CC BY
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6. Govorova A.A., Gorbunova I.B. Muzykal'no-komp'yuternye tehnologii kak sredstvo obucheniya lyudej s narusheniyami zreniya muzykal'nomu iskusstvu. Teoriya ipraktika obschestvennogo razvitiya. 2015; 11: 298 - 301.
7. Govorova A.A., Gorbunova I.B. Muzykal'no-komp'yuternye tehnologii v obuchenii detej s glubokimi narusheniyami zreniya: osobennosti, problemy, perspektivy. Teoriya i praktika obschestvennogo razvitiya. 2015; 12: 470 - 477.
8. Gorbunova I.B., Zalivadnyj M.S. 'Eksperimental'naya 'estetika: kompozicionnye i pedagogicheskie problemy sovremennogo 'etapa komp'yuternogo muzykal'nogo tvorchestva. Teoriya i praktika obschestvennogo razvitiya. 2014; 21: 289 - 293.
9. Gorbunova I.B., Goncharova M.S. Planshetnye (mobil'nye) tehnologii v professional'nom muzykal'nom obrazovanii. Mediamuzyka. 2016; 6: 3.
10. Gorbunova I.B., Pomazenkova M.S. Muzykal'no-komp'yuternye i oblachno-orientirovannye tehnologii v sisteme sovremennogo muzykal'nogo obrazovaniya. Nauchnoe mnenie. 2015; 3-2: 68 - 82.
11. Gorbunova I.B., Pomazenkova M.S., Tovpich I.O. Planshetnye i muzykal'no-komp'yuternye tehnologii v sisteme professional'nogo muzykal'nogo obrazovaniya. Teoriya i praktika obschestvennogo razvitiya. 2015; 8: 211 - 219.
12. Gorbunova I.B., Hajner E. Interaktivnye setevye tehnologii obucheniya muzyke v shkole cifrovogo veka: programma «SOFT WAY TO MOZART». Vestnik Orlovskogo gosudarstvennogo universiteta. Seriya: Novye gumanitarnye issledovaniya. 2014; 4 (39): 104 - 109.
13. Gorbunova I.B. Muzykal'no-komp'yuternye tehnologii kak social'no-kul'turnyj faktor intellektual'nogo i 'emocional'nogo razvitiya lichnosti v shkole cifrovogo veka. Obschestvo: filosofiya, istoriya, kul'tura. 2015; 5: 22 - 29.
14. Gorbunova I.B., Rodionov P.D., Romanenko L.Yu. Muzykal'no-komp'yuternye tehnologii v formirovanii informacionnoj kompetentnosti sovremennogo muzykanta. Nauchno-tehnicheskie vedomosti Sankt-Peterburgskogo gosudarstvennogo politehnicheskogo universiteta. Gumanitarnye i obschestvennye nauki. 2013; 1 (167): 39 - 45.
Статья поступила в редакцию 04.10.18
УДК 378
Gorbunova I.B., Doctor of Sciences (Pedagogy), Professor, Department of Informatization of Education, Chief Researcher of Educational Methodological Laboratory Music Computer Technologies, Herzen State Pedagogical University of Russia (St. Petersburg, Russia), E-mail: gorbunova@herzen.spb.ru
Hiner Е., musicologist, Founder and Director of Music Vision International LLC, author of the Soft Way to Mozart system (Houston, USA), E-mail: admin@softmozart.com
MUSIC EDUCATION TODAY: MUSIC COMPUTER TECHNOLOGY SYSTEM FOR LEARNING MUSIC SOFT WAY TO MOZART'. The authors of the article discuss opportunities of music computer technology system for learning music and describe the experience of their use in their research and pedagogical practice. The global applicability of the music computer technologies (MCT), provide new limitless possibilities of self-realization, stimulate rapid development of intelligence, raising training to a new level; compatibility with traditional musical technology creates conditions for the continuity of musical eras and styles, their interpenetration and synthesis, reinforcing the interest in musical culture in general. In musical practice the big distribution has acquired a new class of musical instruments that includes keyboards, synthesizers, workstations, multimedia computers etc. Built on the basis of digital technology these tools are characterized by considerable expressive resources, which open up broad prospects for their use in music education. Specialized music computer becomes a new multifunctional poly-timbral instrument of the musician. Among the main objectives worked up by contemporary pedagogics in music, the authors focus their attention on actual potential of digital technologies in enriching and enhancing the role of traditions that have been crystallized in practice of musical pedagogics for many centuries. The authors of the article analyze the problems concerning the current significance of contemporary musical notation, and, in particular, the ones being formed by the development of high-tech information environment, as well as the ways to solve some problems of learning music on the basis of computer technologies using the Soft Way to Mozart system.
