Completed by: student of group 32

Podstavnyagin Ivan

Supervisor term paper:

Karpova Tatyana Vyacheslavovna

Chapter I. The team as a creative unit.

INTRODUCTION

The relevance of this topic is a team (from lat. collectivus - collective) - a group, a set of people working in one organization, at one enterprise, united by joint activities within an organization. A group can act as a managing, managed or self-governing structure with varying degrees of cohesion of its members - from an unorganized crowd to a single team. To be considered a collective, a group must satisfy several criteria, the main of which can be considered the presence common purpose all of its members. The latter can be formed as a result of the mutual influence of their individual goals or be set from the outside in accordance with the mission of the organization, but it will always be joint, the same for everyone, and not just the same, similar.

Another sign of the collective is the psychological recognition by the members of the group of each other and identification with it, which is based on common interests, ideals, principles, similarity or mutual complementarity of characters, temperaments, etc., although these points should not be overestimated.

Such psychological recognition makes possible the constant practical interaction of people, as a result of which the potential of the team turns out to be significantly greater than the sum of the potentials of each of its members.

The goal is to study the concept of collective and their classification.

In the course of work on the course, the following tasks were set and solved:

1. The team as creative units

2. The concept of "Team". His role in the organization of creative activity

3. Types of creative teams

4.Children's choir and its leader

5. Requirements for the personality of the leader

6. Techniques and methods for creating a team

7. The specifics of the creation of a choral folk group

Object, subject of study - object of study of this course staff and its classification.

The degree of research on the topic - In official documents Russian Federation there are indications of the need to organize systematic work with the class team: "The state program" Patriotic education of citizens of the Russian Federation for 2001-2005 "(Approved

Decree of the Government of the Russian Federation on February 16, 2001); "On the main directions of development of education in the education system" (Decision of the Board of the Ministry of Education of Russia of September 28, 1999); "Organization of the activities of the class teacher in educational institutions"(Appendix to the letter of the Ministry of Education of Russia dated June 21, 2001). In the last of these documents, it is emphasized: “One of the most important tasks of the class teacher is systematic work with the class team. The teacher humanizes the relationship between children in the team, contributes to the formation of moral meanings and spiritual guidelines, organizes socially valuable relationships and experiences of pupils in the class community, creative, personally and socially significant activities, a system of self-government; creates a situation of security, emotional comfort, favorable psychological and pedagogical conditions for the development of the child's personality ".-

The problem of the team in Russian pedagogy has a long history. A significant contribution to solving the problems of the formation of a children's educational team in the second half of the 19th - early 20th centuries was made by P.F. Kapterev, V.P. Vakhterov, K.N.

In the 20s. In the 20th century, in Soviet pedagogy, the children's collective was considered as a means of the comprehensive development of the individual. Prominent ideologists and teachers of this period N.K. Krupskaya, A.V. Lunacharsky, P.P. Blonsky, A.P. Pinkevich, V.N. to educate only in conditions of organized joint life of children.

Of particular importance for the development of the theory of the educational team

had the experience and theoretical works of A.S. Makarenko, as well as the works

scientists-teachers O.S. Bogdanova, N.I. Boldyrev, V.E. Gmurman,

L.Yu.Gordina, I.F.Kozlova, I.P.Ivanova, M.G.Kazakina,

V.A. Karakovsky, T.E. Konnikova, V.M. Korotov, B.T. Likhachev,

I.S. Maryenko, E.N. Medynsky, A.V. Mudrik, L.I. Novikova, K.D. Radina, V.A. Sukhomlinsky and others.

If we turn to the history of the issue of studying the development of the theory of the collective, we can find that it was traditionally carried out in the form of a description of the contribution of individual personalities, usually in chronological order (S.T. Shatsky, A.S. Makarenko, V.A. Sukhomlinsky, T .E.Konnikova, L.I.Novikova and others). The device of the theory itself, its structure, trends in development have been studied far from fully. The traditional approach covered the scientific positions and views of individual scientists in sufficient detail, but did not allow us to see the picture of the development of scientific knowledge as a whole, to assess the trends in its development, to trace the relationship between the development of theory and practice, to highlight problem areas and contradictions.

Research methods - constructive-genetic method; modeling method; methods of theoretical analysis and synthesis: elemental analysis, retrospective analysis, dynamic analysis based on the development of analytical matrices to identify the main subject-problem areas, analysis of dynamics in the ideas and views of scientists, approaches to considering various aspects of knowledge about the team.

