scholarly journals The specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)

2019 ◽  
Vol 17 (17) ◽  
pp. 90-102
Author(s):  
A. Fedenko
Keyword(s):  
Performing Arts ◽  
Sound Production ◽  
Ethnic Origin ◽  
Professional Activity ◽  
Vocal Performance ◽  
Vocal Technique ◽  
Sound Amplification ◽  
High Level ◽  
Rock Opera ◽  
The Voice

Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musicals and rock operas raises an urgent need for its consideration. Phenomenological analysis of the vocal and stage creativity of the actress Nataliya Sumska, namely, her stage works in rock operas “Eneida by Serhii Bedusenko based on the poem-burlesque by I. Kotliarevsky, “Bila Vorona” “(The White Crow”) by Genadii Tatarchenko and Yurii Rybchynskyi and “Nezrivnianna” (“The Incomparable”) Musical, based on the famous play by Peter Quilter (the composer Ivan Nebesnyi) are the material of this study. Objectives. The purpose of the article is to investigate the performing principles and vocal techniques that contribute to the embodiment of contentemotional female images characteristics in contemporary musicals and rock operas on the example of Nataliya Sumska’s acting creativity. The results of the study. The success of the Nataliya Sumska stage activity is closely related to the actress’ high level of vocal skills. Didona’s role in the rock opera “Eneida” has required from the performer a whole range of professional skills, first of all, vocal – that is, acting universalism. The vocal and stage image created by Nataliya Sumska is realized through singing, which organically combines the traditions of folk-song performance with the best achievements of the national academic and variety performing arts. The dominance of “folk” color in the sound of the voice is one of the creative tasks that the author of the rock opera sets before the actress. The bright individual “synthesizing” vocal and performing style is the original combination of ethnic origin with jazz and pop rhythms and harmonies offered by the composer, made the unique image of Didona by N. Sumska’s performance. Thus, a perfect actress’s mastery of different singing styles and the ability to use her own voice to achieve high artistic output is of great value, as composers in rock operas and musicals are constantly performing acts of styling. In the role of Jeanne d’Arc from the Ukrainian rock opera by Genadii Tatarchenko and Yurii Rybchynskyi’s “Bila Vorona” (“The White Crow”) the main features of N. Sumska’s art were clearly revealed, such as: great tragedy, heroic pathos and pathetics combined with lyric scourge and poetic sorrow. The stage techniques, by which N. Sumska created the image of Jeanne, were: enhanced sound supply and high dynamic tone of performance, expedient use of registers, expanded palette of sound dynamics and its filing (“filer un son”); going beyond the range of sound characteristic of academic vocal performance, the use of different singing styles and techniques; skillful presentation of intonation recitation gradations (from whisper to cry); possession of sound amplification equipment; maintaining a vocal line, subject to any nature of sound production; finally, acting is the ability to convey the character of the heroine through the voice, facial expressions, gestures, to make the viewer feel the pain and joy of her soul. Thus, Nataliya Sumska is fully capable of using the necessary means of artistic expression, various methods of performance, revealing the semantic and emotional content of the stage image and the work as a whole. In the “Nezrivnianna” (“The Incomparable”) Musical Nataliya Sumska embodied the comedic image of an American pianist who believed in her talent as an opera singer and one of the earliest representatives of “outsider music”. The actress brilliantly demonstrated that she was able to sing both “strictly past the notes” and only in “disgusting” voice, as her role required. She did not only change her voice for the horrific performance of operatic classics, but she was able to convey faith and belief in her own success to her Florence heroine. The actress was able to achieve great artistic power in the embodiment of the image, first of all, thanks to the mastery of vocal technique, as different modes of the larynx, specific techniques: conscious oscillation of sound, different attack power, accentuation of individual sounds, etc. Conclusions. Considered the creating specifics of vocal and stage image in contemporary rock operas and musicals by actress Nataliya Sumska, we came to the conclusion that vocal performance in modern rock operas and musicals poses special requirements for actresses. Modern musicals and rock opera demonstrate all possible polystylistic and polygenre syntheses, including the incorporation of folk and academic elements, and some genres of light music. The vocal part is complicated by changes in priorities in harmony, which is represented mainly by dissonant sounds. Accordingly, the melody of rock operas and musicals today is filled with unconventional unexpected intonations and lines, characteristic of metrorhythmic constructions. Conversational intonations, variety of singing manners and vocal techniques that form the basis of modern musical performances help to emphasize the emotional lines of the work. The presence of conversational dialogues, dance episodes with specific plasticity, the use of elements of the musical language of other cultures, a wide style range (from folklore to avant-garde, from Baroque stylings to jazz and smash hit), features of singing with a microphone – all this requires knowledge of specific acting and choreographic techniques, a good mastery of vocal technique, that is, all that constitutes professional acting universalism.

