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19PEDAGOGICAL SCIENCES
THEORETICAL AND METHODOLOGICAL ASPECTS OF TRANSCULTURAL COMPETENCE FORMATION IN MASTERS OF MUSICAL ART IN THE PROCESS OF INSTRUMENTAL TRAINING BY MEANS OF ARRANGEMENTS AND MUSICAL ADAPTATIONS
Wang Binbin
State institution "South Ukrainian National Pedagogical University named after K.D. Ushynsky"
Abstract
In the article a comparative analysis of research on the dialogue of cultures is conducted; a conceptual-terminological field of relevant studies of the scientists from different countries, which covers multicultural, intercultural and transcultural dimensions, is outlined; the ways of transcultural competence formation in masters of musical art in the process of instrumental training are substantiated, in particular, methodological features of the specified phenomenon formation and means necessary for this purpose, among which we first of all allocate arrangement and musical adaptation of folklore.
Keywords: transcultural competence, masters of musical art, instrumental training, arrangement and musical adaptation of folklore.
The modern world is becoming more and more transnational and global. Existing means of communication create opportunities for connecting people of different worldviews, beliefs and races. In these socio-cultural coordinates, actualizes the issue of creating such a world educational space, in which both interests of an individual and national needs of states could be realized.
Today, traditional education, based on ideas about national culture and personal self-identification, comes under the influence of transcultural development trends. In this context, there is a need for the formation of the transcultural competence of student youth, including future masters of musical art.
The relevance of our research is confirmed by a significant number of studies of methodological, art critics and pedagogical nature. First of all, we will name: philosophical, culturological and art critics works of M. Bakhtin, V. Bibler, M. Buber, Liu Binwen, V. Shulhina, W. Welsch; studies of the artistic life and musical culture of China conducted by Wang Dong Mei, Liu Xinxing, Sun Jinan, Chen Linqing, Shi Jin, G. Schneerson; sources related to the study of the origin and evolution of wind instruments (Wang Tong, Yu. Vasylevych, Li Yusheng, D. Rogal-Levytskyi, Jian Ji-hua, M. Chulaki), issues of saxophone art in China (Ge Meng, Li Manlong, Luo Kung, Ti Chuo), instrumental performance, composition and repertoire (M. Davydov, I. Yerhiiev, V. Krytskyi, Li Manlong, Li Chen Zhao, Li Yusheng, L. Maksymenko, H. Nikolai, Pei Lian, Yu. Chekan, O. Shchetynskyi, Yang Tsan).
In order to achieve the goal of our study - to substantiate the ways of forming transcultural competence in masters of musical art in the process of instrumental training, the following tasks should be solved: to find out theoretical foundations of studying this phenomenon, methodological features of its formation and necessary means, in particular arrangement and musical adaptation of folklore.
It should be noted that today the growing differentiation of modern culture both vertically and horizontally predetermines emergence of new cultural models
(gender, youth, virtual, etc.), and multiculturalism provides many different images and lifestyles. It becomes obvious that due to the internal complexity of modern cultures, the traditional concept of culture is in fact inadequate. In addition, striking examples such as successful functioning of the European Union, the myriad of different world organizations or the confident progress of the Bologna Process demonstrate their resilience; the thesis of ethnic consolidation around the national idea also loses its significance.
It is obvious that the traditional concept of a national culture, with its establishment of external borders and demands for the exclusion of the "foreign" is no longer able to compete with ideas of interculturality and multiculturalism, especially in the field of education.
Analysis of the scientific literature on music culture and education has shown that the closest to its interpretation in the context of transculturality can be considered D. Elliott's concept of multicultural music education, which identifies six degrees of multiculturalism: assimilation, amalgamation, open society, insular multicultural-ism, modified multiculturalism, dynamic multiculturalism [8]. According to H. Nikolai, the world perspective is used within the latter (which is characteristic of the transcultural concept), but music is understood from the positions that are characteristic of the respective cultures [4]. Thus, the opposition of native and foreign culture remains insurmountable.