Coursework consists of two chapters, reflecting the basic concepts of the concept of the team. And from five sub-items describing in detail the formation of the team.

Leader personality requirements

The most important role in the formation and activity of the team is played by its leader. The goal-setting function is associated with determining the priority of operational and tactical goals of collective activity, determining the methods and means of achieving them. The implementation of this function requires the manager to be able to take into account the peculiarities of the current moment, the ability to find the right and adequate solution in a particular situation. The leader's inability to perform this function leads to disorganization of the team's activities. Since the goal-setting function of a leader is to plan and predict collective activities, the most effective leader is the one who is able to make the best choice from a number of possible decisions based on a predictive assessment of the situation.

The disciplinary function is associated with the need to maintain in the team in the process of joint labor activity due efficiency of performance by each member of the team of their duties, as well as following the norms of behavior accepted in the team. In the performance of the disciplinary function, the orientation towards the sole or collegial solution of issues is most clearly manifested; the degree of application of certain methods of influence characterizes the personality of the leader.

The expert-advisory function is connected, first of all, with the professional competence of the leader. In the process of collective activity, the leader is usually the person who is most often referred to as a source of reliable and reliable information or as the most knowledgeable person.

The communicative-regulatory function involves the regulation of functional-role relationships in the team and requires the manager to give the necessary explanations to certain managerial decisions.

The etymology of the word "choirmaster" originates in German and is interpreted as "chief of the choir". A representative of this profession leads the choir during rehearsals while learning the scores.

Ancient Greece is considered to be the birthplace of choral singing. The choirmaster of that time was called a luminary. At the same time, he acted as an entertainer, announced the appearance of a new character, summarized the monologues of the characters, and built a connecting line between the participants in the action. He even set the rhythm of the songs performed by tapping it out.

In the 19th century, these functions were partially assigned to the headmaster, regent, cantor or bandmaster. Similar duties in singing schools and churches in France were performed by chaplains.

Over time, the art of musical performance acquired its independence and occupied a worthy niche in the field of art and culture.

In pre-revolutionary times in Russia, the training of choir conductors was carried out in several musical educational institutions Petersburg and Moscow: Court Singing Chapel and Synodal School of Church Singing.

It is a known fact from history that conductors did not always face their choir. Until the middle of the 19th century, they conducted groups with their backs to them, because it was considered bad form to stand with their backs to a respected audience. The first to break this rule was Richard Wagner, who made it a rule for the conductor to stand facing the choir.

Professional skills of a choirmaster

For complete performance professional duties the choirmaster must have an impressive volume professional knowledge. The master must be versed in the field of theory and technical skills of singing, know the specifics of the formation of different voices, have good singing training, own his own voice and various vocal techniques. Basically, they conduct with their hands, indicating pauses with gestures, places where you need to take a breath, change the tempo, and where to work on the strength of the sound.

Requirements for choirmasters

artistic taste;

sense of rhythm;

ear for music for placing choir members by parts, selecting new members and listening to them;

the skills of a psychologist in terms of organizing the work of a team of people with different temperaments, worldviews and life positions;

deep theoretical knowledge of techniques and practical skills of their application used by conductors for recording and reading works;

a variety of facial expressions and plasticity of hands (the ability to convey to the team the nuances of reproduction using gestures and facial expressions);

good physical endurance due to standing work;

good memory (choirmasters keep most of the score in memory in order to timely convey to the choir the mood, the necessary manner and other subtleties when performing each work).

Duties of the choirmaster

selection of the choir's repertoire;

setting tasks and explanatory work with the team when learning each new work;

general choral and individual rehearsals with learning parts of new works, repetition of the existing repertoire, quality control of the performance of works, work on performance errors;

tracking competitions and festivals in order to determine the participation of the team in them;

solution organizational issues with leaders, patrons or sponsors of the choir.

Currently, the training of choirmasters is carried out by conservatories, schools of culture, and the corresponding departments of pedagogical universities.