scholarly journals Interpretive properties of recitation in the vocalist’s performing arts

2020 ◽  
Vol 21 (21) ◽  
pp. 247-260
Author(s):  
Xiqui Zhang
Keyword(s):  
Performing Arts ◽  
Yellow River ◽  
Physical Phenomenon ◽  
Main Tool ◽  
Emotional Impact ◽  
Vocal Performance ◽  
Musical Drama ◽  
National Cultures ◽  
Text Content ◽  
The Voice

Background. One of the main positions of the vocalist’s practice is to understand the recitation as a kind of interpretation of the musical text, which is fixed in the notes. In the process of performing a piece of music, be it the song, the romance, the recitative, the aria in an opera or a musical drama, one specific variant is selected each time from its many potential meanings. This is the performer’s interpretation of the declamatory intonation, because the composer usually does not indicate the tone, timbre and strength of the voice, minimally orienting a singer in the desired intonation, in the duration and location of pauses for breath and in another wide arsenal of methods of declamatory expression. The aim of this research is to study the interpretive properties of recitation in the sphere of vocal music. Discovering the nature of the interpretive properties of declamatory intonation, based on the simultaneous and consistent sound of speech and music, will help to overcome the performance difficulties in the vocalist’s work on mastering the artistic technique of this area of expression. The main results. The specificity of the combination of words and music in the structure of melodic declamation, its origins in various national cultures, both European and Chinese, the peculiarities of being in different genre conditions (musical drama, opera recitative) are considered, certain difficulties and tasks for the singer-reciter are outlined. In European art, the tradition of melodic recitation has its roots in ancient mysteries. The beginning of European secular melodic recitation was marked at the end of the 16th century, but it was developing in the works of musicians known as the “Florentine Camerata” (Vincenzo Galilei, Giulio Cacchini, Jacopo Peri, Ottavio Rinuccini, etc.), becoming one of the origins of opera. A distinctive feature of melody recitation at that time was the desire for solo recitative singing. Later, as an expressive mean, recitation was existing within the opera genre, and from the middle of the 18 century in Europe, this technique was contributing to the formation of an independent concert genre – chamber and vocal works with ballad texts, which found their place in the works of romantic composers (F. Schubert, R. Schumann, etc.). Note, that in the process of historical development, the genre of melodic declamation, on the one hand, modifies in the form of a recitative in European opera, on the other – remains independent within the musical-stage drama, still popular in various national cultures. The Chinese Suzhou musical drama, which is indicative of our study, originated more than 200 years ago, beginning with folk melodies, including xiaochang (“little songs’), tales, dance movements, gestures (khuaguden dances – “with flowers, drums and lanterns’) etc., and gradually spread at the area near the city Suzhou in the lower Yellow River. It later spread to Anhui Province, the Northern parts of Jiangsu Province, and the Southern parts of Shandong Province. The creative achievements of this art, local at the beginning, later assimilated in the national Beijing Opera. But from its origins, this kind of musical and stage action is inextricably linked with the life of the Chinese people, is based on unpretentious plots, so it remains popular to this day, capable of significant emotional impact on the recipient – the audience and listener. Note, that the genre varieties of musical drama developed from the 16–17 centuries both, in China and in the different cultures of the European, American, and Asian continents, where they exist and today. This stability of the genre is not least due to the fact that in the structure of musical drama is an artistic synthesis of several types of art: the word interacts with music, live stage action. The melodic reciter in this context faces certain difficulties. So, one of the basic means of musical expression for the singer is diction, clear pronunciation of a word, which, in close connection with the melody, is subject to the task of transmitting the artistic content of the work – from composer to listener. It is impossible to convey the musical idea of the composition, to create a certain emotional mood, to embody one’s interpretation of the poetic image of the performed music without a clear proclamation of language inversions, which contain the significance of the immanent artistic content. This requirement does not apply to technical musical constructions used for singing, for “warming up” the singer’s vocal apparatus, nor does it apply to vocals performed without words. Every artist, including a vocalist who uses a verbal word, must understand its importance in creating a unique artistic image, consciously use diction as an articulatory technique of revealing the musical text content in the poetic context of chamber, opera, or musical-dramatic genres. Conclusions. So, verbal-musical factors of declamatory intonation have the immanent possibility of various interpretations in the process of vocal performance. Recitation is based on the expressiveness of the word, perceived by the listener or theatrical spectator on several levels: 1) auditory – we hear the intonation richness of shades of musical speech; 2) mental – we understand the logical meaning of texts; 3) psycho-emotional – with the help of imagination, fantasy, we sympathize with the moods, emotions of the heroes of the work of art. At the same time, the basis of interpretation in the art of singing is the voice as a physical phenomenon: it is not only a material carrier of speech sounds, but also the main tool for expressing musical meanings: the variety of voice sound modulations is inexhaustible. Therefore, the role of breathing in the process of clear proclamation of the word, diction in the process of vocal intonation is difficult to overestimate. It is necessary to emphasize the presence of constant transitions in the part of the performer-reciter from linguistic constructions to recitative and pure vocal. Mastering the techniques of correlation of singing and recitation is relevant for any vocalist, which caused an in-details study of this problem.