According to W. Welsh, the ideas of intercultural-ity and multiculturalism today are almost as inappropriate as the traditional concept of nationality itself, since they continue to assume it [9, p. 194-213]. He suggests introducing the concept of transculturality. The latter primarily characterizes the altered cut of today's cultures at the macro level, acting as a consequence of internal differentiation and complication of modern cultures. These processes give rise to new cultural entities that are closely intertwined with each other. Thus, lifestyles are no longer confined to national cultures. The lifestyle of a musician, economist or scientist is no longer French, Austrian or American, Australian, etc., but rather European or global.
To substantiate the ways of transcultural competence formation in masters of musical art in the process of instrumental training, we have used the prognostic potential of the concept of transculturality. The latter, in our opinion, is the most adequate concept of today's culture and is most clearly argued by Wolfgang Welsh in his work "Transculturality - the Puzzling Form of Cultures Today" [9].
The author emphasizes that his concept of transculturality will contrast with the classical concept of single cultures as well as more recent concepts of in-terculturality and multiculturality. He believes that the concept of transculturality is the most adequate concept of culture today - for both descriptive and normative reasons.
In the above mentioned work "Transculturality -the Puzzling Form of Cultures Today", W. Welsh considers transculturality in the historical aspect, cultural conceptions as active factors in respect of their object, cultural annexability and transmutability, internal and external transculturality, transculturality in relation to globalization and particularization. In particular, he proves the advantage of the transculturality concept over the competing concepts of globalization and par-ticularization, since the concept of transculturality goes beyond these seemingly hard alternatives. It can cover both global and local, universalistic and particularistic aspects, and it does so quite naturally, from the logic of transcultural processes themselves. The globalizing tendencies as well as the desire for specificity and particularity can be fulfilled within transculturality [9].
L. Horbunova believes that the concept of trans-culturality should determine further development of education: "Thus, the concept of transculturality allows us to see a completely different picture of the relationship between cultures. Not a picture of isolation and conflict, but a picture of exchange and interaction. If presented conceptualization of modern culture in the era of globalization is relevant, then the tasks for the future in the field of education and upbringing should be solved only by addressing the concept of transculturality [1, p. 331].
We'd like to note that research on training (in particular - instrumental) of specialists in the musical art from different countries is most often carried out in the stream of dialogue of cultures, intercultural, multicultural and ethnocultural approaches. Thus, Zhang Ying emphasizes the importance of intercultural dialogue in the process of training future music teachers from China in higher pedagogical education institutions of Ukraine for the formation of ethnocultural competence [6]. Dan Jiakun and Luo Kun rely on the concept of intercultural dialogue in their forks [2; 3]. Relevant to our study are Yan Zhihao's explorations, in which the typological features of arrangements, musical adaptations and transcriptions for piano by Chinese composers are revealed and systematized. The author argues that development of Chinese composition is a reflection of trends in interaction with European musical culture and emphasizes that penetration of these parallels could occur only in a cultural dialogue East - West [7, p. 178181]. V. Stepanov's proposal to introduce the author's methodology of multimedia arrangement in the future
masters of musical art training is also of some interest [5].
Clarification of the terminological field of our research was carried out during the analysis of musical and pedagogical works by Ukrainian scientists (N. Bi-lova, O. Horbenko, A. Kozyr, H. Nikolai, N. Ovcha-renko, O. Oleksiuk, H. Padalka, O. Rebrova and others). It has been found out that the concept of "competence" is seen as an integrated personal quality based on knowledge and experience, the ability to independently and effectively solve problems, think critically, analyze and adequately evaluate information, the surrounding reality. Therefore, the transcultural competence of the masters of musical art is considered in our study as the ability to seek and find a new, supranational unity through music, which allows them to be understood in any region of our planet. Concretization of this concept in the field of instrumental training allows to define the transcultural competence of masters of musical art as a systemic, integrated quality, as the ability to understand the artistic content of musical works in the context of reality and modern globalization processes, to learn and understand basic laws, especially -laws of instrumental art, to have the means of artistic performance, to be sociable and armed with transcul-tural musical repertoire, to show individual performing style.