Key words: interactive network systems, keyboard electronic synthesizer, musical computer, music computer technologies (MCT), musical education, Soft Way to Mozart system.
И.Б. Горбунова, д-р пед. наук, проф., гл. науч. сотрудник учебно-методической лаборатории «Музыкально-компьютерные технологии», проф. каф. информатизации образования РГПУ им. А.И. Герцена, г. Санкт-Петербург, Е-mail: gorbunova@herzen.spb.ru
Е. Хайнер, музыковед, преподаватель, разработчик образовательной системы «Soft Way to Mozart», г. Хьюстон, США, Е-mail: gorbunova@herzen.spb.ru
МУЗЫКАЛЬНОЕ ОБРАЗОВАНИЕ СЕГОДНЯ: О МУЗЫКАЛЬНО-КОМПЬЮТЕРНОЙ СИСТЕМЕ ОБУЧЕНИЯ МУЗЫКЕ «SOFT WAY TO MOZART»
Глобальная применимость МСТ даёт новые, по сути, безграничные возможности самореализации, стимулирует стремительное развитие интеллекта, поднимая обучение на новый уровень; совместимость с традиционными музыкальными технологиями создаёт условия для преемственности музыкальных эпох и стилей, их взаимопроникновения и синтеза, укрепляя интерес к музыкальной культуре в целом. Авторы статьи обсуждают возможности МКТ и описывают опыт их использования в своей научно-педагогической практике. В музыкальной практике большое распространение приобрел новый класс музыкальных инструментов, которые входят клавишные синтезаторы, рабочие станции, мультимедийные компьютеры и др. Построенные на основе цифровых технологий эти инструменты отличаются значительными выразительными ресурсами, что открывает широкие перспективы их применения в музыкальном образовании. Специализированный музыкальный компьютер становится новым многофункциональным политембральным инструментом музыканта. Среди основных задач, поставленных современной педагогикой в области музыки, авторы акцентируют внимание на актуальных возможностях цифровых технологий в обогащении и повышении роли традиций, которые на протяжении многих веков кристаллизовались в практике музыкальной педагогики. В статье анализируются проблемы, связанные с актуальной значимостью современной нотной системы, и, в частности, формируемые развитием высокотехнологичной информационной среды, а также пути решения некоторых задач обучения музыке на основе компьютерных технологий с использованием системы «Soft Way to Mozart».
Ключевые слова: интерактивные сетевые системы, клавишный электронный синтезатор, музыкальный компьютер, музыкально-компьютерные технологии (MCT), музыкальное образование, система «Soft Way to Mozart».
In musical practice the big distribution has acquired a new class of musical instruments that includes keyboards, synthesizers, workstations, multimedia computers etc. Built on the basis of digital
technology these tools are characterized by considerable expressive resources, which opens up broad prospects for their application in music education [1; 2; 3]. New opportunities allowed us to carry out
with the help of such tools not only recording, but also performing tasks. It is not by chance that with the development of the music computer technologies (MCT), this auditory experience has become the Foundation for many developments in the didactic direction. The creation of musical compositions with the use of new possibilities of MCT is already widely included in the practice of professional composers. The ways of realization of the concept of musical-computer pedagogical education, allowing us to change the level of training of the teacher-musician at different stages of training, are proved in a number of scientific and pedagogical researches [4; 5; 6, etc.].