CHINESE TRADITIONAL ART — QUYI

2020 ◽  
Vol 1 (1) ◽  
pp. 134-136
Author(s):  
Wei Pengfei ◽  
◽  
Keyword(s):  
Performing Arts ◽  
Sound Production ◽  
Chinese Art ◽  
Vocal Performance ◽  
Cultural Significance ◽  
Historical Sources ◽  
Traditional Art ◽  
History Analysis ◽  
History Of ◽  
The Individual

The purpose of this article is to provide a comprehensive cultural and art history analysis of such a form of performing arts as Quyi, which has deep historical roots in China. Quyi art is endowed not only with a unique aesthetic function, but also has cultural significance and plays an important role in the history of China. Based on the study of historical sources, the article analyzes the traditions of vocal performance of Quyi, taking into account the cultural characteristics of certain regions of China and dialect differences, vocal variations, types of performing techniques, styles, schools, etc. Key objects of the review are the individual vocal schools and the typology of Quyi. In connection with changes in cultural trends and anatomical justifications of sound production, the author proposes an updated classification of schools and styles of traditional Chinese art, which represents an innovative approach to the theory of studying the debated form of vocal performance art. Currently, in the background of the rapidly developing society, the accumulation of knowledge, the improvement of the cultural level of the population as a whole and the development of vocal traditions don't look optimistic. Most young people in China are not familiar with this form of traditional art and identify Quyi with singing, dancing, and other forms of musical creativity. In connection with the above, the study and the systematization of information about Quyi are relevant for modern musicology.

scholarly journals The role and specificity of vocal-performing universalism (on the example of the activity at MC “The Kharkiv Regional Philharmonic Society”)

