Pedagogy
Natalia Sulayeva
Associate Professor of Music
Poltava Korolenko National
Pedagogical University
Organization and management
of non-formal art education of students
in UKRAINIAN PEDAGOGICAL universities
Annotation.
The article reveals the main components of the management of non-formal art
education in teacher training universities taking into account the activity of
the students in art studios in terms of
musical, literary, drama, chorographical and dancing ones. A great attention is
paid to strategic planning of non-formal art education, the important issues as
for the resource providing of non-formal art education are discussed, creating
or maintaining of existing artistic and creative societies are considered.
Keywords:
non-formal art education, art studios, management.
Introduction
The modernization of teacher training education in Ukraine is based on
the best world achievements in the domain of teacher education. One of the
innovations of today's high school in the state is enriching formal teacher training
for future teachers with arts.
It is generally accepted, that non-formal art education in the training
of teachers – is a voluntary activity of an artistic personality that is
independent of formal education in higher educational establishments, fullfiled
mainly in artistic and creative societies and not accompanied by
degree-granting state official certificate [4, p. 4].
Implementation of non-formal art education in the educational process of
teacher training universities is possible under condition of convergent
approach, which becomes evident in the account of the value of formal teacher training
education and the importance of arts education for the enrichment of the
professional competency. Success of this approach is in the high level of
organization and management of non-formal art education at the pedagogical universities.
To achieve the goal of non- formal art education is necessary to encounter
socio-cultural and educational needs of an individual, to encourage the development
of the ability to live in a modern society while maintaining individual
features, to spend free time with the benefit fo personality but it involves
coordinated activities of all structural units (vice-rector and dean of
cultural and educational activities, tutors of academic societies, activists,
student councils and cultural leders of the universities, leaders and members
of artistic and creative societies) in order to implement effecive management of
non-formal art education. It includes: strategic
planning and effective management of non-formal art education at higher
educational establishments; providing resources
for non-formal art education; creation
(support of already existed) Art and creative societies for providing students
with non- formal art education; monitoring of
the quality of non-formal art education.
The objective of the article:
to define the main structural components of the management of non-formal art
education in teacher training universities taking into account the activity of
the students in art studios in terms of
musical, literary, drama, chorographical and dancing ones.
The results of the
investigation.
Strategic planningof non-formal art education
Effectiveness of strategic planning depends on the analysis of the
following specific features of a higher educational establishment as for providing
of non- formal art education: availability
of art and creative societies at University which may provide with non-formal
art education; perspectives for further organising
of new artistic and creative societies; place
and fund opportunities; availability
of qualified school teachers, artists who would be able to provide artistic and
educational services to students; university relations
with town municipality cultural institutions that could provide personnel and
room support etc.
A special foundation for the implementation of non-formal
art education is the existence of the University of Art and creative societies. Note
that the artistic and creative team of higher educational institutions is
a well-organized form of voluntary association
of students and teachers on the basis of purposeful artistic and creative
activity. This can be: choir, vocal ensemble, instrumental ensemble, orchestra,
ensemble dance, song and dance, circle of fine arts, film and photo
videostudio, circus, theater societies, folklore societies, societies
of crafts, societies of cultural and community character
and others.
If the number and varieties of artistic
and creative societies at the University is
insufficient, the prospects for the creation of new ones
are defined. It will resulted in consulting
wchich provides educational
advice to students on the issues about non-formal
art education at university. Integrated
approach to the use of expertising, procedural
and educational consulting attracts
students of teacer training universities to membership in art
and creative societies.
Expert consulting is to
clarify the essence of non-formal
art education and encourage consultants to
respect the rights and interests of those being
consulted, to ascertain opportunities
and assess the real picture of actor’s aspirations. To
implement this idea the deputy dean of cultural work
recruit students from the student government activists or members of
existing at University artistic societies. A
voluntary work-sharing is done between them (interdepartment,
intergroup consulting for direct communication with potential team
members, working with assistants – tutors of academic
societies and culture leadres).
Process consulting
involves direct interaction of consultants and their assistants and students.
