ETHICAL PRINCIPLES OF DEVELOPMENT OF MODERN COLLEGE ORGANIZATIONAL CULTURE

The article considers the features of ethics and ethical relations in the development of the organizational culture of the college. It is emphasized that adherence to organizational culture, which is the moral and ethical side of the activity, the ability to achieve goals without violating the norms of morality is a characteristic feature of a successful educational organization. The conditions for the development of the organizational culture of the college are determined, in particular, the development of ethical norms in the system of organizational culture and taking into account the peculiarities of the adoption of ethical standards, are the inclusion of ethical standards in the strategy of the educational organization, documentation support of normative sources and information support of the ethical and moral principles of the college. An indicative college development program is considered in terms of establishing ethical standards, aimed at meeting the needs of the individual in intellectual, cultural, and moral development, compliance with the requirements of the teacher's job description, strengthening the social significance of the teaching profession, educating a person with a humanistic outlook and high moral qualities. It is substantiated the ethical code as a document of a social contract within an educational organization, which can perform three main functions: reputational; management; developing, and also serve as a certain guarantee of fairness in interpersonal business relations. It is noted that the organization's code has an «instrumental» status, is a moral and practical means, presents and approves the moral vector and meaning of organizational culture, the means of implementing and realizing the «general spirit» and mission of the organization. It is concluded that in a college environment, the ethical principles of organizational culture contribute to the successful professional training of students, the formation of awareness of their civic position, the mastery of certain knowledge, the ability to acquire it, the ability to be honest, decent, loyal, reliable member of society; and also find your place in it, to work successfully and professionally, to benefit people and society as a whole.

VALUE POTENTIAL OF MUSIC TEACHERS’ ARTISTIC AND EDUCATIONAL ACTIVITY

The purpose of the article is to analyze the phenomenon of music teachers’ artistic and educational activity in the artistic and value context as well as projections for professional training. The integral content of such activity in the teaching profession is revealed in general, and its connection with the values of culture is considered. It is emphasized that art education covers all disciplines of professional music and pedagogical training. At the same time, the tasks of the particular discipline always are in the centre of the solution of problems of other disciplines. Moreover, the place of education in life and work of prominent artists and teachers of Ukraine, China, and other countries is indicated. The role of poly-artistic training of music teachers as a basis for the formation of artistic values is emphasized. The requirements of artistic and educational activity for professional training of music teachers are outlined as the following: attitude towards educational activity, self-development of cultural skills, mastery of information space, development of performing skills, mastering the techniques of verbal and nonverbal communication with the audience. The article specifies the essence of music teacher’s artistic and educational activity as a purposeful permanent process that integrates various components of artistic cognition. The interdependent vectors of professional training of music students are formulated. They are the following: a directed influence on artistic values of others and conscious enrichment of one’s own artistic value sphere. The potential of music teacher’s artistic and educational activity as a foundation and reference point for acquiring personal artistic values is revealed, which includes motivation to expand general artistic erudition, the possibility of holistic practice-oriented immersion in art, presentation of the results of artistic search, and self-presentation.

FORMS OF LEISURE ACTIVITIES ORGANIZATION IN THE CHILDREN'S HEALTH AND LEISURE INSTITUTIONS

The article substantiates the importance of leisure activities in children’s health and leisure institution. The functioning of this type of institution takes place in a new, changed environment of a child and determines the search for interesting forms of leisure activities organization, which today is an essential component of the educational process in the children’s health and leisure institution. Increasing the amount of a child’s free time of who came on vacation involves the consumption of cultural and artistic values, acquaintance with various activities that are new to them, communication in a temporary children’s group, participation in art and sports activities, community service, self-education, etc. Accordingly, it determines the pedagogues’ attention to leisure activities, to issues of its organization and content, in particular to the volume and structural content, the use of certain organizational forms. Taking into account in the work of the children’s health and leisure institution various concepts of leisure (quantitative, activity, leisure as a psychological state), their combination and usage allow considering leisure in the context of a long period aimed at various activities in a child’s psychologically positive, and comfortable state. All activities have leisure potential and are aimed at developing the artistic, organizational, leadership potential of the individual. The system of educational dimension in the children’s health and leisure institution should provide for the functioning of various organizational forms of work, including art grounds, studios, art workshops, clubs of various directions, which will allow the child to choose a probable action and realize their aesthetic, artistic and sports needs in various activities.

