speak of tempo-rhythm more often. It is a justified term as the impression of the musical-intonating process speed depends on the rhythmic structure.
The expressiveness of the tempo per se is quite limited. The rhythm has much richer imagery - expressive possibilities. However their detection is extremely closely connected with the tempo. One and the same rhythm performed with different motion speed has different, sometimes contradictory semantics. According to David Epstein (1995) "tempo is a consequence of the sum of all factors within a piece - the overall sense of a work's themes, rhythms, articulations, "breathing", motion, harmonic progressions, tonal movement, contrapuntal activity. ... Tempo ... is a reduction of this complex Gestalt into the element of speed per se, a speed that allows the overall, integrated bundle of musical elements to flow with a rightful sense". That is why the artistically exact choice of the tempo for every fragment of the music piece rhythmic structure is so important for composers and musicians-performers. It's
very important for the future music teachers to cultivate the high sensitivity and deliberate attention to the musical tempo modulations.
The rhythm on the syntactic level of the musical composition form. Little attention is paid to this important temporal music organization level in specialists' training. Just several syntactic rhythm manifestations in the form of a period are covered by the textbooks on the music form analyses. Thus, for instance, L. Mazel describes such rhythmic structures as "splitting", "summing" and "splitting with closure". These syntactic rhythm specific cases are represented as the proportional relations of the musical melodies, phrases and sentences. The syntactic units values are expressed in the quantity of bars. It should be emphasized that the syntactic rhythm is implemented not only in the classic period regular structures. The whole musical composition text from the beginning to the end is articulate musical speech, subjected to the syntactic patterns. In any fragment of any musical text one can find the syntactic structure, created by the syntagms, which are separated by more or less distinct caesurae. The main music syntactic structure elements are phrases. The phrase rhythm can be periodical, symmetric (in analogy with poetry rhythm) or non-periodic (in analogy to the prose speech rhythm). In any case this rhythm is greatly meaningful. It can be uneven, perturbed, aggressive, chaotic, delicate, etc. As well as the verbal utterance, the rhythm eloquently speaks about the speaker's psychological state, emotions, rhetorical experience. The future music teachers should get used to attentive listening, analyzing, evaluating, and explaining the syntactic rhythm expressive meaning to their students.
The compositional level is characterized by the rhythm which is formed by the thematic structural units - themes, links, introductions, completions, reprises, fragments/separations of simple and complex compositions. This rhythmic relations level mastering is of remarkable difficulty. First of all, the laws of the compositional rhythm organization are not studied on a whole, though the researchers made a lot of efforts to find them (works by E. Lendvai (1957), A. Lorents (1966), G. Perl (1955) and others, who strived to find out the signs of architectonic symmetry in the musical composition structure. The compositional rhythm embraces all the levels of the musical rhythmic organization. Theoretically it can be characterized as chronotechtonic slice of the whole composition structure. Similar to the musical-speech level rhythms, the compositional rhythm can be considered as a spatial structure (in this sense it can be assimilated to the spatial rhythms and the architecture creations proportions). At the same time it is experienced as a psychological process. It's stated that the real (physical) time, imaginable time and the experienced one are different "times". Therefore, it happens that the compositional rhythm of the musical creation, imagined as the ideal, proportional, symmetric and es-thetically perfect spatial structure, can be experienced as unnatural, disproportional, unbalanced, chaotic and unattractive process. The reverse effect is also possible.
That is why the theoretical and practical mastering of the compositional rhythm phenomenon should be reasonably implemented in combination of the visual-
spatial approach (by means of three-dimensional and two-dimensional models, graphs, numerical models, analogies with architecture painting, graph forms) with the process-temporal approach ("immersion" into the flow of sounds, the control of the composition perceiving subjective time, studying of the rhythmic impressions dependence on the musical for properties, on the emotions, associations, intellectual processes, volitional impulses etc., generated by the music).
Conclusions and the further problem research prospects: The theoretical knowledge about the musical rhythm, which are nowadays delivered at the teachers training institutions as a rule, lag behind the modern level of the scientific notion of this musical art side and don't meet the requirements of the modern pedagogical practice. The temporal music properties mastering by both future music school teachers and the professional educational institutions teachers must be based on the fundamental philosophical and physical conceptions of the time; on the new cognitive psychology data of time perception, time experience, and time imageries. Special attention should be paid to the current Art Study conceptions of musical time, rhythm, meter, tempo suggested in the works by modern musicologists. The organization principles and expressive features of musical folklore rhythmic, represented in the most developed national musical cultures as well as jazz and vanguard XX century music should be taken into account in the practice of future music teachers training. In this way the musical-theoretical concepts of rhythm, meter and tempo should be revised. The concept of chronotechtonics must be introduced as it reflects the temporal organization of the musical creation compositional level. The theoretical statements and the preliminary didactic remarks given in this article should become the methodology foundation for the music teachers' mastering and developing their temporal imagery and skills. One of the most important methodological principles for the formation of music teachers' temporal images and concepts is the improvement of students' psychomotor skills in such forms of activity as playing musical instruments, singing, dance improvisation, and bodily percussion.