There is a survey or questionnaire of future teachers
to identify their passions, aptitudes, abilities, preferences, ideas,
proposals, conducting their analysis of problems and facilitate the preparation
of relevant decisions. This approach is due to the fact that the function
"customer" of educational services in this case is in
students’hands. Potential societies rather than non-formal
art educational manager, determine the direction of
their own art education (chamber choir or folk band, folk, or modern dance,
theatrical or literary studio, circle of embroidery,
woodcarving or weaving, etc.).
Training consulting is
put into practice due to active cooperation of the deputy deans of
cultural work, leaders and members of existing and future artistic and creative
societies, activists, student government. Leaders of the teams are
determined by educational consulting: providing
information (in the form of lectures, seminars and recommendations) regarding
of the types of art, its effectiveness in the development of personality, the
role of artistic component in the professional development
of a teacher, artistic competencies,
which can be formed in the process of obtaining non-formal
art education; concerts, presentations of artistically
creative teams participants’ achievements
(exhibitions diplomas, medals, prizes for winning or participate in festivals
and gegraphically wide competitions
around Ukraine or abroad), etc..
Vice-deans provide these
measures which are appropriate to the place
fund and creates conditions for students visiting
and attending. The work of
members of the student government, tutors and culter
leaders of academic societies contributes
to attraction of potential
participants of artistic and creative societies. The
last step is to collect consulting and compiling information about students’
attitude as for receiving non-formal
art education and determining the expediency of
existing or creation of new artistic and creative teams.
The results require analysis of room and space capability
at university fund for artistic and educational activities. For choir, band
or orchestra classes, standard audience that will
accommodate all participants a team will fit. Ballet drama group activities can
take place in the Assembly hall of University.
The problem of dance classes accomodation, as well as
classrooms and workshops for practicing in art,
where the training of future teachers of a certain profession
are carried out, couldn’t be solved without an availability of suitable
assembly halls and classical rooms for studies.
An important part of strategic planning is to identify highly qualified
teachers who would be able to provide artistic and educational services to
students. They can be leaders of artistic and
creative societies that have already been existed at
university, teachers of the art
departments with experience or a desire to implement non-formal
art education in the educational process. If there is the insufficient
number of those ones, managers should analyze the relations of
University with the cultural institutions of the town-municipality, which
would provide personnel and room support. These may be arts school, children's
music and art schools, houses of children and teenagers, urban and regional
cultural centers, theaters and etc. They employ
highly skilled artists, who should be
involved in cooperation with higher
educational establishments for deeper
penetration of future teachers in the art world.
If the necessary conditions for the organization of non-formal art
education created (students expressed a desire to enrich the professional
competence of arts, the university has a number of artistic and creative teams
or have the opportunity to create new, existing appropriate classroom fund
managers and highly qualified) and a manager is
in close collaboration with the deputy deans, members of
student government and academic societies,
curators than it is necessary to perform
distribution of weekly load for students.
It is recognized that much of the time spent on future teachers receiving the
formal education (30 hours per week only classroom load). So artistic and
educational activities of students should not exceed four times a week for 2
hours (optimal is holding classes twice or three times a week). In
conclusion, prospective schedule for
the students of art and creative teams is
important to compile and distribute classroom and personnel
potential of the University as an important
step in the direct introduction of non-formal art education in the educational
process Pedagogical University.
Responsible attitude to strategic
planning determines the effectiveness of the next steps in the implementation
of the set tasks.
Resource providing of non-formal
art education
Resource provision predicts convergent
legal, information, personnel, material and financial support.
Legal provision is to organize non-formal art education legally. This
manager should: create documents that would confirm the legitimacy implemenation
of non-formal art education in the educational process of higher educational
establishments, to inform the university board about
legitimate background of its introduction, to
inform managers and members of artistic and creative teams on new approaches to
the understanding of the significance of artistic
activity.
During the organization and implementation of non-formal
art education manager controlls the main
requirements for legal support, including: legal regulation of labor relations
established among university leaders, accompanist,
accompanists, etc., protection of rights and legitimate interests of employees,
compliance, implementation and enforcement of existing legislation, the
development and approval of local regulations including organizational
and executive features.