ANTONIO SALIERI PEDAGOGICAL SCHOOL

The article deals with the pedagogical school of Antonio Salieri, which was formed in the last quarter of the eighteenth – first quarter of the nineteenth centuries. This school was an artistic phenomenon, given that A. Salieri taught not only one instrument, but a whole set of musical disciplines (composition, counterpoint, conducting, solo and choral singing, harpsichord, stringed instruments, etc.). A. Salieri's School is also unique because of the highest professional level preparation of a whole plaid of talented and even brilliant musicians - Ludwig Beethoven, Franz Schubert, Johann Nepomuk Gummel Franz Xaver Süsmayr, Anselm Hüttenbrüsner, Ignaz Carlethal Moscheles. Cavalieri, Anna Milder-Hauntmann, Anna Kraus-Vranitsky, etc. Based on sources and scientific works, the author of the article argues that the contribution of A. Salieri to the music pedagogy of the eighteenth and nineteenth centuries is invaluable. Antonio Salieri's pedagogical legacy is a unique phenomenon – he taught composition, instrumentation, instrument, vocals, counterpoint, homophony, polyphony, and most importantly - musical thinking. Many ingenious composers have left a unique legacy, but not many of them can boast of such a large number of students who have shown themselves in all spheres of musical life in the European world. We will not be mistaken when we say that Antonio Salіeri was unique in this. It is unlikely that the pedagogical legacy of another great musician will include pedagogue and methodologist Johann Nepomuk Hummel, the genius composer of all ages L. Beethoven, one of the first romantics – F. Schubert, vocalists - "opera stars'' Catherine Valba-Kanz, Fortunate Franquette, Amalia Josef-Mozatta. And this list can go on and on because the total number is over sixty.

SOME HISTORICAL ASPECTS FORMATION OF MODERN CHOREOGRAPHY

The article traces the historical stages of the emergence and development of modern choreography, its main directions, the influence of outstanding choreographers on the development of the plastic language of modern dance. It is noted that modern dance and its many and varied styles, types, forms arouse interest and the most controversial reactions from both the viewer and the critic. The concept of "modern choreography" was used and was relevant at every stage of the historical development of dance. In this or that historical period, dance was considered innovative and in line with the spirit of its time. Particular attention is paid to modern dance in the article. It incorporated both the aesthetic principles of the early 20th century and the further transformation of the modern dance of the second half of the 20th - early 21st centuries. The work also explores the emergence of the theory of movement, which appeared at the turn of the 19th - 20th centuries. However, despite the absence of a system of choreographic structure, tools for its analysis have already been proposed. This dance did not have a specific form and was aimed at conveying a person's spiritual state. In parallel with the birth of modern dance, new views on its perspectives were framed. The innovators sought to minimize the importance of costume, music, and decoration while maximizing lexical material and depth of thought, which rejected any canons of dance composition. It marked the beginning of a new era - the postmodern era, in which modern choreography evolves, moves in search of new forms and means of expression, changes, creating a new vocabulary, artistic symbols, and understandable signs.

ONLINE LEARNING IN THE POST-COVID EDUCATIONAL SPACE OF PEDAGOGICAL HIGHER EDUCATION

The article highlights the issues related to the need of introducing online education as an innovative form of learning in the post-COVID educational space of pedagogical educational establishments, mastering which becomes the basis for the development of specific elements of digital competence of future specialists. It was stated that in finding ways to solve problems in the system of pedagogical higher education caused by the COVID-19 pandemic and its probable continuation over a long period, scientists stressed the need to respond immediately to new circumstances and introduce distance learning using various web servers, platforms and resources, and social networks. Given the analysis of scientific sources and the results of expert verification of the feasibility of using digital assistive devices during the transition to distance learning related to quarantine measures, it is confirmed that most scientists from the world-leading universities have confirmed the effectiveness of combining common forms of offline learning with distance learning on the online platform and supported the introduction of blended learning in the post-COVID educational space of higher education institutions. The use of online learning in the post-COVID educational space of pedagogical institutions of higher education, regardless of the format of its receiving (online or offline), is standardized at the national level and confirmed in the documents of the State Education Quality Service of Ukraine. The content and forms of the distantly conducted classes are presented in the example of art subjects. Not only does it cause the change of teaching technologies in the art educational space of higher education institutions, but it also becomes an essential factor in improving the professional culture of a modern music teacher.