In turn, choirmaster-pedagogical activity consists of elements of assimilation and reproduction of previously formed knowledge, skills, and elements of creative activity, during which amateur participants learn to discover new facets and nuances in art. The acquired experience of creative activity is fixed in the minds of the participants and is reproduced in new situations as new means of solving a new, as a rule, more complex class of educational and creative tasks. Therefore, creativity is the creation of a new, original. In an amateur collective, it is most often such only for a given participant or group of participants, since in artistic and pedagogical practice it can be known. At the same time, the new is necessarily endowed with social value. It can be valuable from the point of view of the educational tasks of the team and significant for society, if the work created by the team is brought to the attention of the audience.

With the accumulation of experience, including the experience of past creative activity, participants can rise to a level where the treasury of the artistic and pedagogical culture of society is enriched.

Consequently, in the collective, artistic and pedagogical technology, as it were, includes three “tacts”. The first step is the reproduction of artistic experience, through which the artist-teacher determines the success of the previous activity, as well as the level of training, education, and development of the participants. The second step is the solution of new tasks and problems that the participants have not encountered before, which for them bear the features of creativity. Accordingly, activity in artistic technology is artistic and creative, and in training and education - pedagogical and creative. It is impossible to imagine that the participants could artistically and creatively embody and perform works without first learning how to work creatively in the process of education and upbringing. The third measure is the reproduction by the participants of the creative experience of artistic and pedagogical activity acquired in solving new problems. This moment is extremely important, since participants should be taught to be aware of the experience of past creative activity so that, relying on it, using it as new means of artistic and pedagogical activity, they could solve new problems in the future.

So, the work is learned and performed within the team. In the process of preparation, the participants gained experience that allows them to perform a work addressed to the audience (listeners) in a new stage situation. This is the culmination of the creative activity of the participants. It is here that it is revealed how much they were able to learn to freely and uninhibitedly master the performing means and, with their help, create an ideological and artistic image in a new way, endowing it with the features of their own aesthetically inspired attitude. Execution has ended. The participants take with them the deep aesthetic experiences that they acquired in the process of performing the work, they take away the feeling of the social value of their activity.

This cycle, therefore, includes three cycles, non-linearly grouped into a whole with a "chain" of changing activities: reproductive - productive - new reproductive pedagogical activity; reproductive - productive - reproductive artistic activity, and, finally, productive stage activity, completing the "circulation" of the collective's movement.

Thus, this complex composition of artistic and pedagogical activity unfolds in accordance with a mechanism that says: the source of the development of the team is pedagogical activity (with the change of reproductive activity into productive activity and from it - new educational and educational reproductive activity), which is a condition for artistic and technological activity ( with the change of reproductive activity into productive activity and from it - new artistic and technological reproductive activity), which, in turn, is a prerequisite for productive stage (performing) activity that has social and aesthetic value.

So, the mastery of pedagogical interaction between the leader and the participants of an amateur group is an inseparable unity and interconnection of pedagogical, organizational and artistic and creative processes, it has a pedagogical orientation and has a creative character and is, therefore, complex, complex.

“Our work is not only, and maybe not so much a profession ... it is fate, our fate, the fate of the people whom we help on duty. Human contact with them most often does not stop. It’s like we can’t help but communicate, help each other, live without each other.” These words, spoken by one of the Swedish specialists, fully reflect the essence of the activity of the head of the creative team, his place in society and his attitude towards his usual, but very the right profession. 1. Requirements of the leader's personality.

The concept of a team. Classification of creative teams.

Completed by: student of group 32

Specialty: "Choral Folk Singing"

Type: Solo and choral folk singing

Podstavnyagin Ivan

Course leader:

Karpova Tatyana Vyacheslavovna

Introduction……………………………………………………………………………

Chapter I. The team as a creative unit…………………………………..

I.I. The concept of "Team". His role in the organization of creative activity………………………………………………………………………..

I.2. Types of creative teams………………………………………………..

Chapter II. Children's choir and its leader…………………...

2.1. The requirements of the leader's personality………………………………………

2.2. Techniques and methods of creating a team…………………………………..

2.3. The specifics of the creation of a choral folk group…………………..

Conclusion………………………………………………………………………

List of used literature…………………………………………..

"Collective" (from Latin collective - collective) is regarded as social community people united on the basis of socially significant goals, common value orientations, joint activities and communication.

The collective as a psychological and pedagogical phenomenon in the scientific and methodological literature is understood differently. In one case, the collective is understood as any organized association of people, in the other - a high degree of development of the group.