In the software of professional activities of the contemporary musician and the possibilities of contemporary electronic musical instruments, the IT accumulated over the centuries in music and the art of music making has been fully and completely embodied. The understanding of the fact that a specialized musical computer (MC) is becoming a new multi-functional poly-timbral instrument of a musician is being formed. A lot of works are devoted to the musical computer, electronic musical synthesizer and various aspects of their functioning in the contemporary artistic and creative environment (see, for example, [7; 8, 9, etc.]).
The complex innovative educational system 'Music Computer Technologies in Teacher-Musician Training' developed in the educational and methodical laboratory 'Music computer technologies' at the Herzen State Pedagogical University of Russian [10], based on the best traditions of the domestic classical music education, as well as innovative foreign experience and contemporary MCT [11], developing both the actual music and information technology education, will indispensably affect the problems of music writing and social aspects of the process of computerizing of art education in general [12; 13; 14; 15, etc.]. The principles underlying the creation of the methodical system are the basic ones for the formation of a new subject area in musical and pedagogical education, the possibility of which is due not only to the emergence and development of the international art, but also to the preservation of crystallized written traditions of musical culture. Their existence is fundamental to the formed at the present stage of the professional activities not only musicians, working with MCT (sound engineers, sound designers, sound producers, performers on synthesizers and MIDI-instruments, etc.), not just programmers (developers in the field of electronic music systems), but also music teachers, for whom contemporary technologies offer new possibilities in the solution of didactic problems [16; 17; 18 and others].
The authors see one of the main tasks of pedagogical research in revealing the didactic features of the use of MCT, the possibility of their application in the musical education and education of the younger generation on the basis of classical music, traditional approaches to the methods of transmission the products centuries-old musical culture. It is important that the passion for external, new digital effects and opportunities not only contributed to the bright and colorful "hot" impressions in communication with the art of music [19], but also developed critical thinking, worked on the development of intellectual and cultural growth of students, including the use of music and computer technology as a means of teaching visually impaired students [20; 21].
Today, it is clear that the use of the MCT has great potential for writing, performing, researching music and music education and education; that this process should not be feared of, but rather should be supported and actively participated in. So, to the often sounding question: "What is the reason for substituting the gifted musicians by 'machines', taking art alive one to the last plan, and thus lowering the aesthetic value of music art?", composer and musicologist, teacher and scientist, Prof., Dr. Yu. N. Rags, who worked in various fields of music science (among them: problems of music aesthetics, music acoustics, research in the field of music psychology, the interaction of composer and performing arts, the study of the role and place of information technology in music and music education, the role of electronic and computer music in the contemporary musical and artistic space, etc.), replied: "But in this regard, no one sets the task. It is known that the computer and electronic sound fills the now advertising, music videos, television and radio broadcasts, films etc. Their quality is not always satisfying. In this area, therefore, there is a need to prepare real professionals who could really raise the artistic level of art. And schools should not give up the case, and, if possible, to lead them" [22, p. 202]. Calling for the unification of musicians, musicology theories, knowledge about music, Rags says about the need to unite the musicians themselves: "To unite the interests of musicians working in secondary schools and in special music schools in all specialties and at all levels of education (in the children's musical school, comprehensive schools or colleges, Universities)" and "to use
the rich opportunities of new IT and in the methodological development of the system of music education" [23, pp. 65, 67], to establish mutual understanding between representatives of various areas of musical research.
We would like to emphasize that today information technology is a powerful educational resource. With the help of the Internet you can exchange views, communicate with people from any country, anywhere in the world. But we are not yet using many of the new instrumental capabilities of the digital age in music education, among them are the benefits of interactive dialogue with a music computer to develop and improve music skills that are applicable in everyday academic practice.
