Vol 21, No 6 (2019)

The article presents the results of a study of the emotional profile and meaningful characteristics of students' fears in the learning process. Most students experience various difficulties associated with experiencing anxiety and fear. Nevertheless, it should be recognized that emotional states and, in particular, feelings of anxiety and fear by students are not often the subject of scientific research, and if they are, they are mainly used to study students' educational fears. Therefore, the study of various emotional states of students and their causes becomes an important social and psychological problem. The article analyzes social fears as a separate group in the classifications of fears of various researchers. The aim of the study was to study the dynamics of the emotional states of psychology students and the manifestations of social fears of students. The study used: the method of L.S. Hakobyan “Emotional Profile”, a questionnaire by Ch.D. Spielberger (adapted in the Russian translation by Yu.L. Khanin) to determine the self-esteem of the level of (personal) anxiety among students; “Questionnaire of the hierarchical structure of actual fears” Yu.V. Shcherbatykh and E.I. Ivleva. A high rate in the group of positive emotional states has a state of interest: in the period before the session and after the session, the rate of interest is 45.2 and 52.3, respectively, and during the session, the rate of interest drops to 9.5. The predominance of negative states is characterized by the period of the session, namely: fear and fear - 28.6; guilt and discontent - 11.9; anger, suffering and sadness - 9.5; resentment - 7.1. The leading position in the hierarchy of students' fears is occupied by fear of exams (61.3% of students from the total sample). The results can be used in the curricula of various disciplines and their psychological support, as well as to improve the funds of assessment tools and the rating system in order to prevent negative emotional states, in particular anxiety and fears. The level of personal anxiety and social fears can serve as predictors of the problematic nature of students' social relations in their future professional activities.

The purpose of this article was to reveal the specifics of the reflexive-Dialogic nature of the musical-pedagogical educational process. The main theme is the role of readiness of the teacher and the student to comprehend dialogically the artistic and cultural content of a musical work through the prism of knowledge of various fields of culture, psychology and pedagogy. The methodology of the work is to search for theoretical directions of research related to improving the training of graduates of performing arts universities, as well as the future teacher-musician. The results of the work reflect the identified abilities, which are psychological and personal characteristics of the personality of the future teacher as a teacher and musician, allowing to create a musical image that initially exists only in an ideal world, which allows the listener to create, in turn, his artistic object, providing emotional and sensual dialogue of all participants in the creative process. The field of application of the results of the study is the process of preparing a teacher-musician-performer, ready not only for reflective dialogue with the listener, but also in the process of dialogical interaction able to teach his future student the necessary techniques of creating a musical image. Conclusion. Music pedagogy is essentially focused on reflexive actions for the artistic development and transfer of the content level of a musical work and, accordingly, in the form of implementation is tied to reflexive-Dialogic interaction, communication. A necessary condition is the unification of the external and internal dialogues of the teacher and the student, i.e. their joint Dialogic-reflexive co-creation. In the musical and pedagogical process, this form and means of organizing the development of musical culture in its content has a number of features that are predetermined by the specifics of musical art on the one hand, the structure of the artistic and pedagogical process on the other.

In this article attempts to identify, organize and analyze materials on the authentic team Afanas'evka village Alekseevsky district Belgorod region - brown shel-zhine song-singing southern Russian folk musical style (historiography of the team, publications about him, the genre composition of songs, the specificity of vocalizations, the artistic heritage); the permanent head of the folk ensemble for nearly 60 years, talented organiza-jam, singer, a true scholar and connoisseur of old Russian songs - Yefim Tarasovich in Sapelkina (2.09.1917 - 6.06.2002).

The study of the semantics of "light" as the original modalities of culture on the material of mythological texts of archaic and modern times, as well as the semantics of precious stones is presented. The emphasis is on the universal metaphor of "flickering", characteristic of the situation of creation or extinction of cosmic life, a red thread running through the ideas of the beginning and end of the world in different cultures.

The subject of this article is the correlation of phenomena of power and border in the context of modern post-metaphysical philosophical thought. The object of research is the conceptual development of a modern Russian philosopher and scientist I.A. Isaeva. Based on the analysis of the work of I.A. The authors of Isaev explicate the border as a constitutive component of various types of metaphysical constructions of power phenomena. Significant attention in the article is paid to the disclosure of the influence of the ideas of F. Nietzsche on the formation of modern post-metaphysical concepts of power. The study is based on the idea of synthesizing methodological principles and attitudes of modern historical-philosophical and socio-philosophical studies. The main conclusion of the study is the thesis that in modern post-metaphysical philosophy, the border reveals and delimits the space of existence, establishes a space of power, norms and order. The authors explicate two main types of borders that act as models for the constitution and organization of spaces of power. The first type is more inclined to the cosmological worldview and considers the border as a metaphysical instance, transforming chaos into space and protecting the ordered world from the invasion of anti-cosmic forces. The border here acts as a condition for the implementation of the space of power, leading an unorganized and heterogeneous set to unity and to subordination to the legislation of the center. The second type of metaphysical construction of the border is associated with Christianity, mainly in its Western, Catholic version and has its roots in Neoplatonism and the teachings of A. Augustine. Here, the border no longer separates the cosmos and the realm of chaos, but the ontological realms of the transcendent and immanent, divine and earthly. Beyond the border, which is now supposed to be the absolute limit of earthly existence, there is no longer an unformed multiplicity, but a true supersensible world, in relation to which the immanent world outlined by borders is perceived as being inferior and subject to being overcome. The center moves to the transcendental.