Collective like social phenomenon characterized by the presence of a single socially significant goal, joint activities for its implementation, relations of mutual dependence and responsibility with equality of members in rights and duties, in connection with the environment, other teams. The concept of the team, developed under the leadership of L.I. Novikova, considers the team within the framework of an integral educational system as a mechanism that provides teachers with the transition of controlled areas of activity into the sphere of relations.

The collective must be represented as a developing social organism, the development of which essentially depends on the nature of the relations of its members in the process of organizing activities and communication.

Creativity is the activity of a person or a group of people, which consists in creating new ideas or interpreting existing spiritual or material values.

The variety of manifestations of creativity reflects the richness of the essential forces of man and, at the same time, the need of society for progressive changes. Certain types of creativity gravitate predominantly towards the material-practical or spiritual sphere of social life. There is a differentiation of creativity by type (scientific, technical, artistic, social) and by form (value differences, professional - amateur, individual - collective).

A review of the existing scientific literature on the problem of collective creativity and creative teams showed that modern knowledge about collective creativity is mostly contemplative, explanatory and empirical. They do not adequately reveal the mechanisms of collective creativity, do not reveal the features of the organization and management of the activities of creative teams.

A creative team is an organized social group whose activity is based on creativity as the creation of new ones by design or the interpretation of existing spiritual or material values.

Features of creative teams is manifested in the three most significant aspects? creative, socio-psychological and organizational and managerial. The first aspect is expressed in creative self-development, striving for close creative communication, creative coordination of actions and creative mutual understanding. Second? in a heightened sense of creative individuality, creative competitiveness and creative leadership, the high importance of emotional factors in intragroup interaction, reference, collectivist identification, and supra-situational activity.

Such qualities as an increased ability for self-organization, purposefulness, motivation, integrity (integration), structuredness, organization, consistency, and effectiveness reflect the organizational and managerial features of creative teams.

The process of development of the creative team is one of the most important objects of research in the field of pedagogy. In philosophy, the process of development of a creative team is considered as the development of a social organism, the main criteria of which are purposefulness, cohesion, and efficiency of activity (VG Ivanov). In social psychology, the development process is considered through such parameters as moral orientation, organizational and value orientational unity, preparedness for a particular activity within the framework of a socio-psychological community that arises in a team (A. V. Petrovsky, L. I. Umansky and others .) .

L.I. Novikova, A.T. Kurakin and other scientists and teachers, continuing to study the problems of the creative team, consider it as an educational tool, in which three stages of development are singled out.

At the first stage, the creative team acts as the goal of the educational efforts of teachers and leaders who seek to turn this or that organizational unit into a socio-psychological community, where children's relations are mediated by the content of their joint activity, its goals, objectives, values, where there are conditions that ensure the coincidence of views. , assessments, experiences of children. The occurrence of such a state can be judged by the effectiveness organizational structure of the collective, the enthusiasm of children for joint activities, their reactions to violations of the established norms of collective life, according to the development of the external relations of the collective.

At the second stage of development, the children's creative team acts as a tool for the purposeful formation of certain qualities and abilities of the individual. At this stage, a system of external relations develops; the conscious striving of its members, regardless of group affiliation, to the realization of collective goals increases. The team becomes able to demand from its members the observance of certain norms of behavior. The nature of external relations and relations of the collective is also changing. If at the previous stage these connections helped mainly to unite children within a given structure, in the formation of self-awareness “we are a collective”, now their meaning has changed. On their basis, the children's team is aware not only of its integrity, but also of belonging to society as a whole. The consciousness of the collective as a cell of society begins to form in children. At this stage, the main goal of teachers and leaders is to maximize the use of the team's capabilities in the implementation of those creative functions for which the team is created. Teachers are called upon to continue to strengthen the children's team by improving its structure, in which all groups included in it become bearers of creative values.

At the third stage of its development, the creative team is used by teachers and leaders in order to correct social experience and development of the creative individuality of each individual child. At this stage, there is an atmosphere of benevolence of everyone in relation to everyone, a high level of exactingness, social expectations that stimulate the disclosure positive aspects personality. The team becomes the most important factor that encourages children to self-education.

The isolation of three stages in a single process of development and management of a team is conditional, because, creating a creative team, organizing its life, the teacher simultaneously regulates the relationships that arise among children. At each of the three stages of the development of a creative team, the nature of its management by teachers and leaders will be different.