We present the results of our pedagogical research aimed at studying the possibility of using both auditory and visual features of students' perception of the musical text in the field of general music education on the example of an interactive learning system 'Soft Way to Mozart', developed by H. Hiner in 2002 and tested in music schools and studios in 52 countries. Along with such interactive educational programs as 'Music in Digital Space', 'Music and Informatics', 'Murzil-ka: The Lost Melody', 'Clifford: Guess the Melody', 'Music Class: Play and Learn', 'Ear Master School', 'Ear Power', 'Sight-Singing Trainer', etc., the program 'Soft Way to Mozart also uses a wide range of media features, putting at the forefront the fundamental principles and scientific achievements of the Russian School of Music [24; 25; 26].
A feature of the 'Soft Way to Mozart' system is the fact that it is actively implemented in the music-text field (individual skills, especially with musical text), allowing us to integrate direct audio experience with the possibility of "detached" analysis of musical notation. This allows us to enrich the art education and education of students, it promotes their spiritual and moral development, it allows us to actively introduce health-saving educational technologies in conjunction with the principles of the highest educational standards. Compared with other schools of the world, such as Suzuki, Yamaha, Kindermusik and some other methodical schools of Bastien, Alfred, Faybers, etc., only the Russian School of Music is based on the developed and tested for centuries academic basis. Most of the above schools and methodological systems are not based on the academic principles of teaching solfeggio, which in the conditions of the Russian School of Music is the cornerstone of the musical and cultural development of beginners (gradual, continuous and systematic development of specific skills, such as writing musical dictations, listening to and reading musical text, transposing, the basics of harmony and applied music theory, etc.).
The central part of the 'Soft Way to Mozart' system is specialized software, the necessary condition for the functioning of which is the connection with a digital keyboard musical instrument, carried out by means of a MIDI-interface.
The choice of a keyboard instrument such as a clavier, a synthesizer, a MIDI-controller or a piano (in the 'Soft Way to Mozart system we use digital keyboard instruments) was due to the crystallized traditions of classical music education. It is the keyboard that is able to convey the multi-voice palette of the musical fabric most accurately. Keyboard instruments have been the sound equivalent of a multi-voice sounding space for the last few centuries. Many genres of musical culture, are based on the use of scores, they are translated into the format of the clavier for wider use in the study of musical material and teaching IT.
The most important feature of the MCT is the possibility of direct and simultaneous interaction of not only all multimedia structures, but also the algorithm of interaction of these structures with human perception. Digital media technologies have raised the process of both visual and auditory perception of the music stream to a new level: the level of a high degree of interaction. The integration of "hot", direct experience with "cold", analytical have become became possible due to the fact that "live" time and experience in "live time" have become a unit managed, not spontaneous, as it was before. In the 'Soft Way to Mozart' system, a person can be in the "live time" field and outside it by pressing the synthesizer key. This allowed us to enrich the experience of the auditory perception with the possibilities of visual analysis, as well as rethink the studied material and evaluate it with the help of the built-in statistical analysis.
The possibilities of pedagogy, crystallized in everyday musical pedagogical practice-registration of sound and rhythmic errors, metric and coordination stability, speed of visual, tactile and classroom reaction when communicating with musical text were initially taken into account in the development of the 'Soft Way to Mozart' system. The tested media means inherent in MCT (computer graphics, sound and graphic cards, animation, interactive ways of communication,
etc.) have also found their place in this computer-didactic system. The selection of the keyboard as part of a single system of MCT is also due to the visual identity existing between the keyboard and the music space.
One of the main tasks of training in this program is to determine the level of understanding of the role of the IT and multimedia digital tools in teaching skills of playing keyboard instruments, the development of listening and playing from sight.