INTERACTION OF PSYCHOLOGIST AND COACH IN THE PROCESS OF PROFESSIONAL ACTIVITY

To achieve success, each sport requires an excellent state of formation of physical and mental qualities. In the case when the sports training of athletes is at the same level, the main and decisive moment for winning the competition is psychological readiness. Athletes are trained in different areas, but very often the inability to cope with their emotions can lead to defeat, despite years of training. With the active participation of a psychologist in the training process, it becomes possible to characterize the individual characteristics of the athlete, the formation and development of mental qualities necessary for victory. One of the activities of a sports psychologist is the timeliness of determining the features of the psyche, the development of an individual plan for the development of abilities, strategies for pre-competitive and competitive behavior. Psychodiagnostics plays an important role in the development of the athlete's personality and further activities of the coach. Thanks to psychodiagnostics there is a formation of psychological and pedagogical and psychohygienic recommendations, planning of system of actions on athletes. Psychodiagnostics aims to study the athlete. In this process, the coach helps to objectively assess the personality of the athlete. Psychohygienic recommendations of a psychologist and a coach are closely related. After all, in the system "coach-athlete-psychologist" they directly affect the mental state of the athlete. There are many examples in the history of sports when a timely word, pause, gesture, support decided the fate of persistent confrontation. Every athlete in his professional career goes through crisis periods, which are caused by various reasons: defeat in the competition, transition to another team, change of coach, problems in personal life. Diversity in the work of the coach, the importance of a number of auxiliary functions in the work of the latter (administration, regulation, management) does not allow to adequately assess the problems and troubles of the athlete as a person. This is the task of a sports psychologist - to create an atmosphere of complete trust and mutual understanding, to establish contact with the athlete to reveal personal problems, which will effectively affect his condition, help the athlete understand their problems, find a way out of difficult situations sports achievements.

COMPARATIVE ANALYSIS OF FUTURE FOREIGN LANGUAGE TEACHERS’ INDEPENDENT LEARNING ORGANIZATION IN UKRAINE AND GREAT BRITAIN

The article presents a comparative analysis of the experience of organizing future foreign language teachers’ independent learning in higher education institutions of Ukraine and Great Britain. It is highlighted that organization of independent learning has common and distinctive features.

CURRENT TRENDS OF TEACHER TRAINING IN UKRAINIAN ABROAD

The article analyzes the modernization processes in the modern education system of Ukraine, primarily in the formation of its pedagogical potential. The expediency of using in this sphere the achievements of foreign states in which Ukrainians live is substantiated. It has been proved that the most significant experience in training pedagogical staff for the Ukrainian schooling system in the diaspora has been developed in Canada. It is carried out by universities and university colleges. It is established that their educational and professional programs include academic courses, professional courses, and practical activities at school (educational practice). The task of these courses is to provide future teachers with knowledge of the subjects they will teach at school. The curricula include mandatory fundamental disciplines (development of children/adolescents, education of children with special needs, methods of teaching different subjects, theory of learning, etc.) and optional courses of professional direction offered by universities. The peculiarities of training teachers of Ukrainian disciplines in Alberta, Saskatchewan, and Toronto universities and the organization of their further professional growth by public institutions of Canadian Ukrainians are analyzed. It was established that Ukrainian studies in Canadian universities have a degree structure of training specialists and cover three levels: Bachelor, Master, and Ph.D. However, different universities have different Ukrainian language training programs and, accordingly, their graduates have various opportunities for further employment. It was found that postgraduate education and professional growth of Ukrainian school teachers are provided by public organizations of foreign Ukrainians (World Coordinating Educational Council, Congress of Ukrainians of Canada, School Councils, etc.). They organize summer teacher training courses, seminars, webinars, online training, etc. The ideas of foreign experience, which it is advisable to creatively implement in the activities of institutions of higher pedagogical education in Ukraine, are distinguished.

CULTURAL MODEL OF SCHOOLCHILDREN’S AESTHETIC EDUCATION BY MEANS OF BALL CHOREOGRAPHY

The article suggests that due to the structural characteristics of the cultural model of schoolchildren’s aesthetic education by means of ball choreography, the main components were identified as cultural positions of ball choreography, means of ball choreography, and criteria of aesthetic education of schoolchildren in ball choreography. There are given the structural components of the cultural model of aesthetic education of schoolchildren by means of ball choreography, that are functioning within two regulatory bases – the functioning of informal choreographic education and the importance of subjects of the artistic and aesthetic cycle in the invariant part of secondary schools’ curricula. The first component is the cultural creation of personality, which will be considered as a process in the context of ball choreography. Active involvement of students in ball choreography is one of the ways of their personal emotional development and aesthetic growth. Communication with the art of choreography, music, physical development, expansion of aesthetic horizons, the formation of a culture of relationships (personal and public) become a basis for the cultural formation of the high school student within the process of ball choreography. The second component of the cultural positions of ball choreography is the cultural formation of the dancer. Education of the ball choreographer involves the creation of an appropriate creative artistic environment in which the teenager will constantly feel the need for personal, creative, and aesthetic self-realization. The third component of the cultural positions of ball choreography is the cultural formation of the artist-choreographer. Defining this position, we realize that high school students of ball choreography at a certain stage of their aesthetic development create a desire to turn this hobby into a profession. In the context of this idea, it is advisable to organize specialized art (choreographic) education within general secondary education. Despite the fact that underage dancers do not yet have a professional choreographic education, they can fully meet the set standards for a ball choreographer. The next block of our cultural model, which we define is means of ball choreography. Analyzing the functionality of the means of choreographic art, we focused on the following components: music, choreographic text, choreographic drawing, stage choreography, and choreographic drama.