Thus, the collective as a psychological and pedagogical phenomenon in the scientific and methodological literature is understood differently. In one case, the collective is understood as any organized association of people, in the other - a high degree of development of the group. Creativity is the activity of a person or a group of people, which consists in creating new ideas or interpreting existing spiritual or material values. A creative team is an organized social group whose activity is based on creativity as the creation of new ones by design or the interpretation of existing spiritual or material values. Features of creative teams is manifested in the three most significant aspects? creative, socio-psychological and organizational and managerial. Creativity sometimes requires considerable intimacy, immediacy, especially at the stages of the initial search. Friendly communication, empathy in the process of emergence of new solutions, ideas are the most important factors of a good microclimate in the team. A clear and rationally built network of communication between individual members of the team activates creativity.

Ministry of Education and Science of the Russian Federation

GOU VPO "Khakassky State University them. N.F. Katanov"

Institute of Arts

College of Music

Socio-cultural activities and folk art

SD. 03. Methodology of working with creative team

Electronic training and metodology complex by discipline

Lecture notes

(as a manuscript)

Creative team. Principles of organizing a creative team.

The amateur art team can be defined as an organized form of pedagogical, artistic, technological and performing activities that implements a set of norms and values ​​in accordance with the functions and positions of the joint activity of the leader and participants, ensuring the successful fulfillment of their tasks.

Pedagogical activity includes training, education and upbringing of the participants. If the training is focused on ensuring that the participants master the theoretical knowledge and practical skills of working with works of art and their performance, then education is aimed at expanding their horizons in the field of culture and art, public life in general, and education is aimed at the formation of moral, aesthetic, artistic and the physical qualities of the participants. The concept of artistic technologies includes the goals of the task of working on works of art, artistic means and actions to transform this material into a stage work. As well as forms of organization, management and management of this activity. Performing activities are varied. It includes performances, concerts, holidays. Festivals, performances at various cultural and leisure events (holiday evenings, theme evenings, musical lounges, lecture halls, etc.)

Amateur collectives do not arise as a result of strong-willed decisions, administrative orders. The task of the organizers of folk art is to consciously, skillfully form and develop a system of amateur creative formations, taking into account objective and subjective factors.

Principles are the norms for the implementation of any process, the main starting points, in our case, the organization of a creative team.

The most important starting point for the formation of a team is to take into account current and future social needs. Before organizing a team, the organizer must carefully study the real needs of people of all social categories and ages. To evaluate and select them in terms of the goals and objectives of the leisure institution.

Equally important is the consideration of material opportunities for creating a new creative team. A weak material base or the absence of a professional leader can hinder.

The defining principle is the correct setting of the goal. A clear, justified goal is the first condition for the viability of an amateur collective. An important task is to link the interests and goals of each participant with the goals of the team. If this task is solved, then the possibility of conflicts sharply narrows in the team.

When forming a creative team, it is necessary to implement the principle of activity: the leader must be able to activate the creative potential of the participants, concentrate and develop it in the right direction. The principle of an individual approach is also important. Depending on the abilities, individual inclinations and properties of the participants, the method of working with the creative team is determined. This presupposes the leader's knowledge of the mental, physical, artistic and creative properties of each student.

Of all the ways of organizing people, it is the team that provides the highest performance, the best opportunities for personal development. In order to consciously and systematically direct the development of a creative formation, its transformation into a team, one should have a firm knowledge of the qualitative features of the team and the stages of its development. The main quality of the team is highly developed intra-group relations and diverse ties between the team and society. The integrity of the team is due to the unity of aspirations, strong skills joint work, developed and friendly interpersonal relationships, psychological, intellectual, emotional unity.

For an accelerated and fruitful process of turning an association of amateurs into a full-fledged team, the following points must be observed.

1. Formation of a common goal. At first, pay special attention to any manifestations of cooperation, coordinate your desires and aspirations with the members of the circle.

2. Development of motives for participation in the creative process. The following factors are favorable: conscious motivation, the desire to communicate with members of the circle, the desire to promote a favorite pastime, and improve the reputation of the team.

3. Consciously created situations“Leadership checks” accelerate mutual recognition, help to form the structure of informal relations.

4. Collective action is based on mutual respect and interest in the members of the team, when common achievements are considered as the highest goal.

1. The concept of a team

2. Effective work of the creative team

3.Social factors hindering creativity

4. Artistic co-creation as collective creativity

A team is a group united on the basis of universal human values ​​and providing emotional well-being to its members. (Ya.L. Kolominsky). It's peculiar quality of the group associated with common activities, which is the product of group development.