2019 ◽  
Vol 52 (52) ◽  
pp. 188-200
Author(s):  
V. Gigolayeva-Yurchenko
Keyword(s):  
Musical Instrument ◽  
Cultural Development ◽  
Necessary Condition ◽  
Professional Activity ◽  
Pop Music ◽  
Singing Voice ◽  
Vocal Technique ◽  
Vocal Apparatus ◽  
Quality Response ◽  
The Voice

The relevance of the topic. The dynamics of cultural development in the 21st century sets for the interpreter-vocalist tasks that require a quick and high-quality response to public inquiries (challenges of the time), on which the performing demand at a particular institution directly depends. MC “The Kharkiv Regional Philharmonic Society” is a concert organization, where, unlike the opera theatre, there are not clearly regulated genre priorities. Therefore, opera, jazz and even pop music organically coexist on the same stage. This genre and style diversity entails the need for the soloist to comply with the performing complex, which includes a number of requirements: the vocal-technical and stage freedom, the mastery of the art of improvisation (working with the audience), the vocal endurance, taking into account the repertory load (during one hour and a half). Last but not least, there are such criteria as the vocal-performing aesthetics, the ability for gender-performing transformation and the vocal-figurative reincarnation in one concert, etc. The purpose of the article is to substantiate the role of the phonopedic method for the development of a singing voice for developing the vocal-performing universalism in the conditions of the competition between genre-performing styles and the trends of the modern vocal culture. Analysis of recent research and publications. A great deal of interesting research and biographical works (I. Arkhipova, P. Domingo, S. Lemeshev, E. Nesterenko, B. Hmyrya, T. Madysheva,) is devoted to studying the specifics of the vocal-performing interpretation. The practicing teachers and scientists (L. Dmitriev, J. Lauri-Volpi, I. Nazarenko, V. Yushmanov) reveal the performing secrets, share their stage experience, meticulously identifying the nature and the possibilities of the voice apparatus, make historical excursions and acquaint with the vocal traditions of the past. However, none of the above scientific sources presents a systematic picture reflecting the vocal-performing process as a complex phenomenon. The author sees the indicated problem as relevant and requiring a multilateral discussion of specialists. The presentation of the main material. As of today, the professional activity of a vocal artist, regardless of the genre direction, faces very high requirements, the most important of which is the interpretative universalism. Its fundamental element is the vocal technique, the possession of which is the basic condition that ensures the singer a long and healthy professional life. However, up to the present, it is the vocal technique that continues to be an area of the open problem of the singing instrument, as a sound-forming object used by vocal performers to realize their artistic intentions and tasks. The key issue of the vocal method and one of the fundamental questions of the theory of the singing art, the psychophysics that controls the phonation process remains its unexplored area. According to V.I. Yushmanov, the technically perfect singing (or the vocal school) is a factor by which, first of all, the vocal mastery is evaluated, and the ability to sing, maintaining the phonetic clarity of vocal speech in combination with timbre rich, and at the same time bright, flying sound of the voice, steady dynamically and in the pitch on a range of at least two octaves – is one of the main requirements of the singing profession, the very necessary condition that provides the singer with the opportunity to realize their artistic intentions. But at the same time, the impossibility of separating the singing instrument from the singer himself/herself and the secrecy of the work of the control system of the singing process initially caused the emergence of the persistent illusion that, unlike instrumentalists, singers deal with the voice – perceived only acoustically (by the hearing). In this regard, the development of the vocal technique, called the “singing voice setting” must include a detailed study of the functional structure of the vocal apparatus, as a musical instrument, together with the psychophysical peculiarities. It should be noted that in the gender (male and female) and age (children, adolescents, adults) senses, the psychophysical peculiarities of the management of the vocal phonation process are diametrically opposed and require an individual approach in the vocal pedagogy. The methods of influence on psychophysics, which are responsible for managing the vocal phonation process, the principles of its flexible correction are presented in detail in the field of phonopedia and are successfully applied by vocal phonopedists. Unfortunately, the majority of the vocal-performing and phonopedic practices coexist in parallel and intersect only in critical cases (in case of functional disorders of the vocal apparatus). For ten years of my performing on the stage of the concert organization MC “The Kharkiv Regional Philharmonic Society” I have had a unique opportunity to try myself in different vocal genres and vocally reincarnate within the fames of even one concert. Such working conditions discipline, force to develop, and provide the opportunity to experiment and learn the professional foundations of singing with an even new power. And, of course, it would be impossible without the proper vocal and technical foundations, which should be constantly replenished and improved thanks to the knowledge of the phonopedic method of the voice development. The conclusion. On the example of the personal experience in chamber and concert performances it has been shown that the presented issues are relevant and deserve attention. The “tandem” of phonopedia and vocal theory not only opens new horizons for singers in their vocal-performing practice, but also shows the shortest way to mastering the singing and interpretive universalism.