Extremely valuable in the successful implementation of an innovative
approach to enrich the professional competence of future teachers artistic
competence is an informational sources for providing and
promoting of non-formal art education. Information should: describe
the internal and external changes in
the surroundings, to be operational, objective and credible. Providing
objectively necessary information of all members of artistic and educational
process promotes regularity, consistency, integrity of the process of future
teachers of non-formal arts education.
Important organizational issue of non-formal art
education is its staffing, which is the key stone of the
effective work of higher educational establishments. Staff
policy of a manager includes the use of active
methods of selection (the study of creative achievements and performance
artist, interviewing, testing,
questionnairing), organization of non-formal training
artists (working with artistic directors and other arts societies, educational,
cultural, etc.). While selecting the leadres of
artistically creative teams manager should consider
the proposals of Deputy Deans,
student activists, prospective team members. Typically, the thoughts of
the latter is crucial in the decision.
It is important to think over the issue of material support artistically
creative teams. Manager cares about the presence of
passive and active elements of logistics. Analysing the
availability of classroom fund,
held at the planning stage of non-formal art
education at the university, you can fix the passive elements of logistics:
audience halls, specialized classes, workshops and etc. In
fact, the manager can increase its volume by lease or redecoration
of previously unsuitable premises. If active financing permits
it is appropriate to create new facilities to provide facilities
for students of art education. A special subgroup of
passive elements are furniture, dance machines, mirrors and etc.
Equally important component of art education is to provide its members active
elements: musical instruments, equipment, easels, paints, fibers, cloth, clay,
suits, etc. The main requirement for the organization of the logistics manager
is consulting with appropriate experts regarding the need for money offered for
artistic and creative teams of property.
For example, let’s describe the requirements for
selection of musical instruments for vocal and instrumental works. To
the concept of quality musical instruments belongs
artistic and technical level of production, game features and sound quality.
Aesthetic appearance for live performances certainly is an important
requirement, but still special control playing cpability and
sound quality requires special control . They are
estimated during the play performance on the
instrument when analyzed lightness of sound, dynamic range power sound
revocation instrument while playing the piano, no extraneous sounds like.
In an analysis of sound considered that ease it varies not only in each
group tools, but the tools of one group: the plucked and stringed instruments
depends on the shape, size, design, wood body and neck, in
keyboards it depends on easiness of
management mechanism, the mechanism should work well, without knocking,
creaking and other sounds, in reed – skins are stretched
and compressed easily, keyboard
mechanism and the mechanism of register switches must operate easily, smoothly
and silently, the force of pressing the
left and right keyboard should be the same or insignificant, in wind
instruments lightness of sound depends on the effort required for the emergence
of air flow and the clicking of gates and valves, these efforts are in
different limits depending on the type of instrument.
The sound quality depends on the acoustic properties of the instrument and
is determined with the playperformance
by a skillfull musician, music (it precedes their
setup). In determining the sound quality the accuracy and stability of the
ranks, the strength and duration of sound, timbre throughout highrank
range of sounds are
assessed. The accuracy and stability of the ranks is the
most important characteristics because they determine the ability of an
instrument always reflect the sounds the
required height in exact proportion to each other (in the opposite case, a
falsehood sound). The correctness of the ranks of musical instruments is
determined by the tuning fork, tuner or instruments that have tempered array.
To ensure the accuracy and stability of the ranks of stringed instruments properly
selected and securely tightened strings, exactly calculated their scale length should
be selected, in plucked – the correct partition
of modes, in reed – carefully crafted and customized voice tongues, in winds –
sustained length audio channel , valve and valve mechanisms should operate
accurately. Strength and timbre musician determined by a musician with
the help of comparison a reference instrument or could be based
on his own experience.
The example of diagnostic quality musical instruments suggests that the
manager who plans to provide artistic and creative teams with high-quality
material values should not only take care of the funding, but must act in close
collaboration with professional artists.