Among the methodological contexts of transcultural competence formation in masters of musical art in the process of their instrumental training, first of all from the general structure of pedagogical activity of the teacher we single out methodological activity and consider it as the sum of specific actions aimed at selection, construction and use of teaching methods. We also consider it important to interpret methodological skills of instrumental musicians as a generalized didactic project of future pedagogical activity, which originally exists in their minds and is implemented in practice as a set of interrelated actions and teaching methods. Finally, we emphasize that methodology is considered by us as a science that solves problems of content and determines a set of methods, techniques and means of musical and instrumental training of master's degree students, which are aimed not only at acquiring certain knowledge, skills and abilities, but also their spiritual and transcultural development. Among the relevant methodological tools in our study, we pay special attention to musical adaptation and arrangement of folklore samples.
Today, instrumental training of future masters of musical art from China and other countries is carried out in several pedagogical universities in Ukraine. Formation of transcultural competence of applicants of the second degree of higher education acquires paramount importance in this process. We consider arrangement and musical adaptation of folklore by future masters of musical art to be the optimal means of realization of the specified task. Their instrumental training is carried out mainly in the classes of piano, violin and saxophone. Of all these musical instruments, the latter bears the features of transculturalism, as it has no analogues in
the folk tradition of any country but was artificially created by the Belgian musician Adolphe Sax in Paris in the middle of the last century.
There is a long tradition of piano arrangements, musical adaptations and transcriptions of musical folklore of different peoples. At the same time, the educational and concert repertoire of saxophonists includes a rather limited list of works, which focus on a wide range of folklore samples. Therefore, the most important task of our study was to substantiate the features of musical adaptation and arrangement of different types of song and dance folklore for saxophonists.
It should be stressed that folk songs of China reflect daily life of the population of different provinces, their thoughts, customs, rituals, history, glorify the heroic deeds of real and mythological heroes, depict the beauty of natural phenomena, the poetics of mountain and plain landscapes. Therefore, folk songs can be an inexhaustible source of inspiration for future masters of musical art in the search for musical samples for musical adaptation and arrangement. Appeal to folk songs, mastering the enchanting beauty of their melodies, the infinity of variety of plots, features of mode and metro-rhythmic constructions and comprehension of options for creating musical forms of musical adaptations and arrangements attracted attention of future masters of musical art during experimental work carried out in the scientific laboratory of Music Art and Choreography Department of State institution "South Ukrainian National Pedagogical University named after K.D. Ushyn-sky".
During the discussions at the meetings of the scientific laboratory, the characteristic features of Chinese folk songs were identified, namely: monody, the use of pentatonic or twelve-tone pitch system, change of rhythms, periodic variability of size. In the process of adapting and arranging folk songs, choosing means of expression of different musical instruments for future masters of musical art it is important to understand mentality of the peoples of different provinces of China, differences in their worldview, psychology, ways of reflecting the outside world in songs and understanding worldview values. It has been found out that the specifics of creating instrumental arrangements, as well as their performance is determined by the individual refraction of metro-rhythmic and intonation features of folk songs of different provinces, finding individual texture, harmonic and sonor solutions.
In general, Chinese folk songs are characterized by slow performance, hasteless presentation of events, slow and detailed description of characters' images, reproduction of a state of remote contemplation in depicting nature, contemplation of the Universe, glorification of feelings of joy of work, philosophizing about the meaning of life, dominance of the theme of unity of man with nature.
In our research, we used classification of Chinese folk songs by Yan Zhihao, who divided them into three groups.
The first group ) includes decisive, energetic labour songs with stable rhythmic patterns, because according to Chinese aesthetics, in the process of work melancholy moods and sadness are unacceptable.
The second group (Ш1Х) includes peasant songs with particularly beautiful and easy-to-remember melodies. Songs of this type are characterized by detailed descriptions of plot twists, a large number of characters, variability of emotional moods, which contributes to the freedom to change the pace, improvisation in the formation of melodic material and form. It is noted that peasant songs differ significantly in types of melodies, character and depend on the geographical place of their origin. All this affects the nature of instrumental adaptations and arrangements, the choice of instrument ranges for their performance, the types of textures and the scope of sonor effects.