About Innovative Content of Subject-Oriented Pedagogical Education

2019 ◽  
Vol 28 (10) ◽  
pp. 106-117
Author(s):  
R. M. Asadullin
Keyword(s):  
Teacher Education ◽  
Teacher Training ◽  
Educational Process ◽  
Professional Activity ◽  
Subject Knowledge ◽  
Technological Structure ◽  
State Pedagogical ◽  
High Level ◽  
Competencies Development

The continuous modernization of the education system makes the problems of the quality of teacher training increasingly relevant. Moreover, the measures taken to improve the system of teacher education are largely confined to the introduction of new organizational and managerial mechanisms and practically do not affect the internal content and technological structure of the teacher training process.Modern pedagogical universities are constantly looking for innovative models of training teachers that will be able to solve non-standard social and professional tasks. However, recent studies in this area do not fully take into account the nature of pedagogical activity and conditions of its formation. Thus, the need arises for a special study of the processes and means of updating the content and technologies of teacher training in order to control the level of students’ professional competencies development, as required by educational and professional standards. This means the creation of a special educational system in a pedagogical university, which can provide a harmonious and synchronous mastering by future specialists of both subject knowledge and methods of pedagogical activity.The article provides a theoretical study aimed at identifying key patterns of designing a new content for teacher education, the basis of which is the formation of a future teacher as a subject of his own professional activity. The author describes the experience of using a subject-oriented model of education, implemented at Bashkir State Pedagogical University n.a. M. Akmulla. The effectiveness of this model is confirmed by the high level of students’ mastery of designing methods and constructing the educational process, as well as their positive experience in the implementation of educational activities.

Quantitative indicators of air traffic controllers’ attitude to the danger of errors

2020 ◽  
pp. 68-78
Author(s):  
O. M. Reva ◽  
V. V. Kamyshin ◽  
S. P. Borsuk ◽  
V. A. Shulhin ◽  
A. V. Nevynitsyn
Keyword(s):  
Human Factor ◽  
Differential Method ◽  
Air Traffic ◽  
Professional Activity ◽  
Aviation Accidents ◽  
Air Traffic Controllers ◽  
The Difference ◽  
Level Of Significance ◽  
The Individual ◽  
High Level