The team can be called small group if she answers the following requirements:

successfully copes with the tasks assigned to it,

has high morals, good human relations,

creates for each of its members the opportunity to develop themselves as individuals,

gives people more than the same team members working individually can give.

The team must have collectivist relations which are defined via: Morality, Responsibility, Openness, Collectivism, Contact, Organization, Awareness, Efficiency.

The presented model should be considered rather as an ideal.

A group on its way to a collective usually goes through a series of stages, including not only progressive changes in its psychology, but also peculiar crises.

The group is going through a period of temporary decline. At the very beginning of development, as a rule, there is a rise, accompanied by increased activity, high spirits, enthusiasm, which then give way to a more or less noticeable decline. Following him, if the group manages to preserve itself as a community and the previously acquired collectivist qualities, an upsurge is again observed, which, however, does not reach the height at which, from the point of view of the general psychological attitude, the collective was at the beginning.

To a large extent, team cohesion depends on stage of maturity :

lapping

"conflict"

experimentation stage

successful problem solving experience

forming strong bonds

Measures for the formation of a favorable socio-psychological climate of the team:

staffing taking into account the psychological compatibility of people;

optimal limitation on the number of persons subordinate to one leader (5-7 people);

lack of extra workers and vacancies;

office etiquette;

the use of socio-psychological methods that contribute to developing skills of effective mutual understanding among team members and interactions.

2. Effective work of the creative team

In any organization there is a dynamic distribution of certain business roles. This phenomenon consists in the fact that each of the members of the organization plays a dual role.

The first role is formal. But the second role, "role in the group", is much less obvious, but it is essential for the successful operation of the team. The experiments identified a total of eight business roles that team members can play; there are simply no other roles in the group.

Not every group has to have eight members. It is quite possible and even necessary for a person in a group to play more than one role. It is important that in a successful group, each of the eight roles is played by at least one person, and all eight roles have an impact in the life of the group.

There must be a balance of eight roles, without the dominance of any one represented by a large number of group members. Particular attention should be paid to the selection of people for the roles of "leader" and "idea generator". The "leader" must be powerful, authoritative and inspiring, inspiring confidence, looking for talents and abilities in group members and knowing how to use them for the good of the cause. In order for a group to operate successfully, it must have one strong “idea generator”. If there are many “generators” in the group, it will become mired in fruitless debates and discussions.

It is important to know the potential capabilities of each member of the team in the implementation of the social roles outlined.

From the beginning of the 20s. the problem of the collective was traditionally considered pedagogical, although certain aspects collective life were also studied within the framework of other sciences. From the beginning of the 60s. Interest in the collective, due to the changed socio-political conditions, manifested itself from all social sciences. Philosophy explores the collective as a social community of people in its relation to the individual, patterns and trends in the correlation of personal and public interest and their consideration in managing the development of society. Social psychology is interested in the laws of collective formation, the relationship between the team and the individual at the psychological level, the structure and development of the system of business and personal interpersonal connections and relationships. Sociologists study the collective as social system in general and as a system of a lower order in relation to a system of a higher level, i.e. to society [General Pedagogy, p. 101].

Any collective and collective activity in the life of a child plays a huge role in the individual development of the individual, his communication with the outside world. Therefore, the problem of upbringing and personal development is now becoming more acute and important than ever. The team is a group of people of a high level of development, mutually influencing each other and interconnected by a commonality of socially determined goals, interests, needs, norms and rules of behavior, jointly performed activities, unity of will expressed by the leadership of the team. There is also such a definition of the collective - a group of a high level of development, where interpersonal relations are mediated by the valuable and personally significant content of prosocial activity. Children's team - a children's group in which a system of highly moral and aesthetically educating public relations, activities and communication, contributing to the formation of personality and the development of the individuality of each of its members.

Creativity is a process of activity that creates qualitatively new material and spiritual values ​​or the result of creating an objectively new one. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly deduced from the initial conditions. No one, except perhaps the author, can get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or logical conclusion, expresses in end result some aspect of your personality. It is this fact that gives the products of creativity an additional value in comparison with the products of production.

Creativity is:

• - activity that generates something qualitatively new, never existed before;
• - creating something new, valuable not only for this person but also for others;
• - the process of creating subjective values.