Creating or maintaining of
existing artistic and creative societies
The value of artistic activity of participants of
artistic and creative societies who maintained their existence for many
years, it is difficult to overestimate. On the
one hand, as a result of a long collaboration with
them an atmosphere of joy , trust, mutual
respect, mutual understanding, friendship is
noticible, students pass artistic
achievements, keep their traditions, customs in such
communities from one generation to another. On the
other hand – they have well-done system of
work on artwork, found the ways of
exploring new and repeating previously
performed, invented algorithms for non-coercive assimilation of concepts on the
basis of the required artistic vocabulary. Keeping the best traditions,
leaders achieve high results in artistic activities and at the same time
contribute to the professional development of future teachers. Therefore, the
organizational aspect of the performing manager in this case is to preserve and
promote their further development.
For example, let’s describe the artistic and
educational activities of participants of Ukrainian folk choir
"Kalina" of Poltava National Pedagogical University
(PNPU) named after Korolenko. Note that for thirty-five years of its existence,
"school" folk singing, playing musical instruments and perform folk
dances has been finished by a large number of
students – future teachers preschool, elementary school teachers, mathematics
and physics, history, geography, biology and chemistry, labor training,
Ukrainian, Russian, English and German, as well as psychologists and social
workers. Today Ukrainian Folk Choir "Kalina" consists of more than
140 people. Their achievements in the field of musical
and choreographic work of choir members are
known not only in the towns and villages of Ukraine, but also abroad. Over the
years the chorus have representsd Ukrainian art
in different countries: Belgium, Bulgaria, Italy, Germany, Poland, Russia,
Turkey, France and Switzerland. Long and fruitful activities of the team was
possible thanks to the dedicated work of its permanent leader – Professor, Head
of Music PNPU Korolenko, choral conductor, composer, folklorist G. Levchenko.
He manages non-formal art education in the choir. Non-formal art education team
members are attending rehearsals three times a week for 2 hours.
While working in societies, students are able to enrich the results of
formal education by artistic competencies, which
consists of personal, cognitive, activity and social
components.
First of all, ethno-cultural competence as one of
the most important aspects of personal component of artistic
competency of future teachers is
updated in the choir . The chorus of
"Kalina" helps to develope its
components: the mentality, ethnic
morality and ethnic identity. Ethnic mentality of the Ukrainian people is characterised
by linguistic specificity, humanity and democracy. So, in a folk choir
"Kalina" future teachers improve
language knowledge through the deep involvement
in the Ukrainian vocal works such as – thoughts,
ballads, historical, lyrical, children and other songs. Rich semantic components of
folk song create their performers inorder
to improve their knowledge about the events and
phenomena of social life, family life Ukrainian, which is an important
foundation for the development of organically combined with language specific
features: humanity (singing folk songs, is for future teachers evidence of
sincerity and generosity Ukrainian people ("Peace and happiness in your
house / that were all rich / to koljadochka sounded / and kutya to be
delishies"), his hard work ("Took a
widow tiny flax”), mercy, benevolence ("Oh, I beg for
health/ and good age / for my
Mother and Father/ husband and children")
and compassion ("For you, Morozenko (a national
hero) / all Ukraine is crying"), patriotism (familiarizing with
historical songs, ballads thoughts or promotes awareness of the importance of
students' awareness of commitment to his people, love and
sympathy for the troubles homeland, faith in its bright future.
Non-formal music education in "Kalina" allows to deepen knowledge
about ethnic morality and emotionally accept it on the basis of inner feelings
caused by the content of folk songs. In addition,
folklore allow to understand to their performers
verbal symbols of the Ukrainian people who resonate with the graphic, plant and
animal symbolism: a snowball tree, a
willow, a star – a girl, a
sycamore, the moon – a guy; an
oak, a falcon – a Cossack.
Participation in the "Kalina" also contributes to improving the
ability of students to direct their activity to the development of ethnic
identity, as in almost every popular song displays the attitude of the people
to their native land ("Cossack was coming from Ukraine", "Oh, you
guys Zaporozhtsi").