The negative and persistent impact of the human factor on the statistics of aviation accidents and serious incidents makes proactive studies of the attitude of “front line” aviation operators (air traffic controllers, flight crewmembers) to dangerous actions or professional conditions as a key component of the current paradigm of ICAO safety concept. This “attitude” is determined through the indicators of the influence of the human factor on decision-making, which also include the systems of preferences of air traffic controllers on the indicators and characteristics of professional activity, illustrating both the individual perception of potential risks and dangers, and the peculiarities of generalized group thinking that have developed in a particular society. Preference systems are an ordered (ranked) series of n = 21 errors: from the most dangerous to the least dangerous and characterize only the danger preference of one error over another. The degree of this preference is determined only by the difference in the ranks of the errors and does not answer the question of how much time one error is more dangerous in relation to another. The differential method for identifying the comparative danger of errors, as well as the multistep technology for identifying and filtering out marginal opinions were applied. From the initial sample of m = 37 professional air traffic controllers, two subgroups mB=20 and mG=7 people were identified with statisti-cally significant at a high level of significance within the group consistency of opinions a = 1%. Nonpara-metric optimization of the corresponding group preference systems resulted in Kemeny’s medians, in which the related (middle) ranks were missing. Based on these medians, weighted coefficients of error hazards were determined by the mathematical prioritization method. It is substantiated that with the ac-cepted accuracy of calculations, the results obtained at the second iteration of this method are more ac-ceptable. The values of the error hazard coefficients, together with their ranks established in the preference systems, allow a more complete quantitative and qualitative analysis of the attitude of both individual air traffic controllers and their professional groups to hazardous actions or conditions.

ФОРМИРОВАНИЕ ПРОФЕССИОНАЛЬНОЙ КУЛЬТУРЫ КУРСАНТОВ КАК НЕОБХОДИМОЕ УСЛОВИЕ СТАНОВЛЕНИЯ СОТРУДНИКА УИС

2020 ◽  
Author(s):  
Alexander Votinov
Keyword(s):  
Russian Federation ◽  
Professional Culture ◽  
Professional Activity ◽  
Teaching Staff ◽  
Successful Performance ◽  
Current State ◽  
Professional Self ◽  
The Russian Federation ◽  
Executive System ◽  
High Level

Современное состояние и развитие уголовно-исполнительной системы Российской Федерации диктует необходимость овладения будущими специалистами комплексом определенных знаний, умений и навыков, позволяющих им эффективно решать служебные задачи. Одним из путей повышения профессионального уровня специалистов является формирование и развитие профессиональной культуры. Проведенный в статье анализ понятия «профессиональная культура» позволяет констатировать сложность его содержания, что связано с особенностями профессиональной деятельности сотрудников УИС, многообразием решаемых задач. Автором подробно исследуется процесс формирования профессиональной культуры в вузах ФСИН России, рассматриваются особенности работы в данном направлении профессорско-преподавательского состава, командиров строевых подразделений, сотрудников отделов по работе с личным составом, приводятся возникающие при этом проблемы и предлагаются возможные пути решения. Отмечается, что успешность формирования профессиональной культуры курсантов зависит от их профессионализма, дисциплинированности, инициативности, настойчивости и личного примера сотрудников. В заключение подчеркивается, что высокий уровень профессиональной культуры сотрудника УИС является условием успешной служебной деятельности и целью дальнейшего профессионального самосовершенствования.The current state and development of the criminal Executive system of the Russian Federation dictates the need for future specialists to master a set of certain knowledge, skills and abilities that allow them to solve official tasks effectively. One of the ways to improve the professional level of specialists is the formation and development of professional culture. The analysis of the concept of «professional culture» in the article allows us to state the complexity of its content, which is associated with the peculiarities of professional activity of employees of the UIS, the variety of tasks to be solved. The author studies in detail the process of formation of professional culture in the universities of the Federal penitentiary service of Russia, examines the features of work in this direction of the teaching staff, commanders of combat units, employees of departments for work with personnel, presents the problems arising in this case and suggests possible solutions. It is noted that the success of the formation of professional culture of cadets depends on their professionalism, discipline, initiative, perseverance and personal example. In conclusion, it is emphasized that the high level of professional culture of the employee is a condition of successful performance and the purpose of further professional self-improvement.