Collective - (from lat.collectivus - collective), a social community of people united on the basis of socially significant goals, common value orientations, joint activities and communication [ped.enc.dictionary, p. 122].

Big Development Study children's creativity, in whatever area it was carried out, were aimed at establishing a connection between creative processes and the development of the child's intellectual abilities.

Peculiarities of children's creativity are connected with the conciseness in time of the stages of the creative act, the subjective novelty of the activity and its product, as well as the child's ability for productive self-expression. The child's creativity is a special kind of activity aimed at creating qualitatively new values ​​for him, important for the formation of the child's personality as a subject. The value of children's creativity lies not so much in practical results, which, due to the age characteristics of the child, cannot be fundamentally new, but in the fact that in the process of mastering the activity, his individual capabilities are revealed [Ursegova, p. 73]

“Conditional groups are groups united according to one of the formal characteristics (age, gender), etc.

Real groups - groups in which people are in Everyday life and activities.

Formal groups are groups that have an officially defined structure.

Informal groups - groups based on personal preferences.

Underdeveloped groups - groups that are at the initial stage of their development.

Highly developed groups - groups with a history, united by unity of goals, common interests, a dense network of relationships, cohesion, etc. ”[Krysko V.G., p.174].

The highest stage of group development is the collective. As a rule, it includes more than one group: both formal and non-formal, but is not only a mechanical sum of groups. And it is, therefore, a new quality of human associations. The team is characterized by: high cohesion; the presence of a contact group, high integrative unity, organization, readiness and psychological communication” [Modern psychology, p.526]. According to the concept of L.I. Umansky, the stage-by-stage development of the group is presented as a successive change of stages, characterized by qualitative differences in the degree of expression of the parameters: “orientation, organization, preparedness, intellectual, volitional communication. Cohesion, microclimate, reference, leadership, intragroup and intergroup activity also act as integral characteristics. The development of the group takes place in a continuum, the highest point of which is occupied by the collective” [Umansky L.I., p.73-74].

A comprehensive study of the creative team involves understanding the specifics of its structure, as well as the specifics of the interaction of the individual within its formal and informal structures [Krysko VG, p.183]. All sets of connections that develop in a group between individuals and microgroups are determined by the “character of the distribution of functions between members of the team” [Modern psychology, p.525]. But according to the studies of E. Mayo, they are no less influenced by the structures of formal and informal ties. Since "the informal structure of the group is the structure of connections, communications and influence that really develops in the team" [Modern psychology, p.526].

“The structure is the embodiment of the form, while the process is the embodiment of the function” [Yitzhak K.A., p.526]. Knowledge of the structure of the creative team and understanding of its functioning are necessary in the realization of its creative potential. Of course, this knowledge does not fully predict the behavior of the collective in certain cases. But to predict its direction will help.

Creative (performing) teams have all the characteristics of groups described in social psychology. A collective of this kind consists of subgroups determined by the performance (instrumentally). In the orchestra there are groups necessary for its functioning, namely, as an orchestra. Strings, winds, etc. In drama, opera, ballet groups there are functionally inherent only to them. necessary groups. Creative teams, structurally consisting of formal or informal groups are studied by means of sociology and social psychology. Given the specifics of the creative team, it is quite possible, relying on the means of social psychology, to plan its activities. And, if possible, predict the quality of his work. To achieve the goals of the creative team, its leader must understand the structure of the team, the patterns of formation of informal groups in it, which either help or hinder the activities of the creative team. Therefore, it is necessary to take into account:

• - psychological phenomena associated with the individuality of a person;
• - phenomena of communication and interaction in pairs;
• - interactions within small (up to 20 people) groups and interactions of groups with each other. The concept of "collective", its relationship with the concept of "group of people". Signs of groups of amateur creativity: voluntary activity of the subject; spiritual motivation; changing the subject in the direction of greater comprehensiveness of his interests, needs, abilities; own activity and initiative of the composition; Team work.

Approaches to the classification of amateur art groups: performing groups (circles, studios, ensembles of all types and genres); groups of authors (studios); amateur associations.

Types of artistic and creative organizations: educational, creative, communicative, complex.

Forms of creative organizations: circles, studios, ensembles, amateur associations, etc.

Bases for the creation of amateur groups: club institutions; schools; centers of children's and youth creativity; universities, etc.

Psychological and pedagogical guidance interpersonal communication in art groups.

Usage modern means and technologies in artistic and educational activities.