Personal component of artistic competence of the student
in Ukrainian folk choir "Kalina" is combined with the development of
its cognitive component, which manifests itself in knowledge about: folk style
of singing; classification of voices in the folk choir, musical and expressive
means of choral singing, folk sound production methods, components Folklore
vocal people, musical instruments Ukrainian, instrumental music of the
Ukrainian people.
Transfer of knowledge in the team is in the process of practical
interaction of participants with folk art. Students participating
in "Kalina" on personal experience shows the beauty,
uniqueness and originality of Ukrainian style
of singing. Therefore, in the future they will oppose its transformation
into something like a grimace, deliberate simplification,
vulgarization.
Learning students about the voices of the singers and choral
party are natural and simple in the choir. After
several rehearsals participants know that men's voices are divided into
"bass", "baritones" and "tenors", and women – "Alt"
and "soprano." Without ane particular difficulties the exploring
of musically expressive means of choral performance
is carried out. In addition to the concepts of "melody",
"rhythm", "pace", for example, terms «forte» and «piano»,
«crescendo» and «diminuendo» become understandable
too. The peculiarity of their assimilation is that special time is
not given. In studying these terms are discussed and oftenwith
one or two words are explained to transfer the content of the work properly.
A few times of repeatition such
dynamic nuances no longer requires the
explanation and could be understood by
participants.
Participants of "Kalina" are also taught
about the sound production from performing activities.
Specifically, students learn the concept of "attack sound" (soft,
hard, aspiration),
understand the requirements pronounce consonants vividly and
make them light and but vowels make
dark. They understand when the leader of
the choir talk about icreasing and decreasing sound,
some approaches to singing repetitive or descending sounds . In the process of
familiarization with the songs students will also receive information about
vocal folklore of the Ukrainian people, for example, about the
existence of calendar and domestic ritual, epic, lyric songs of the Ukrainian
people.
Because of orchestral group in Ukrainian folk
choir "Kalina", all participants have the opportunity to enrich the
cognitive component of artistic competence knowledge about musical instruments of
Ukrainian people. In particular, one of the most beloved stringed plucked
instrument of the Ukrainian people – bandura, a popular string-hammer – dulcimers,
common in Ukraine string-bow – violin, etc.
Active components occur in united
bind of cognitive development. In the process of gaining formal art education
in "Kalina" it manifests itself in ability and skills to implement
the above knowledge into practice.
Development of the active components starts from the
first rehearsal of the choir, when the
members of the task proposed topresent a song in folk
style. Mastering musical text
in phrase is accompanied by teachings such as: "cover your
sound", "Round the Sound", "sing and not cry", etc.
Playing folk singing style is not possible without the ability to use musical
and expressive means. Numerous repetition of a
sharp transition from forte to piano (often found in dramatic works of the
Ukrainian people) allows participants to keep the sound at a certain height, without
glidepathing. for clean execution of works it is important
to pronounce sound correctly, which
is formed primarily during singing warming-up. The
selection of exercises is done with
the development of skills to breathe correctly, perform a soft and a hard
attack to the sound and feel clean intone system, to pronounce
consonants clearly, to lengthen the vowels and make them
round and to avoid flat sound etc.
Orchestra members have the opportunity to learn or improve the ability to
play one of the instruments of the Ukrainian people. Often
"kalynyany" who can play one instrument,
learn how to play onother one. For
example, during years those choir
participants who can play accordion mastered the skill of playing
the bass, the pianist, and drum
plyer learned how to play cymbals, accordionist – Kobza,
trombonist – pipe.
Performing the songs and instrumental samples enables
team members to learn how to create an artistic image. These skills are
necessary to future teachers of Ukrainian and foreign languages and literature, history, music, fine
arts and choreographic arts. They are especially
appropriate for the organization of future
cultural events at schools. It
will also be effective to form in the
process of non-formal music education in "Kalina" skills in
order to make concert and performing activities and the ability to
navigate in the huge flow of musical information.