The use of acting techniques in career development

2021 ◽  
Author(s):  
Mariya Aleksandrovna Akimenkova
Keyword(s):  
Career Development ◽  
Performing Arts ◽  
Educational Institutions ◽  
Psychotherapeutic Interventions ◽  
The People ◽  
Circle Of Friends ◽  
Main Activity ◽  
The Voice ◽  
And Training

The article shows that in career development, the use of acting techniques opens up new opportunities. The author traces the development of the Russian acting school, created by K.S. Stanislavsky and later revised and supplemented by his students, in the modern socio-economic situation. The article demonstrates that despite the fact that for many years this school was aimed exclusively at educating and training people who want to connect their lives with the theater, it had a significant impact on amateurs as well. Passion for the performing arts was traced among people of a wide variety of professions, which contributed to the creation of numerous amateur theaters. This tendency was especially evident in educational institutions. Pupils and students under the guidance of an experienced director tried to take steps in the stage space, received grateful responses, but continued to be content with the role of an amateur actor, without encroaching on the laurels of a professional. Nevertheless, after that, their main activity, regardless of the direction, moved to a completely different level. Without any psychotherapeutic interventions, the attitude to oneself, to the people around, and to situations changed, the speech apparatus and the timbre of the voice were transformed, phobias and depressive tendencies disappeared. As a result, participants in amateur theaters acquired a new circle of friends and promotions, or they radically changed their field of activity, opening completely new prospects for themselves. The article examines these possibilities in the framework of the modern situation, when the entire range of theater and acting means may be in demand by representatives of other professions.

SPECIAL ASPECTS OF SELF-ADJUSTMENT OF MILITARY UNIVERSITY CADETS WITH DIFFERENT PERFORMANCE LEVELS

2021 ◽  
pp. 46-53
Author(s):  
I. S. Morozova ◽  
◽  
E. A. Pronin ◽  
M. E. Pronina ◽  
◽  
...  
Keyword(s):  
Academic Performance ◽  
Interpersonal Relations ◽  
Personal Characteristics ◽  
Education Institution ◽  
Self Control ◽  
Professional Activity ◽  
Performance Levels ◽  
Theoretical Approaches ◽  
Military Institute ◽  
High Level

The search for ways to increase the efficiency of educational and professional activities of students during the period of study at a military university remains relevant at present. The provision of optimal methods for the students’ professional competencies formation considering their personality dimensions at the shortage of study time has particular importance. The subject of the research is the special aspects of self-adjustment of cadets with different performance levels. The study aims at identifying the features of voluntary self-adjustment and personal characteristics of cadets with different academic performance levels in technical disciplines at a military university. The authors determined the theoretical approaches to the study of self-adjustment as personal property, mental state, and conditions for the successful activity. The paper includes the systematization of the ideas of the self-adjustment role in the process of educational and professional activity. The authors theoretically substantiate the necessity of considering the peculiarities of self-adjustment of cadets of a military higher education institution manifested in the subjective focus on particular phenomena. The paper presents data on the respondents, which includes ninety-one first-year cadets of Novosibirsk Military Institute. The authors substantiate the division of respondents into groups with high and low levels of academic performance. The study identified special aspects of self-control of military university cadets with different levels of academic performance manifested in the orientation of voluntary self-adjustment. The authors determined the features of voluntary self-adjustment of cadets with a high level of academic performance manifested in the presence of the pronounced perseverance in educational activities, friendliness towards fellow students, and the pronounced cognitive need; identified features of voluntary self-adjustment of cadets with a low level of academic performance manifested in the lack of self-control and critical assessment of actions, ignoring their mistakes, and the desire to dominate in interpersonal relations.

scholarly journals Optimising outcome assessment of voice interventions, II: sensitivity to change of self-reported and observer-rated measures

2007 ◽  
Vol 122 (1) ◽  
pp. 46-51 ◽  
Author(s):  
I N Steen ◽  
K MacKenzie ◽  
P N Carding ◽  
A Webb ◽  
I J Deary ◽  
...  
Keyword(s):  
General Health ◽  
Voice Quality ◽  
Voice Handicap Index ◽  
Effect Sizes ◽  
Voice Therapy ◽  
Vocal Performance ◽  
Symptom Scale ◽  
Wide Range ◽  
The Voice ◽  
Responsiveness To Change