The thematic plan of the professional development program includes the study of the following topics:
1. The nature of human musical abilities. The role of motivation in music teaching and interactive network technologies of music teaching. MCT. The analysis of the different schools of the world from the point of view of the approach to teaching music. The role of the Russian School of Music in world music education. Interactivity as the foundation of motivation in learning. Features of human cognitive functions. The role of cognitive inquiry in the development of knowledge and skills.
2. The basic principles of the course 'Soft Way to Mozart'. Neuropsychological and physiological features of human development in the process of learning music. The role of voice in music teaching. Application of the vocal nature of music in the development of hearing and voice using the 'Soft Way to Mozart' system. Development of "musical vision". Features of visual perception of the musical text and ways to improve the "reading" of music using the 'Soft Way to Mozart system. Statistical analysis of skills development using the measurement system of 'Soft \Nay to Mozart'. Music and linguistics.
3. The main components of the interactive learning system 'Soft Way to Mozart. The components of the 'Soft Way to Mozart' system: specialized software, computer and synthe sizer interconnection. Featuresofthe 'Soft Weyfo Mozart systemin different conditions and with different groups of students.
There are general and sper/ee featueesthatweshouldcousid-er when teaching any subject. Genera/ fea^teszretlzefoundation thatdorm tdeentirestructese ofany suhjeot. TFcoiphMhetin-eadiog, the multiplication table in math, the globe in geography, the table of chemicel eisments in chemistry are examples of the general systems that unite more specific elements of each subject: letters, numbers, continents or chemical elements.
The following generaHundomentalfeatuoesare essentialforore-ating a whole system for music literacy:
1. Generally piano keys and Grand Staff are one unite.
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Therefore, we have to start music lessons with piano keys and the Grand Staff to present music system as a whole first.
3. The Grand Staff is General-Treble, Bass and other clefs are specific.
TrebleandBassclefs areNOTtwoseparatesystems.butrather two port. of она fBAtem that mitror lachctOer.
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With this idea in mind, it makes more sense to count the lines of Treble and Bass from the Middle C, which acts like the 0 on a thermometer-with degrees going higher (to the right) and lower (to the left).
Based on this fact, we have to count the lines of the Bass clef not from the bottom up, but from up to bottom.
If your music textbook says otherwise, updated this information.
The keys are the lines and spaces, and the lines and spaces are tha dees. hfey ote a whole h
To learn the keys and lines/spaces separately is more specific.
Tie Pianz ^oesachy ecteces, muoicnotceonaro esbttttee. They have to follow after the introduction to the entire unite.
2. Pitch and placement on the Grand Staff are general. Timbresare specific.
All music sounds have concrete pitch and concrete placement on the Gra ni Stsfa.
Pitch and placement generally unite sounds regardless of their timbre.
On the other hand, the timbres of music sounds are specific for each group of instruments and have no relevance to the music grammar.
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The Grand Staff is the general system of music literacy. We have to present it as a whole from the very beginning to avoid any confusion in the future.
Learning different clefs for different instruments is more specific. They can be introduced later after understanding the major concept first
4. The duration of music notes is not a static form - it is a timing process.
O ntyinte rsAtive compter tecKP Kl^yis pop) blBoK adoqnatAly PommunioatinK tBo aeeinnoc, lOm dBKelKB-KHTtsBT t)i7 onO ot t7m muKie so uu^nmeal 1ime| Ami" example, the touch of a key and a sound can be presented as an animated flower (for the beginning and the development) and a BmttBrfly (theendand necessitytomove on) Here is an illustration: A sound's beginning
The development
The end
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The general feature of the process is that every sound has a beginning, n development and an end.
In this regard, the graphic representation of each note's duration is more specific element.
5.The tiraeasone Nneedvvents.
One single line generally presents the moment of real sounding. It unites all sounds with no regard to theirbeginning, development or ending stage. Such line also unites all common elements of music -the pitch, lines and spaces (notes) and the keys.
Ode To Joy
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The whole system of all music elements that received the name "Soft Way to Mozart" combines different forms of spatial expression of music into a single whole and in fact is an essential fundamental component for music education worldwide.