Highly mentioned allows to say that operating and cognitive
components of artistic competency is closely
related to the social component, which includes the ability to support
relevant discussion about art, to collaborate
and present the musical art, to think creativly.
Knowledge got in
"Kalina", developed skills and abilities help
students to accept and perform vocal and instrumental works which
further will allow them to navigate freely
in the music space and talk about art. And, along with the ability to express
their views or opinions about music, it will be much more interesting to listen
to the interlocutor, perceiving new information about pesonally
close forms of art. The
ability to hear the other, as you know, is the key to successful communication
and an important step towards mutual understanding among
people. The latter is the background for
cooperation, which in terms of the educational process is
an important factor to achieve high quality of education.
The development of the ability of
cooperation among the participants of the choir is
based on permanent joint artistic and educational activities. After all, to
achieve a common goal they learn music
together, follow general rules together, choose type
of presentation or live performances together. The
ability to perform their own artistic activities to
the spectators, in turn, is an important result of non-formal
musical and educational activities as developing the ability of future teachers
to present the art of music in live performance.
An important result of non-formal music education in the choir
for participants of the choir, so called"kalynyan" is the
ability to think creatively. Continuous improving of skills
and creative approach to solving tasks contribute
to: creativity of a powerfully supplied sound,
play each verse emotionally, phrase or
even a word, posture during work; facial expression, facial expressions or
gestures. Constant striving for a high level of artistic activity encourages
future teachers to gain as much knowledge as possible with
acquiring and improving skills, which, in its turn, helps
singers and performers, instrumentalists generate the
ability to creative development.
Thus, a non-formal music education students in the
choir "Kalina" can enrich the results of formal education of future
teachers. This in turn contributes to the fact that teachers come to
educational and training institutions who do
not only learned the theoretical and practical foundations of education and
upbring of the young generation and people capable of empathy, ready to free
choice humanistic-oriented, independent, competent and responsible activities
in professional, cultural, and political, economic and other spheres of public
life.
Successful development of new artistic and creative teams depends on the
outcomes of consulting
(namely procedural advice), because a manager has to take into account the
importance ofstudents free choice.
Based on them, students who wish to receive non-formal art education, and can
determine wide selection of artistic and
creative societies: vocal, instrumental, theater, dance, film and photographic
arts, visual, literary, etc.. The next step is to organize a meeting with the
heads of students (on selected activities), where manager emphasizes the
personal qualities of the artist, his successes, achievements and more. outlines
areas of art
Next steps managers should aim to assist in rehearsal and concert
activities and in support of all members of artistic and creative teams. It is
possible for the creation of school related socio-cultural environment and the
positive attitude of the faculty of the University of formal education to
enrich students' non-formal arts.
At this stage the authority manager is mitigated
because non-formal art education is not expected setting clear objectives (to
explore a particular work to give a certain number of concerts a year or
participate in events.
Conclusions
The paper highlights the main aspects of the organization and management
of non-formal education for the students of arts of higher educational
institutions of Ukraine. Accents on the coordinated activity of all structural
units non-formal art education to implement the functions of management:
strategic planning, resource provision, creation or maintenance of existing
artistic and creative teams, quality monitoring.
The article stresses that strategic planning is necessary to analyze the
internal and external environment of the University, including: the presence of
artistic and creative teams and prospects for new (which is expert, procedural
and educational consulting), the existence of highly qualified teachers in
universities and relations university with cultural institutions to attract
them. Resource provision of formal art education at the Pedagogical University
provides convergent legal, information, personnel, material and financial
support. Creating or maintaining existing artistic and creative teams will
provide a framework for the provision of non-formal musical, choreographic,
pictorial, dramatic, and literary and other artistic activities. Quality
artistic and educational activities participants’ artistic and creative groups
determined by analyzing the personal growth of each participant, as well as the
availability of graduates who after studying at the university continue to
engage in selected school kind of artistic activity. However,: the number of
artistic and creative teams at the university, the duration of their existence,
the number of participants in each team, the number and quality of concert
performances or exhibitions of artistic achievements of members of artistic and
creative groups and the results of contests and festivals in this case are
cosidered.
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