AbstractObjectives:A wide range of well validated instruments is now available to assess voice quality and voice-related quality of life, but comparative studies of the responsiveness to change of these measures are lacking. The aim of this study was to assess the responsiveness to change of a range of different measures, following voice therapy and surgery.Design:Longitudinal, cohort comparison study.Setting:Two UK voice clinics.Participants:One hundred and forty-four patients referred for treatment of benign voice disorders, 90 undergoing voice therapy and 54 undergoing laryngeal microsurgery.Main outcome measures:Three measures of self-reported voice quality (the vocal performance questionnaire, the voice handicap index and the voice symptom scale), plus the short form 36 (SF 36) general health status measure and the hospital anxiety and depression score. Perceptual, observer-rated analysis of voice quality was performed using the grade–roughness–breathiness–asthenia–strain scale. We compared the effect sizes (i.e. responsiveness to change) of the principal subscales of all measures before and after voice therapy or phonosurgery.Results:All three self-reported voice measures had large effect sizes following either voice therapy or surgery. Outcomes were similar in both treatment groups. The effect sizes for the observer-rated grade–roughness–breathiness–asthenia–strain scale scores were smaller, although still moderate. The roughness subscale in particular showed little change after therapy or surgery. Only small effects were observed in general health and mood measures.Conclusion:The results suggest that the use of a voice-specific questionnaire is essential for assessing the effectiveness of voice interventions. All three self-reported measures tested were capable of detecting change, and scores were highly correlated. On the basis of this evaluation of different measures' sensitivities to change, there is no strong evidence to favour either the vocal performance questionnaire, the voice handicap index or the voice symptom scale.

scholarly journals Clinical typology and mechanisms of psychogenesis of states of psychological maladaptation of internship doctors

2019 ◽  
Vol 84 (3) ◽  
pp. 55-60
Author(s):  
V.V. Vyun
Keyword(s):  
Professional Training ◽  
Positive Emotions ◽  
Professional Activity ◽  
Low Level ◽  
Professional Stress ◽  
Pathogenic Factors ◽  
Comprehensive Examination ◽  
Stage System ◽  
High Level ◽  
Level Of Motivation

A comprehensive examination of 213 interns of both sexes was carried out. A system of psychotherapeutic correction of maladaptive states and psycho-preventive support of interns during the period of professional training has been developed. Levels of adaptation of internship doctors for professional activity were emphasized: high (14,1 %), average (20,2 %) and low level (65,7 %). It was described the asthenical (25,8 % of men and 22,5 % of women), hypersthenic (20,6 % of men and 23,2 % of women), anxiodepressive (11,3 % and 20,6 % respectively), psychosomatic (14,5 % of men and 18,1 % of women), asthenic-apathetical (12,3 % and 11,2 % respectively) and addictive (15,5 % of men and 4,4 % of women) variants of maladaptive reactions among the internship doctors. The developed model of the formation of disorders of adaptation of internship doctors is presented by a complex of pathogenic factors. It was established that the basis for the formation of maladaptive reactions among the internship doctors is the presence of somatic pathology, craniocerebral injury and neuroinfection in the anamnesis and the tendency to addictive behavior. Prognostically important factors in the formation of adaptation disorders are conflicts of family and professional relations, disturbing suspiciousness, low communicativeness, difficult working conditions, lack of positive emotions, awareness of inadequate level of competence, low level of motivation, and imperfectiveness of mechanisms of psychological protection. Triggers for the development of maladaptive states are the high level of professional stress, depletion of adaptation, prolonged mental stress, frustration of significant basic needs, and high rates of clinical scale of anxiety and depression HDRS. An individualized three-stage system of medical and psychological support during the professional training period, which involves the application of complex psychodiagnostic, psychotherapeutic, psychoeducational and psychoprophylactic influences, has been developed and tested.

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