In all nations and in all times the main form of the musical education realization is ensemble music playing. This type of musical activity raises high demands to the participants' rhythmic skills and to the conductor's rhythmic culture in particular. The future music teacher's perfecting in this direction must include theoretical training and practical skills of rhythm mastering on all the levels of the musical form structure: phonic, speech and compositional.
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APPLICATION OF "PORTFOLIO" FOR PROFESSIONAL TRAINING OF STUDENTS IN HIGHER
EDUCATIONAL INSTITUTIONS
Yasynska E.
Department of Social Medicine and Health Organization Higher State Educational Institution of Ukraine
«Bukovina State Medical University», Chernovtsy
Abstract
The article analyzes the latest research on the definition of the concept of "portfolio" in the higher education system, reveals the relevance of using new approaches and technologies to the development of professional competencies of students of higher educational institutions in the process of their professional training. The functions and technological characteristics of the students' portfolio are determined.
Keywords: portfolio, professional training, professional competencies, technologies, portfolio functions.
The changes taking place in modern society put forward new requirements for the professional training of specialists in higher educational institutions. Their solution today is offered by the modern paradigm of the development of higher education, which is based on a competence-based approach. According to this approach, an integrative indicator of the quality of training of future specialists is their professional competence - a dynamic combination of knowledge, skills and practical skills, ways of thinking, professional, ideological qualities, moral and ethical values that determine a person's ability to successfully carry out professional and further educational activities.
Purpose: to analyze literary sources on the use of "portfolio" in the higher education system, to determine the main functions and technological approaches to the development of professional competencies of students.
There are many definitions of the term "portfolio". In pedagogy, definitions of this term are given in the works of K. Varvus, D. Mayer, Fry, E. Staff and others. The «portfolio allows you to take into account the results of various types of activities: educational, creative, social, communicative. The "portfolio" is interpreted more broadly than just a folder of student papers; it is a pre-planned and specially organized individual selection of materials and documents that demonstrates the efforts, dynamics and achievements of the student in various fields. The ultimate goal of a learning portfolio is seen by many authors as proof of learning progress through learning outcomes. The ambiguity of understanding the term "portfolio" allows some researchers to refer it to technology, others - to methods of teaching and assessing student achievement.
Translated from English (from. Portfolio) "portfolio" means "portfolio", "folder" for important documents, from Italian - "folder with documents", "specialist folder", from French (from. Franz. Porte - describe, formulate , carry and folio - sheet, page) -"dossier", "collection of achievements". Analysis of existing approaches to the interpretation of the term "portfolio" in foreign studies gave grounds to general-
ize it as "a collection of works and results of an individual, demonstrates her efforts, progress and achievements in various fields."
The idea of using the "portfolio" as a method of authentic assessment in higher educational institutions (that is, assessing the formation of skills, skills of a person in solving problems in conditions as close as possible to those that exist in real life, and therefore in professional activities) arose in USA in the 70s and 80s. XX century. Influenced by politics, business and management theory and very quickly spread in the educational environment of Canada, Europe and Japan and began to be positioned as one of the educational trends of the last decade. This idea also affected the educational process of higher educational institutions. At the beginning of this century, the idea of a "portfolio" began to gain an active distribution in Ukraine. Currently, there is a borrowing of foreign experience, an attempt to develop the technological aspects of introducing the "portfolio" method into higher education.
The following "portfolio" functions are distinguished:
• diagnostic (records the change and growth of students' knowledge over a certain period of time);
• goal setting (supports the learning goals of the student);
• meaningful (reveals the entire range of work performed by the student); • developing (ensures the continuity of the learning process from year to year);
• motivational (encourages the performance of students and teachers);
• rating (allows you to determine the quantitative and qualitative individual achievements of the student).
Standard methods for assessing students' academic achievements, among which the most common is testing, do not allow to fully form the necessary skills and abilities to ensure successful life and professional strategies after graduation. The most commonly used standardized tests fail to assess students' ability to perform tasks in real life situations. The widespread use of tests is a limitation for the development of the most important behavioral skills and professional competencies