The third group (Ф^) includes city songs. These are lyrical short melodies with various plots about the joy of the work, funny situations, beauty of night or mountain landscapes, etc. Urban songs are characterized by the use of melismatic ornaments, flexibility of mood swings, softness of performance with shades of tenderness and happiness. A common feature for all three types is dominance of philosophical reflections and images of nature over personal experiences [7, p. 77-79].
As a conclusion we'd like to state that the transcultural competence of the master of musical art is considered in our study as the ability to seek and find a new, supranational unity through music, which allows masters of musical art as teachers and performers to be in demand in any region of our planet.
In the process of musical adaptation and arranging folklore samples it is necessary to substantiate the choice of ranges of a certain instrument (piano, saxophone, violin), types of textural presentation and sonor effects.
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TRAINING OF STUDENTS-FOREIGNERS FOR LICENSING INTEGRATED EXAM «KROK 2.
MEDICINE»
Haras M.,
Associate Professor of Pediatrics and Pediatric Infectious Diseases Department of Higher State Educational
Establishment "Bukovinian State Medical University "
Savka Iv.,
Professor of Forensic Medicine and Medical Law Department of Higher State Educational Establishment "Bukovinian State Medical University" Pudiak H.,
Assistant ofInternal Medicine and Infectious Diseases Department of Higher State Educational Establishment
"Bukovinian State Medical University" Ostapchuk V.,
Assistant of Pediatrics and Medical Genetics Department of Higher State Educational Establishment "Bukovi-
nian State Medical University" Melnychuk S.
Associate Professor of Pharmacology Department of Higher State Educational Establishment
"Bukovinian State Medical University"
Abstract
The paper demonstrates the features of different options for preparing students of foreign countries for licensing integrated exams «Krok 2. Medicine» at the Medical University; the advantages, disadvantages and ways to improve written and remote diagnostic-training testing.
Keywords: medical education, remote learning, students, exam, testing training.
Key activities of higher education in Ukraine was the integration into common European educational space. Future projects in higher education aimed at creating a common open space of higher education, the development of European cooperation in the field of quality control of higher education, the adoption of system qualification levels "bachelor-master" and others. The main condition for the formation of a single European educational space, to which Ukraine has joined, is to improve the quality of higher medical education, bring it to the level of modern European standards and provide competitive opportunities. An important element of the internationalization of education is the mobility of students and teachers, which is carried out in the framework of trans-European educational programs, bilateral agreements between countries on cooperation in education, science and culture, interuniversity agreements on academic exchanges [1].
One of the current problems of modern higher school pedagogy is the improvement of organizational structure and methods of educational process management, which is associated with the use of traditional forms of learning, scientific organization of the educational process, and the introduction of new forms of teaching in the lecture course and practical classes [2].
Information and communication technologies constantly change the structure of the processes of teaching and submission of materials for students and provide new opportunities to use modern platforms for
learning. Therefore, computerization of educational process and the use of virtual forms of learning is one of the ways to improve its effectiveness. Modern technologies increase the flexibility of training that students can obtain access to knowledge regardless of time and geographical barriers. The development of information and communication technologies, rapid access to the latest information in various fields of human activities, as well as the opportunity to work collectively on common projects, despite the geographical location of the participants, with the help of innovative technologies that contribute to improving teaching and academic achievement of students. However, you need to remember that teachers need not only to formally submit the training material in electronic form but also to adapt it to perceive in a new way using technology [3].
An important component of the process of obtaining higher medical education in most countries is the procedure of an external independent system of assessment of knowledge, which is conducted periodically, after students pass a certain stage of training - Licensed Integrated Exam, which consists of "Krok 1" the quality of mastering by the student of basic higher medical education, "Krok 2" - complete medical education, and "Krok 3", which takes place at the stage of postgraduate medical education. Passing the external evaluation system is mandatory for continuing education [4].