From 2013 to 2018 on the basis of educational and methodical laboratory Music Computer Technologies of the Herzen State Pedagogical University of Russia were conducted refresher courses for teachers of musical schools and boarding schools, and implemented the elements of the distance support program of excellence "Interactive Network Technologies Music Learning (the Program 'Soft Way to Mozart'). Also in the educational and methodical laboratory Music Computer Technologies was organized music training on the basis of the educational system 'Soft Way to Mozart' for students of various (non-musical) faculties at the Herzen State Pedagogical University of Russia in the framework of the pedagogical experiment in the preparation of the master's thesis on the topic: 'Information educational environment as a factor in the formation of general cultural competencies of students by means of the MCT'. Specialized software was installed with the support of the Resource Center of Informatization of the Herzen State Pedagogical University of Russia. In work with the students and the teachers were used visual, visual-animation and other interactive modifications developed for the 'Soft Way to Mozart' system.
Teachers who have successfully studied up the program, mastered the competencies, including the ability (and willingness): to use interactive network technology of music training in educational activities; to develop training and presentation materials for classes using the MCT and interactive network technology of music training; to conduct classes using contemporary MCT and interactive network technology of music training; to possess the skills of teaching music to people with disabilities through the use of MCT and interactive
Библиографический список / References
network technology of music training; to be able to create the most effective environment for the development of musical and creative abilities of children; ability to apply contemporary methods and technologies of organization and realization of educational process at different educational levels in various educational institutions; ability to develop and implement educational programs to promote scientific knowledge and cultural traditions; ability to create artistic and cultural environment etc.; as well as ability and willingness to apply rational methods of search, selection, systematization and use of information; orientation in the produced special educational literature on the profile of training and related issues, to analyze various methodological systems and formulate their own principles and methods of training [27]; willingness to apply modern methods and technologies, methods of diagnosing the students' achievements to ensure the quality of the educational process [28].
On the example of the 'Soft Way to Mozart' system it was possible to trace how the MCT are able to integrate the established pre-digital psychological modalities with new multimedia capabilities. New multimedia modules in a live time mode are easily integrated with the procedural nature of the musical language and they allow us to present the musical notation in a new, dynamic quality. The direct perception of the musical flow is combined with analytical, which greatly enhances the didactic possibilities and translates the cognitive experience of students to a new level of development. The synthesis of MCT and modified musical notation opens up new didactic possibilities in the use of musical notation, the actualization of its use in the Digital Age [29; 30]. Digital enrichment of musical notation using the 'Soft Way to Mozart' system can help to solve a number of problems of music education in the 21th century and promote a new stage of music development as one of the most important facets of the world comprehension.
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Статья поступила в редакцию 04.10.18
УДК 376
Chuesheva N.A., Cand. of Sciences (Psychology), senior lecturer, Altai State Pedagogical University (Barnaul, Russia),
E-mail: chu74@mail.ru
Surnina M.V., Cand. of Sciences (Pedagogy), senior lecturer, Head of Department SPiP, Altai State Pedagogical University
(Barnaul, Russia), E-mail: maarisha-c@mail.ru
DESIGNING MODEL OF PSYCHOLOGICAL AND PEDAGOGICAL SUPPORT OF TRAINEES WITH DISABILITIES. The article attempts to reveal the specifics of designing a model of psychological and pedagogical support of students with disabilities and the specifics of the algorithm of its implementation in an educational organization. The article analyzes the main contents of the model, its structural components (blocks), the implementation algorithm. The authors believe that the core of the support process will be a student with disabilities, not the teacher or the process of support. It is pointed out that the need for high-quality, not formal interaction of all subjects of support and, first of all, specialists among themselves, both in determining the strategy of implementation of the model, and in the choice of methods, means and forms of organization of activities in the educational organization.
