ANALYSIS OF RELIGIOUS ELEMENTS IN WESTERN POP MUSIC EDUCATION

Purpose of the study: The purpose of the article is to solve one of the urgent problems of education: the methodology of the formation of universal competences, which in universities of culture and art is solved due to such a discipline as world art culture. In Russian Federal Educational Standards of the new generation, special attention is paid to the new block of professional qualities of university graduates – universal competences. One of the universal competences is readiness for intercultural communication, which manifests itself in the ability to analyze and consider the diversity of culture in the process of intercultural interaction.
 Methodology: To achieve the set goal, the authors based their work on the methodology synthesizing the experience of the Berlin School of Comparative Musicology (E. Hornbostel, K. Sachs), the traditions of world ethnomusicology (A. Lomax, A. Merriam, J. Blaking, M. Hood), culturological approach to education (V. Kanke), as well as a multicultural methodological approach. These pedagogical technologies ensure the efficiency of forming the universal competence of university graduates.
 Main Findings: The main conclusions of the study are as follows. The modern world is not conceivable outside the multicultural paradigm of development. Therefore, close attention is paid to the formation of the universal competence of intercultural communication. This quality of human personality is necessary for solving many world conflicts and problems. Experts in the field of culture and art are able to solve this problem due to their professional competence.
 Applications of this study: The research results can be useful in the field of scientific and methodological development of university disciplines, development of state policy in the field of education and culture, as well as scientific research on international relations in the field of culture, education, and art.
 Novelty/Originality of this study: The novelty of the research consists in the idea that expanding one’s understanding of the most important categories of worldview by overcoming Eurocentric restrictions to form universal competencies requires acquisition of the spiritual continuum and artistic conventions of other cultures, which is impossible without conscious effort, need for artistic and aesthetic self-improvement and desire to master practical activities in various fields of art. Any manifestation of culture is a reflection of the type of thinking. Therefore, the introduction to the multicultural traditions leads to the development of different types of thinking and identification of common and particular features, resulting in the development of universal thinking and cognitive techniques in the field of humanitarian knowledge.

As an artistic style, pop music belongs to the category of social culture. From the perspective of the "pop" concept of pop music, pop music must be a music form that conforms to the times and can reflect the flavor of the times. Based on this, the development of pop music is bound to be affected by the social and political environment, the constraints of economic development, and the impact of history and culture. Since the 21st century, China's economy and comprehensive strength have developed rapidly, and the cultural field has also undergone great changes. Chinese pop music has become the mainstream music market in China. Pop music enriches people's daily life and provides a way to relieve pressure and relax. The development of Chinese pop music is crucial, and it is also a response to the comprehensive quality of the people. Pop music should adjust its development direction and indicators to meet the needs of the market, so that Chinese pop music can develop better.

Pop music education has become a new field in music education. Considering this, the short history of pop music in China makes it difficult to construct a comprehensive education system for this genre of music. Though creativity has become one of the most important elements discussed by music educators, there are insufficient references to creativity in pop music education. Therefore, this research explores teachers' and students' perspectives on the development of student creativity in pop music education at the Sichuan Conservatory of Music (SCM), a professional institution that established the first pop music department in China. Employing a qualitative approach, data from in-depth interviews with both teachers and students were analyzed. Findings demonstrated two main issues: a lack of professional faculty and insufficient academic events. This chapter proposes the improvement of academic conditions, including professional development opportunities and teaching modes to address issues of creativity in Chinese pop music education.

Abstract: The development of Chinese opera art, in modern times, has greatly changed with the times. Explaining the essence of Chinese opera and vocal music art from the Western modern hermeneutics and reception aesthetics theory is conducive to sorting out the development context and characteristics of Chinese opera in different times. At the same time, providing a systematic analysis method for modern opera and vocal music aesthetics promotes the aesthetic development of the art and contributes to the form innovation and technical refinement of domestic opera and vocal music art. The research starts with the theoretical analysis of hermeneutics and reception aesthetics and verifies and explores the development history of Chinese opera. The analysis of the artistic essence of opera and vocal music will be summarized mainly from the perspective of the object of the opera text and the subject of the aesthetic audience. The purpose of this research is to explain the essential characteristics of opera and vocal music art from the relationship between the subject and the object. Besides, it aims to examine the relationship between the understanding behavior of the masses and the creators and performers’ summary behavior for opera and vocal music art.

The interdisciplinary educational and mentoring course with a set of methodological multimedia materials for preparing young leaders in the field of culture, creative and digital technologies, “Catch the Future!” has been developed by the Research Institute of Social Systems at Lomonosov Moscow State University with the support of the Presidential Fund for Cultural Initiatives. The theoretical foundation of the course is based on the fundamental laws and rules of the theory of strategy and the methodology of strategizing developed by Professor Vladimir L. Kvint, including concepts of the social, active, creative, and leadership nature of an individual. The use of the knowledge and skills acquired through the course will enable the effective and meaningful implementation of projects in the field of culture, art and creative industries. The educational course “Catch the Future!” is part of the elective component of the system of additional professional education and aims to contribute to the growth of quantitative and qualitative indicators of the national economy through the acquisition of competencies in digital technologies by specialists in the field of creative industries. The disciplines of the working program have been reviewed and tested during test lectures, seminars and practical classes at educational centers and faculties of Lomonosov Moscow State University. The textbook will be beneficial for senior students of higher education institutions, primarily, creative specialties, as well as professionals in the fields of art, culture, and creative industries.

The article analyzes the principles of formation of axiological competence of specialists in the field of culture and art, briefly considers the existing approaches to theoretical and practical training of specialists in the field of culture and art, as well as the problem of their professional development. The influence of professional training on the formation of students' spiritual values during the internship and readiness for further creative activity is determined. The formation of axiological competence of future specialists in the field of culture and arts depends on the ways of organizing educational and cognitive activities, personal position of the teacher, the introduction of interactive forms of work, innovative methods and teaching aids. It is valuable that in the modern art educational environment, future specialists in the field of culture and arts perform the functions of information translators, organizers and managers of cultural and artistic events. According to this approach, the goal of professional departments of higher education in the field of art ought be prepare students to study and substantiate the facts seen by artists and creative personalities, and what they felt in the process of creating works of art, music, art, theater and choreography. The formation of axiological competence occurs under the use of innovative methods that provide optimal opportunities to achieve educational and creative goals, namely: the method of illustration of musical art, musical generalization, contrast and comparison, interpretation of musical art, empathy, observation of musical action, emotional influence, etc. The effectiveness of axiological competence largely depends on the availability of quality musical instruments, source base, use of computer programs and «cloud» services, multimedia in the study of professional and varied disciplines aimed at training future professionals in culture and arts. Key words: competence, axiological competence, spirituality, specialists in the field of culture and arts, theoretical and practical training

It is determined that the effectiveness of a work of art consists in its ability to express complex ideas using an emotionally saturated and culturally significant form. This method is able to transform abstract concepts into concrete, emotionally meaningful experiences that not only inspire action, but also contribute to deeper consumer engagement. It is clarified that works of art have a unique ability to convey complex ideas and emotions, which makes them a powerful tool in marketing and communication due to: metaphorical power; emotional resonance; cultural relevance; visual impact; ability to innovate. In the classical model, which corresponds to the reality of commercial organizations, the components should be considered as a certain sequence, the starting point of which is the “market”. Each subsequent component in this sequence, from product development to customer service, is in constant interaction with the market, adapting to its changes and influencing it in response. The article presents a marketing model of organizations’ activities in the field of culture, which, unlike the classical model, has the same components as the usual process of launching to the market, in general, the process of launching to the market used by organizations in the field of art is focused on the final product. The active introduction of all elements of the marketing technology complex by enterprises, organizations and institutions in the field of art and culture will improve the quality of services provided by each business entity in the field of art and culture, as well as enable the entire socio-cultural services market to move to a new stage of development and meet the needs of the population to the greatest extent.

The development of new teaching methods is an important condition that increases the universal and professional competence of future professionals, which in turn accelerates the process of postgraduate adaptation in the professional communities of culture and art. The aim of the study is to develop methodological principles and techniques for effective teaching of art students. The article reevaluates the fundamental techniques of higher education, focusing on the role of a teacher and student in this process. As a result, we provided a theoretical summary of the experience of teaching disciplines in the field of art and culture. Based on the system-activity approach and human-personal pedagogy research, the study showed the effectiveness of the business game as an interactive method of learning in a rapidly changing socio-cultural environment. We also determined the features and basic pedagogical principles of organizing and conducting business game. The study demonstrated the strengths of business game as an imitative collective game method of active learning in work with students studying art history disciplines. A new form of business game for the disciplines of art history cycle was put forward. We argues that the acquired knowledge and skills meet the needs of professional communities in regards to the competences of young professionals in the field of culture and arts.

During the last one hundred years, MENC: The National Association for Music Education has provided immeasurable support for American music educators. Although a central tenet of MENC's philosophy has been to promote music education as key in the cognitive development of the very young, few researchers have documented its role in early childhood music education. Alvarez, in her doctoral dissertation, Preschool Education and Research on the Musical Development of Preschool Children: 1900 to 1980, provides comprehensive details of early childhood music education during that time period--including the role of MENC. Because the last twenty-five years remain largely unexamined, the purpose of this research was to examine the role MENC has taken in developing early childhood music education in the United States between 1980 and 2007. Examining the last quarter century has shown that MENC has supported early childhood music learning and teaching in at least two ways: (1) advocating for music education in early childhood, and (2) providing structural support through facilitating research, publication, and practice. In this paper, we will provide a brief background of the socio-political circumstances that encouraged MENC to adopt specific positions regarding music education for the very young, and describe MENC's activity associated with both categories. Music and Preschool Education Since World War II During the 20th century, social and economic changes enacted by the federal government significantly affected the nature and quality of music education for preschoolers. As the latter part of the century saw increased enrollment in preschool programs, accompanied by decreased federal funding for these services, MENC began to adopt official positions regarding early childhood music education. The increase in dual-worker families in the years following World War II meant that more childcare was needed. In order to assist children of these families, Congress proposed and enacted several financial initiatives between 1950 and 1980. One of the most significant, the Economic Opportunity Act (1964), (2) appropriated federal funding for 1,676 Head Start facilities, serving 375,842 children. (3) Between 1964 and 1978, the percentage of the 3-4 year-old population enrolled in childcare programs--including Head Start--rose from 10 percent to 30 percent for white students, and 10 percent to 40 percent for non-white students. That increase may be partially explained by a parallel increase in the number of females in the labor force according to U.S. Census reports, but the data are far from conclusive. (4) The most significant appropriation of federal funds for childcare during the latter part of the century came from Title XX of the 1974 Social Service Amendments, which appropriated more than $700 million yearly for child care and child neglect services. (5) For many states, such funds became the sole means of federally subsidized childcare available, and therefore their only way to expose children to structured music education. The funding did not last, as the economic recession of the late 1970s pressured lawmakers to use federal funding for social programs in the most efficient way, forcing them to reexamine Title XX. In 1981, the Social Services Block Grant (SSBG) replaced Title XX as the appropriations vehicle for many social services, including childcare. While the SSBG allowed individual states more freedom in determining how funds could be used, it decreased the level of authorized funding by 20 percent--from $2.9 billion to $2.4 billion--and eliminated $200 million earmarked for childcare, a trend that continued during next two decades. Federal funding for childcare and other services from the SSBG was reduced by 58 percent, from $6.626 billion in 1981 to $2.8 billion in 1994 dollars. (6) MENC Advocating Early Childhood Music Education As enrollment in early childhood music education programs increased and support funding decreased, government relations and advocacy for arts education became a necessary cornerstone of activity for MENC. …

At the present stage ofsocial development, in difficult conditions that slow down the process of transformation and modernization of all spheres of modern life, there are new requirements for art in general and for the role of an art manager in modern sociocultural activity. It is the art managers who are responsible for the formation of the modern concept of the development of Ukrainian culture and art, their elevation to a new qualitative level, aesthetic education of youth and society as a whole. The purpose of the article is to study the concept of "art management" and the role of the personality of the art manager as the most important subject of socio-cultural activity, which regulates and ensures the management system and develops a development strategy in the field of culture and art. It was revealed that the basis of art management is the organization of the sphere of culture and art, the effectiveness of which depends on the correctly found management model, as well as the personality and professional level of the leader. The art manager is the most important subject of socio-cultural activity, which provides, controls and regulates the management process in the field of culture and art, aimed at solving the tasks of: preservation and development of artistic creativity; multiplication of spiritual, moral, aesthetic, educational, cultural and educational and patriotic values; creation, presentation and promotion of an artistic product in the socio-cultural environment of society. It is substantiated that a modern manager in the field of art must: be able to see the creative potential of an artist, develop and use the artist's talent in his own interests and the interests of the artist; navigate in modern cultural policy; master the basics of business etiquette, including the art of self-presentation; form a team of professionals around you to implement all stages of your activity, be able to infect others with your ideas; have strong energy and maintain self-control in any life situations.

The article examines regional folklore as a field of interaction between academic musical culture in the Far East of Russia and China. The beginning of the systematic study of the academic musical culture of the Russian Far East is associated with the formation of the regional creative association of composers of the Far East (Union of Composers), which is succeeded today by the Far Eastern Branch of the Union of Composers of Russia. The article notes the multi-ethnicity of the region and the special role of the “dialogue of cultures” in the composers’ works. The author analyzes the culture of indigenous peoples and the East Slavic migratory culture of the Russian Far East, as well as the original culture of the countries of the Asia-Pacific region outside the Russian borders. There is highlighted the commonality of some features of the traditional Far Eastern folklore of Russia and China. The article considers the concept of “academic musical culture”, which includes the composers’ works successively connected with the foundations of Western European music formed in the period of the 17th—19th centuries, the composers’ works of the 20th century, including modern techniques, the musical performance, musical performance infrastructure, educational space and academic musicology.The paper highlights the composers of the region, the main focus of their work, the researchers of the academic musical culture of the region, whose works are significant in understanding the processes of development of modern national musical culture. The article covers the Chinese academic compositional works known in Russia, as well as the range of scientific interests of Russian researchers-orientalists and researchers of musical culture from China.There is recognized the need for cultural understanding of the stated problem through the study of academic music art, traditional music culture, music science, and music education. The author interprets the role of music and computer technologies in musical culture and education in the Far East of Russia and China as the most important component for interaction in the field of academic musical culture, focuses on the problems of informatization of modern music education.The article draws a conclusion about the unique experience of composing in China based on the traditional music of the Russian Far East. The pentatonic basis of Chinese music is especially distinguished as being close to the modal organization of the music of Far Eastern ethnic groups, which is also the basis of the folklore music of Russian Far Eastern composers. The author sees such a palatal proximity as a basis for the interaction of the cultures of the Far Eastern region. The article recognizes this aspect as important from the point of view of creating an integral multicultural space based on the principles of humanism.

The article deals with the self-education of future specialists in the field of culture and art within the context of philosophical, psychological, and pedagogical studies of the postmodern era. This substantiates the need to use e-learning in professional training. The use of cloud computing technologies is one of the educational process’ innovations. As shown by our research and personal experience implementing cloud computing technologies into the educational process proves to be feasible for training future professionals in the field of culture and art, including their self-education. The article shows that the aim of self-education of the future professionals in the field of culture and art is personal and professional perfection, and also achievement, at the maximum possible level, of the creative ideal. Today their professional training is focused on self-perfection, ability to self-educate, skill to foresee the consequences of their professional activity and search for the new ways to solve their professional tasks using ICT. The article justifies that cloud computing technologies allow spreading content in the Internet, they facilitate posting the text messages, photographs, pictures and musical files. Accessibility, openness, interactivity of the cloud computing technologies cause their wide use for both on-line and off-line communication, data sharing of text, multimedia and audio resources for all participants of the educational process that enriches the self-education of future professionals in the field of culture and art and makes it rich in content, practically-oriented and enhances professional competence. The article concludes that e-learning best meets methodological requirements of the postmodern society.

An essential factor in music education is a competent selection of the performing repertoire, which contributes to a better achievement of the required level of musical development. In turn, the question of forming a pedagogical repertoire depends largely on the skills of its analysis, the ability to assess the artistic and technical complexity of the works performed. At the beginning of the third millennium, the demands for a pedagogical process in the whole and in the field of culture and art in particular increased significantly. In the context of the transformation processes of the art education system, considerable emphasis is placed on the professional training of the personnel of the field of culture and art. Like all components of art and aesthetic education, performing is one of the important factors in reflecting the centuries, as past centuries life experience, wisdom and beauty of an ethnic group. Ukrainian thinkers and artists play the role in preserving and fostering cultures, moral aesthetic and ethical values. If we talk about the preparation of performers in the field of musical art, we note that the quality of the final artistic result is a properly selected performing repertoire. Thus, the problem of selection of pedagogical repertoire as the basis of qualitative preparation of musician in the process of performing activity remains relevant today. When addressing the problems of musical education, scientists’ attention is mainly focused on the theoretical foundations of the performers’ reparation, and on the psychological and pedagogical conditions of the creative individuality formation. However, the preparation of skilled performers is impossible without knowledge of the components and all the spectra of the specificity of the selection of the performing repertoire. The paper deals with the essence and means of approach to solving the problems of selection of the performing repertoire, which is of great importance in the realization of the tasks of the pedagogical process in forming the independent creative personality of the performer.

The problem and the aim. The training of specialists in the field of cultural studies implies the use of immersive technologies in the formation of demanded professional competencies of graduates in accordance with their future labor functions and international aspects of cultural policy. The purpose of research is to identify the features of the usage of augmented reality technology in the training of specialists in the field of culture and art to improve the quality of their training. Research methods. The methodology is based on an analysis of the potential of augmented reality technology for higher education, support for UNESCO initiatives, and the training of specialists in the field of culture. When developing a system of tasks in the environment of augmented reality, demands of professional standards for specialists in the field of art, the strategy of state cultural policy in Russia were considered. The SketchAR application, with which a user manipulates virtual images on a surface in the real world is used. 92 students of Vyatka State University (Russian Federation). AR applications were included in the study of the disciplines "Modern Digital Technologies", "Media Culture", "Media Education" and students’ practice. The authors have developed materials for a control test, including 40 tasks. The statistical data processing used Pearson's χ2 (chi-square) test. Results. The usage of AR in the experimental group is implemented according to the algorithm: the stage of checking the technical support and testing the operation of the camera; the stage of studying the interface, functionality; stage of AR application in classes "Media culture," "Media education"; stage of implementation of AR projects within the framework of introductory and educational practices. Statistically significant differences in qualitative changes in the pedagogical system have been identified (χ2 = 6,821; p < 0,05). In conclusion describes the peculiarities of the use of augmented reality technology in the activities of cultural scientists (visualization of information, establishment of time and emotional connections, etc.) are presented. The difficulties of the proposed innovations are formulated: high cost, technical failures of equipment in cultural institutions.

The close relationship between music cultural inheritance and the development of college music education is that the music education would guarantee the social value and impetus to music culture.Based on the analyses on the connotations of music culture and education, this paper pointed out the correlation between music cultural inheritance and college music education to explore the development routes which includes reforming curriculum to have diversified education, improving music cultural ideology to arouse the enthusiasm of learning and optimizing the faculty to carry forward orthodox music culture. Connotations of music culture and music education