Key words: model, psychological and pedagogical support, children with disabilities
Н.А. Чуешева, канд. психол. наук, доц., ФГБОУ ВО «Алтайский государственный педагогический университет»,
г. Барнаул, Е-mail: chu74@mail.ru
М.В. Сурнина, канд. пед. наук, доц., зав. каф. СПиП ФГБОУ ВО «Алтайский государственный педагогический
университет», г. Барнаул, Е-mail: maarisha-c@mail.ru
ПРОЕКТИРОВАНИЕ МОДЕЛИ ПСИХОЛОГО-ПЕДАГОГИЧЕСКОГО СОПРОВОЖДЕНИЯ ОБУЧАЮЩИХСЯ С ОГРАНИЧЕННЫМИ ВОЗМОЖНОСТЯМИ ЗДОРОВЬЯ
В данной статье предпринята попытка раскрыть специфику проектирования модели психолого-педагогического сопровождения обучающихся с ограниченными возможностями здоровья и специфику алгоритма её реализации в образовательной организации. В статье анализируется основное содержание модели, её структурные компоненты (блоки), алгоритм реализации. Авторами высказывается мнение, что ядром процесса сопровождения будет выступать обучающийся с ограниченными возможностями здоровья, а не педагог или сам процесс сопровождения. А также указывается на необходимость осуществления качественного, а не формального взаимодействия всех субъектов сопровождения и в первую очередь специалистов между собой, как при определении стратегии реализации модели, так и при выборе методов, средств и форм организации деятельности в образовательной организации.
Ключевые слова: модель, психолого-педагогическое сопровождение, дети с ограниченными возможностями здоровья.
В настоящее время, в связи с модернизацией образования в нашей стране, особую актуальность приобретает вопрос организации психолого-педагогического (комплексного) сопровождения обучающихся с ограниченными возможностями здоровья (ОВЗ) в условиях инклюзивной практики. Несмотря на то, что уже накоплен достаточный практический опыт в области организации и содержания процесса сопровождения детей с ОВЗ, до сих пор возникают дополнительные вопросы, к которым можно отнести следующие:
- насколько удовлетворены особые образовательные потребности детей с ОВЗ с учётом нозологии;
- насколько адекватно определена стратегия и тактика выбора технологии комплексного сопровождения обучающихся с ОВЗ в конкретной образовательной организации;
- насколько в образовательной организации определены и созданы необходимые условия для реализации идей инклюзивного образования и комплексного сопровождения обучающихся с ОВЗ и т. д.
Осуществляя поиск ответов на данные вопросы, мы настаиваем на необходимости не только привлечения «узких» специалистов разных профилей, способных учитывать особые образовательные потребностей детей при сопровождении, но и на необходимости выстраивания взаимодействия между всеми участвующими в этом субъектами. Создание единой команды специалистов - обязательное условие, которое должно быть
создано в любой образовательной организации, реализующей инклюзивную практику. Так как, только слаженная командная работа может обеспечить качественную реализацию представленной в статье модели психолого-педагогического сопровождения.
Учитывая это, в качестве основного метода проектирования системы комплексного сопровождения нами было определено моделирование. В настоящее время, данный метод, является одним из самых распространенных и научно обоснованных, что позволяет исследуемый объект рассматривать как совокупность связанных между собой элементов, составляющих единое целое.
В проектируемой нами системе комплексного сопровождения обучающихся с ОВЗ в образовательной среде, представлена модель, реализация которой позволит удовлетворить особые образовательные потребности ребёнка через создание специальных образовательных условий. При этом, ядром данного процесса будет являться ребёнок - как основной субъект учебной деятельности, а не педагог, выступающий субъектом педагогической деятельности. Подобный акцент предполагает, что все решения, принимаемые специалистами, направлены на учет индивидуальных интересов, особых образовательных потребностей и способностей ребёнка в процессе получения им образования.
Спроектированная структурно-содержательная модель комплексного сопровождения ребёнка с ОВЗ в образовательной среде, включает в себя совокупность взаимосвязанных блоков:
