General characteristics of music and computer technologies.

Irina Biryukova
Modern educational technologies in the work of the music director of a preschool educational institution

Municipal autonomous preschool educational institution

urban district Korolev Moscow Region kindergarten No. 39 general developmental type

"Sunny city"

"Modern educational technologies in the work of the music director of a preschool educational institution. "

Music hands Biryukova I. A.

g.o. Korolev 2015

Introduction

List of literary sources

Application

Introduction.

Doing the technique musical development of preschool children, I discovered that the child and the music is incredibly similar, spaces of childhood and music are inextricably linked with the concept of play. This conclusion became the starting point for me, defining the essence of pedagogical music technology education and development of children of early and preschool age. The path that a child takes when discovering the world music, and with its help himself and the world around him, is extremely important for him. This is a very interesting and unusual route that helps the child in his musical achievements and artistic search, in accomplishing numerous and various discoveries.

Keeping up with modern educational processes, preschool teacher education you need to be able to navigate diversity integrative approaches to child development, in a wide range modern technologies . Usage modern technologies in music development of a preschooler require new approaches to musical education.

Music and play is the source of children's joy. Applying on musical classes, various game methods, I solve an important problem early musical raising children - developing emotional responsiveness to music. In his work, I use new programs and technologies in various types of musical activities.

Use of information and communication technology on music classes allows me, as a teacher, to significantly revive joint educational relationships with children, expanding the opportunity to present musical and didactic material. Classes using ICT activate the preschooler’s attention and enhance cognitive interest in music. Classes become more meaningful and harmonious.

Tasks musical education is carried out through several types musical activity: hearings music, singing, musically- rhythmic movements, musical and educational games, games for children's musical instruments. New information media technologies I include in all types musical activity:

In chapter "Hearing music» - computer presentations are used to enrich the process emotionally – child's figurative cognition, causing the desire to listen repeatedly musical composition.

In chapter "Singing"- singing skills are acquired in the process of learning songs (playing with the sounds of your voice, intonations of speech). Showing a computer presentation for a song helps to interest children in having a conversation that matches the theme of the song.

In chapter « Musically- rhythmic exercises"- the process of learning dances using educational videos becomes exciting and interesting for the child.

In chapter « Musically – didactic games» - use of voiced presentations ( « Good master» , "Forest Orchestra", "Whose house", “Guess the melody and mood”, "Apple Tree" etc.) help the child first learn the task, and then check whether it is completed correctly.

The use of ICT allows the teacher to clearly and clearly convey to the child information about different types arts such as theater, ballet, opera

Formation of basics musical cultures of preschool children, accumulation of experience musical perception contributes technology development of perception music O. P. Radynova. Application algorithm technologies in practical activities:

Stages:

1st stage: listening attitude (conversation about a piece of music, getting to know the author, title);

2nd stage: performance musical works by a teacher or listening to audio recordings;

3rd stage: definition of emotional – figurative content of music(“What feelings does it convey? music?» );

4th stage: highlighting features of software and figurativeness if available(“What does he talk about? music?» )

5th stage: definition of expressive means with which it was created musical image(“As he says music?» );

Moreover, these stages can be layered on top of each other in each subsequent lesson. The first stage is the core one.

6th stage: Combination of perception music with practical and creative activities that help the preschooler to express his experiences in external manifestations and to feel his character more deeply music, actively experience your impressions.

Use in class technology the formation of motor skills by A. I. Burenina involves variable game forms of organizing the pedagogical process based on the cooperation of a child and an adult and includes the following stages:

1st stage: imitation of children sample execution of movements by the teacher ( "engaging display")

2nd stage: development of the ability to independently perform individual movements, exercises and entire compositions. (Used We: demonstration of the child’s performance, demonstration with conventional gestures and facial expressions, verbal instructions, "provocations", i.e., special mistakes by the teacher to activate children’s attention).

3rd stage: creative self-expression.

(Formation of the ability to independently select and combine familiar movements and come up with your own, original ones).

Gaming technology formation of creative music-making skills by T. E. Tyutyunnikova allows preserving and developing natural musicality preschoolers based on equal, interpersonal, creative, joint play interaction, non-judgmental musical process.

Stages:

1st stage: teaching the simplest elements of playing musical tools and the ability to practically use them;

2nd stage: creative music-making – improvisational appeal with familiar material, the ability to use it in your own way, combine it into various options, experimenting and imagining;

3rd stage: concert music playing - performance by an ensemble of children of some classical, children's and folklore works music.

Usage technologies musically-theatrical activities (A. S. Burenina, M. Rodina, M. D. Makhaneva, E. G. Churilova) on musical classes helps to introduce children to theatrical culture, awakens interest in theatrical and play activities.

Stages:

1st stage: Expansion and systematization of children’s knowledge about theater by topics:

Features of theatrical art,

Types of theatrical art,

The birth of the performance

Theater outside and inside,

Culture of behavior in the theater.

2nd stage: "Theater Game"- is aimed not so much at the child’s acquisition of professional skills and abilities, but at the development of play behavior, aesthetic sense, the ability to be creative in any task, and be able to communicate with peers and adults in various situations. Includes:

Games to develop auditory attention, creativity imagination and fantasy

Games with improvised noise instruments;

Finger play training;

Games to develop the perception of the character and content of music. works

Games to develop visual attention

Games with household items and toys

Exercises with attributes to develop fine motor skills, attention, memory, imagination

Action games with imaginary objects or memory of physical actions

Exercises to develop expressiveness of performance (development of facial expressions, pantomimics)

Game-sketches for the development of emotions

Games-sketches for the development of creativity imagination

Game-sketches for communication

Exercises and games to develop culture and speech techniques(breathing and articular exercises)

Tongue Twisters

Exercises to develop intonation expressiveness

Creative word games

Dramatization of poems

Preparation and acting out various mini-dialogues, nursery rhymes, songs, poems, various fairy tales and dramatizations

3rd stage: Work on the play(nine basic steps):

1. Selecting a play or dramatization and discussing it with the children.

2. Dividing the play into episodes and retelling them for children.

3. Job over individual episodes in the form of sketches with improvised text.

4. Searches musically-plastic solution of individual episodes, dance choreography. Creating sketches of scenery and costumes together with children.

5. Go to text plays: working on episodes. Clarification of the proposed circumstances and motives for the behavior of individual characters.

6. Job over the expressiveness of speech and the authenticity of behavior in stage conditions; consolidation of individual mise-en-scenes.

7. Rehearsals of individual paintings in different compositions with details of scenery and props (can be conditional, with musical arrangement.

8. Rehearsal of the entire play with elements of costumes, props and scenery. Clarifying the tempo of the performance. Appointment of those responsible for changing scenery and props.

9. Premiere of the play. Discussion with the audience and children, preparation of an exhibition of children's drawings based on the performance.

Application modern educational technologies for OD in music education solves the problem general development children by means music, enrich the child’s inner and spiritual world, develop emotional responsiveness, form an elementary understanding of the types of art, national traditions and holidays. Application of these technologies correspond to the Federal State Educational Standard for Educational Education educational process.

The use of gaming techniques and methods in non-standard, problem situations that require choosing a solution from a number of alternatives forms flexible, original thinking in children. For example, in class, writing music stories, fairy tales, pupils gain experience that will allow them to then play games - inventions, games - fantasies. So way, more modern gaming technologies closely related to all aspects of educational and educational work kindergarten and solving its main tasks.

Conclusion: Usage modern educational technologies certainly gave a positive result. Children have a desire to study musical activity, and not only sing, dance, but also listen musical works. They speak quite skillfully about the character and genre of a work, know and use special words in their speech. musical terminology(within your age). Children independently monitor their posture during classes, protect their voices, and are active during games and exercises.

Musical entertainment

"Trip to "Play - city"

(for middle group children)

Target: Encourage children to actively participate in all activities.

Tasks:

Developmental: develop the ability to perform movements in accordance with character music; sing expressively, conveying the character of the song.

Educational: consolidate the ability to perform the simplest rhythmic pattern with clapping; play on musical instruments; continue to learn to sing in a natural voice, without tension, to start and finish a song together, to hear the introduction; perform dance movements together as shown by an adult.

Educational: cultivate interest in music.

Preliminary Job: reading a fairy tale "Teremok"; step-by-step learning with children the roles of a fairy tale; hearing musical works , of different nature; making cards "Emotions".

Equipment: musical instruments, cards with emotions, multimedia equipment, music Center, Puppet Theatre, "quest chest".

Progress of educational activities:

Children freely enter the hall together with the teacher.

Music of hands: Hello guys!

Children: Hello!

Music hands: I'm glad to see you! Today we have guests in class, let's say hello to everyone.

Children: Good morning!

Good afternoon!

That's how nice we live! Hello!

Music hands: guys, I would like to know if you like to play?

(Children's answers)

Music hands: what games do you like to play?

(Children's answers)

Music hands: I asked you about games not by chance. This morning I received a letter from my friend musician who lives in a magical "Play in the city". Its residents love to play, sing and have fun. The funniest of them all is Princess Igrulya. But lately she has become sad, she doesn’t play with anyone, but only cries. The residents of the city were upset because of this and also became sad. My friend asks us to help, cheer up the princess and bring laughter and joy back to the city. Let's help residents "Play - cities"? But only friendly and good guys. Do you think you can cope with this task? Why do you think so?

(Children's answers)

Music hands: Then you can hit the road. I know the way and will lead you. Unfortunately, in "Play - city" Only children can get in, so you guys need to clap (scheme of rhythmic syllables) and pronounce magic syllables so that I turn into a child. And so ready.

Scheme of rhythm syllables (Game technology

Children: (claps)

(music director puts on a bow)

Music hands: Well, I'm ready! Let's go now to the city where chief guest- A GAME! Went…

Dance - warm-up "What is kindness" (Technology

Music hands: guys, look, here is the gate "Play - cities". The gate is closed. My friend the musician warned that there is a lock on the gate, and there should be a "Task Chest". The lock will open if you complete the task.

They find a chest with music in it. tools and dolls. Open and complete tasks.

1 task:

Tell a story using these musical instruments , and dolls will help you (fairy tale “Teremok”)

(Technology development of creative abilities of preschool children in musically-theatrical activities of A. S. Burenin, M. Rodin, M. D. Makhanev, E. G. Churilova)

Music manager: well done! The gates are open, you can enter the city. And here it is "Emotion Lane". Residents live here "Play - cities" and look out the windows, but their moods are different. Let's determine together what kind of mood someone is in, this will help us music. Let's listen to 1 melody and choose the right card.

Children listen music D. Kabalevsky "Rezvushka"

Listen to melody 2 and select the desired card.

Children listen music D. Kabalevsky "Crybaby"

Listen to melody 3 and select the desired card.

Children listen music D. Kabalevsky "Evil"

(Technology development of perception music O. P. Radynova)

Music of hands: Well done, we guessed the mood of the residents "Play - cities". And so that all residents are in a joyful mood, let's teach them the game "Mouse and Little Mice"

A game "Mouse and Little Mice" (rhythm game)

Music director: we continue our journey. And here is the square "Joy" And "Palace of Happiness". And Princess Igrulya herself. But look, she's sad. Let's cheer her up and dance "Polyechka".

Dance "Polka"

(Technology formation of motor skills by A. I. Burenina)

Music of hands: look, our princess smiled and the residents "Play - cities" rejoice too! They clap for you! Let's take it musical instruments and together we will all rejoice and play them.

(Game technology formation of creative music-making skills by T. E. Tyutyunnikova)

Music hands: guys, we cheered up Princess Igrulya, and now in "Play in the city" everyone is having fun again. And it’s time for us to return to kindergarten, you and I are late. And an autumn song will help us with this. We will sing it and end up in kindergarten.

Song "Autumn"

Music hands: Here we are at home. Oh, guys, they forgot about me, I need to turn into an adult. Quickly turn me where ours are musical schemes, you need to clap and pronounce the magic syllables. Ready?

(scheme of rhythmic syllables)

Music hands takes off the bow.

Music hands: Thank you. Tell me, where did we go today? What good did you do?

Well done boys. Our journey has come to an end. Let's say goodbye to our guests. Goodbye, guys!

List of literature

1. Merzlyakova, S. I. “The role of integrated activities in the development of preschool children” //« Musical director» 2010.- No. 2.- p. 2

2. Radynova, O. P. “Preschool age: how to form the basics musical culture» // « Musical director» 2005.- No. 1. -With. 3

3. Radynova O. P. « Preschool age- tasks musical education» // Preschool education 1994.- No. 2, p. 24 - 30

4. Skopintseva, O. A. “Development musically-artistic creativity of senior preschoolers" / Skopintseva O. A. - Volgograd, 2010

5. Tarasova, K. V. “Development musical abilities in preschool childhood" // « Musical director» 2010 - No. 1. - With. 10

6. Tyutyunnikova, T. E. "Simple, fun, easy" // « Musical director» 2009.- No. 5.-p. 4

7. A. I. Burenina "Rhythmic mosaic" 2012 « Musical palette» Saint Petersburg.

The modern world is constantly changing, and our children are changing with it. Today there is no longer any doubt that modern children are very different not only from those described in their writings by Y.A. Kamensky and V.A. Sukhomlinsky, but also from his peers of recent decades. And this happened not because the nature of the child himself changed - life itself fundamentally changed.

Informatization of the education system places new demands on the teacher and his professional competence. A teacher must not only be able to use a computer and modern multimedia equipment, but also create his own educational resources and widely use them in his teaching activities, taking into account the individual and age characteristics of children.

Education can be productive only when its content takes into account the needs of modern children, and the process of training and education is carried out taking into account their characteristics, potential and capabilities. And for this, the teacher must be modern. Based on the characteristics of modern children, the teacher must be able to develop and use innovative technologies of education and training in his professional activities, create conditions in which the child will show cognitive initiative, develop his imagination and creative abilities, and satisfy his need for self-realization.

A combination of traditional teaching methods and modern information technologies, including computers, can help a teacher solve these problems. The use of information and communication technologies, the development of their own multimedia projects, educational and methodological, gaming aids and their implementation in practical activities allows the teacher to improve the quality of organization of the educational process, make the learning process interesting, and the child’s development effective, opens up new educational opportunities not only for the child, but also for the teacher himself.

In the practice of working as a musician-teacher, the use of information and communication technologies opens up enormous opportunities. Colorful educational presentations, videos, and multimedia aids help diversify the process of introducing children to the art of music and make their encounter with music more vibrant and exciting. Classes using information technology not only expand and consolidate acquired knowledge, but also significantly increase the creative and intellectual potential of students.

The main goal of using information and communication technologies in music classes can be considered the activation of students' cognitive and creative activity.

The use of information and communication technologies in music education and raising children also solves a number of important problems:

increasing students' motivation to learn;
developing students' interest in independent creative activity; activation of students' creative potential;
increasing students' interest in musical culture;
enrichment of the organization's methodological capabilities joint activities teachers and students, giving it a modern level.

The use of information and communication technologies in the process of music education and upbringing stimulates the development of students’ thinking, perception, and memory; allows you to make educational material more accessible to perception; expand the conceptual range of covered musical topics; helps to improve the assimilation of educational material. The use of information communication technologies in music education helps to develop the skills of active perception of music, enriches the musical experience of children, instills in them knowledge, which in general is an important prerequisite for enriching the musical culture of students.

Information and communication technologies can be included in all types of musical activities of students. There are many forms of modern didactic materials that a musician teacher can create using information and communication technologies. These didactic materials help optimize the educational process, making classes rich, interesting and educational. So, let's look at these forms of didactic materials in more detail.

Multimedia presentation

Presentations make it possible to enrich the process of emotional-imaginative cognition, evoke a desire to listen to a piece of music repeatedly, help to remember for a long time a piece of music proposed for listening, visual perception of the objects being studied allows you to quickly and deeply perceive the presented material. Presentations are indispensable when introducing students to the work of composers; in this case, bright portraits and photographs attract children’s attention, develop cognitive activity, and diversify children’s impressions.

At the end of the presentation, test or creative tasks are possible, which are completed both in writing and orally. In the case of completing tasks orally, discussions, discussions, and comparisons of different points of view are possible, which will lead to the main conclusion on the topic, that is, to children’s awareness of the artistic and pedagogical idea of the lesson.

Demonstration of video clips of operas, ballets, musicals, documentaries and etc.
The video fragment should be extremely short in time, and the teacher must take care of providing feedback to the students. That is, video information should be accompanied by a number of developmental questions that invite children to dialogue and comment on what is happening. Under no circumstances should students be allowed to turn into passive observers.
Virtual excursions to museums of musical instruments and museum-apartments of composers.
For development musical abilities For students, the teacher can use special multimedia musical and didactic games.
In an accessible, attractive form, they contribute to the development of modal, timbre, dynamic hearing, and a sense of rhythm. Translated into digital format, they will undoubtedly be convenient for frequent use. They can be demonstrated as the material is explained; can be printed and distributed to students as a visual handout.
This type of musical activity such as singing also involves the use of information and communication technologies. Thus, the condition for expressive singing is that students understand musical image songs, understanding the meaning of its lyrics. Help in solving this problem can be provided by creating a file cabinet of electronic illustrations and presentations for various songs. When working on the quality of song performance, sound production, diction and other elements of vocal and choral sonority, you can use videos With with the participation of children: the children’s performance of a song is recorded on a video camera, then this recording is viewed and discussed together with the students.
When teaching a child to play a musical instrument, you can use presentation-concerts to get acquainted with the musical instrument and the specifics of its sound.
It is also possible to use Internet resources for students to complete homework, development and application of new test tasks taking into account technologies of student-centered learning, as well as students performing creative tasks using information and communication technologies.

In conclusion, I would like to note the importance and necessity of using information technology by a music teacher. This helps to increase students’ interest in learning, improves the effectiveness of learning, develops the child comprehensively, and activates parents in matters of musical education and development of children.

For a teacher, Internet resources significantly expand the information base in preparation for classes, related not only to the world of music, but also to the world of art in general. And the ability to use a computer allows you to develop modern teaching materials and use them effectively.

The use of information and communication technologies is not the influence of fashion, but a necessity dictated by the requirements for modern education.

The use of computer technology makes it possible to make music lessons attractive and truly modern, to individualize learning, to monitor and summarize learning results objectively and in a timely manner.

List of used literature

Beloborodova V. Methods of music education. - M.: Academy, 2010.
Dmitrieva A., Chernoivanenko N. Methods of musical education at school. - M.: Academy, 2011.
Zakharova I. Information Technology in education. Textbook for higher education. textbook
Establishments. - M.: “Academy”, 2008.
Clarin M. Pedagogical technology in the educational process. - M.: Education, 2009.
Selevko P. Modern teaching technologies. – M.: Education, 2010.

Shtepa V. Computer educational programs for music lessons. – M.: Education, 2011.

Internet resources

Recently, there has been significant public interest in electronic music and, in particular, in music and computer technologies. This is due to several reasons.

Firstly, computer technology is penetrating all areas of activity, introducing new opportunities for self-realization.

Secondly, its versatility, fantastic limitlessness in improvement, and global applicability of electronic music raise learning to a new level, stimulate the rapid development of intelligence, and make music lessons in demand among a wide circle of art and creativity lovers. Thirdly, the compatibility of electronic music with traditional music technologies creates conditions for continuity musical eras

and styles, their interpenetration and synthesis, thus contributing to the development of students’ creative potential and strengthening interest in musical culture as a whole. Anyone who cares about what will happen in our country with music education in the coming decades will agree that one of the directions along which modern music education is already moving, not only theoretical, but also performing, is computer training and computer communications. IN last years

Computer and communication technologies are increasingly affecting the sphere of culture and especially music.

Only about a decade has passed since the computer appeared in our lives, and today it is no longer possible to imagine how we can solve many professional and everyday problems without it. Digital technologies have also affected the sphere of musical activity, both professional and amateur, and the transformations taking place in it are striking in their scale and radicality. A professional composer today does not need either, nor solo performers to voice their music - be it an experimental work or a work of song and dance genre, accompaniment to a play, film, television and radio program or computer game. A musician of any level, including an elementary level of training, today can create detailed, diverse sounding electronic compositions, and the spread of such activities among teenagers and young people has no historical precedent in its mass scale.

Digital instruments are gaining an increasingly confident position in music education. Electronic music classes and departments are being opened in children's music schools, art schools and other additional education institutions; This activity is increasingly being resorted to in the classroom in secondary schools; Music festivals for electronic musical instruments are held in different cities of Russia. At the same time, many teachers have conflicting feelings about digital tools. The questions that arise are similar. What is the purpose of a synthesizer and a computer in music classes - are they designed to facilitate the process of acquiring the necessary knowledge, skills and abilities in traditional areas of musical activity, or are they needed for electronic musical creativity? To use computerized instruments in musical activity - doesn’t this mean deliberately limiting it to the framework of electronic music of an experimental, essentially elitist direction? Within the framework of pop or rock music, in most cases built on primitive cliches? After all, such genre or stylistic restrictions will inevitably lead to a decrease in the level of musical culture of students.

Active processes of modernization of youth education are taking place in educational institutions in many regions of Russia. In the near future, electronic musical instruments and music-making will take a strong place not only in mass primary music education, but also in modern professional education, in particular, its middle level.

In recent years, music and computer technologies have become very attractive to a huge number of music lovers who, unfortunately, do not have sufficient education to engage in musical creativity professionally, but have a desire to compose, experiment with sounds, and give everything free time playing music. These are truly noble aspirations. Among these amateurs there are many people with technical professions: engineers, specialists in the field of computer science, acoustics, sound recording, and computer technology. A number of modern computer programs for creating and arranging music are, indeed, designed for the fact that their users do not have a professional musical education. For the most part, these programs are focused on modern song and dance genres in European and Latin American popular cultures.

Of course, when a composition is born from a set of blank samples or from rhythmic and textured elements of certain genre templates, this type of “creativity” can only be a kind of intermediate stage on the path to understanding the foundations of real art. But even here, the creative nature is able to overcome cliches, extract for itself either intuitively or meaningfully defined laws, rules of composing technologies, so that as a result, a music lover can find his own creative techniques.

Working in sequencer programs such as: Cakewalk, Cubase, Ableton Live, FL provides much greater scope for composing imagination. Studio. Later versions of these software products, designed for powerful high-speed computers, integrate various functions of sequencer MIDI editors, multi-track digital audio studios, and virtual synthesizers.

For musicians, these programs are difficult due to the multiplicity and complexity of their options; From music lovers, on the contrary, they demand unconditional professional musical education.

Obviously, the agenda includes the problem of moving two vectors of educational technologies in music towards each other: to teach musicians all the intricacies of computer programming of the modern sound “canvas”, and to teach specialists in the field of information and computer technologies and sound design a competent understanding of the laws of musical creativity. The issues of teaching music in secondary schools deserve separate serious discussion. It is known with what greedy curiosity teenagers (especially boys) are drawn to technical innovations, how delighted they are by the sight of radio equipment on the stage (microphones, operator consoles and sound speakers), and the catchy rhythms of loud dance music, on the one hand. But, on the other hand, how difficult it is to explain to them at this age an understanding of the masterpieces of the eternal classics and respect for truly great musicians.

Perhaps the presence of a music computer in a secondary school classroom, an enterprising singing teacher who is as fluent with such a computer as with a piano keyboard. The ability to engage your class in a variety of forms of working with the musical repertoire thanks to computer technology will transform music lessons.

To introduce computer technology into the process of music education, a music teacher needs the following technical means: a multimedia projector or interactive board, and all kinds of music programs, a computer, a synthesizer. A synthesizer instrument with limitless electronic possibilities. According to P.L. Zhivakina, he has a great future. He rightly notes: “In recent years, computer and communication technologies have increasingly affected the sphere of culture and especially music. At one time, the piano revolutionized music education. The day will come when the synthesizer will play a similar role.”

For example, a necessary type of musical activity in traditional music lessons was and remains listening, which involves familiarity with the works of composers of different eras and peoples. The teacher, having chosen a piece of music, can use the comparison method, which consists of performing the piece on the piano, then on a synthesizer, and listening to the same piece in the electronic version of the arrangers. Students, having perceived the same work in different performances, can make comparative analysis, highlight positive sides and the benefits of each tool.

An important activity in music lessons is choral singing. In this case, we assume the use of synthesizer accompaniment or the Karaoke program. By recording the “backing track” of the song, the teacher will be able to direct all his attention to working with the children’s choir. Karaoke can perfectly integrate into extracurricular activities. Such arrangements will be an excellent background for musical rhythm games, etc. The teacher himself can come up with a lot of techniques and methods for using karaoke in his work on musical education of children.

The emergence of educational computer programs, games, gaming questions and answers, multimedia crossword puzzles allows you to study musical notation and gain basic knowledge about music.

In music classes where music lessons are held, there is a need to install a multimedia projector or interactive whiteboard. These technologies will enrich musical process lessons bright and interesting events in musical art, and the demonstrated material will be assimilated by students more deeply.

Finally, in professional music education, if we keep in mind the difficulty of introducing talented musician to the intricacies of modern computer technology, then you should probably start it (this introduction) at an earlier stage, while still in a music school or college. But here it is important for the teacher to show a sense of proportion so that the technical principle does not suppress young musician a creative artist with a subtle and well-trained ear for music.

A music computer opens up the broadest possibilities in the creative exploration of the space of music, both at the level of professional art and amateur creativity.

Musical computer technologies have created an evolutionarily new period of technical reproduction of musical products: in music printing, in genres of applied music, in sound recording media, in the high-quality capabilities of sound-reproducing equipment, in theatrical and concert activities, in sound design and music broadcasting (including over the Internet) .

One of the main trends in the field of music pedagogy of the 21st century is to familiarize students with information and computer technologies. Their development is necessary:

Firstly, for the professional training of composers and performers;

Secondly, for use as a source of auxiliary educational material(reference, educational, editing, sound recording, sound reproducing, etc.).

The methods discovered in electroacoustic music form a new compositional technique. Modern professional requirements The composer is required to have knowledge in the field of acoustics, electroacoustics, and sound recording. For future composers, it is important to study software, sound synthesis methods, and sound programming language. It is necessary to familiarize him with methods for controlling individual sound parameters, resonance modeling, and awareness of texture layers. Computer technologies also enable the composer to carry out technical work: create a sound collage, “mix” different fragments, and edit recorded material.

Conservatories have already accumulated some experience in teaching composition to students. academic disciplines appropriate direction. In a number of universities (Moscow, St. Petersburg), electronic technologies in relation to musical creativity are studied as an elective, and as a subject of the curriculum - at the Ural Conservatory (course "Electronic and Computer Music"). Practical work students, as well as composers from Yekaterinburg (T. Komarova, V. Galaktionov, O. Paiberdin, etc.), is carried out in the studio of electroacoustic music. Here, based on computer systems, sound “dictionaries” are developed, musical compositions with the use of light and flower special effects, film and video, and acting pantomime. (T. Komarova. “Autumn Reflections” for voice and electronic instruments; “Reflections”, “Sensations” for synthesizers and computer. O. Paiberdin. “Civilization” for synthesizer and computer).

Computer programs are applicable in learning to play instruments, in the development musical ear, in listening to musical works, in selecting melodies, in arranging, improvising, typing and editing musical text.

The computer also makes it possible to learn pieces with an “orchestra”, perform the functions of a “simulator” for conducting (using television equipment), and conduct musical and auditory analysis of melodies in a course on the history of music. For many disciplines, the computer is an indispensable source of bibliographic and encyclopedic information. Finally, the computer is widely used as a means of notating a piece of music.

The use of computer technologies is focused on the individual nature of work, which generally corresponds to the characteristics of music classes. A personal computer makes it possible to regulate the individual working mode of a musician in accordance with his tempo, as well as the amount of work performed. And, despite the fact that not all methodological problems have yet been solved, various methodological manuals are published in different systems of musical notation and not all educational institutions in the country offer classes on synthesizers and music computers, electronic musical instruments in the educational process prove their right to independence .

UDC 78+159.9

R.N. Slonimskaya

Learning technologies in music education

The article discusses humanitarian teaching technologies in music education. Given a brief description of existing technologies and their application in music training. It is proposed, based on established practice and a systematic approach in domestic music education, to study, generalize and incorporate music and computer technologies into the everyday educational process, using interactive forms of teaching.

Key words: humanitarian learning technologies, music education, reflective, projective learning, development of critical thinking, problem-based learning, case study technology, game-based, modular learning, organization independent work student.

R.N. Slonimskaya

Learning technologies in music education

The article deals with human learning technology in music education. A brief description of the existing technologies and their application in music education. Invited, with the current practice of a systematic approach in the national music education, study, compile and include music and computer technology in everyday learning process by using interactive forms of learning.

Keywords: humanitarian technology education, music education, reflexive, projective learning, critical thinking, problem-based instruction, the technology of "case studies", playing, modular training, organization of independent work of the student.

The development of education is becoming one of the important life values in modern society. Human development is one of the conditions for progress modern society. The actualization of modern technologies in education is largely related to the socio-economic changes taking place in Russia. Modern professional education today it is understood as an integrated concept directly related to the labor market, expressing the ability of an individual to independently apply various elements of knowledge and skills in a certain context. And this in a certain way reflects the concept of “competence”, understood as the area of authority of the governing body, official, or knowledge and experience in any industry. Mastering a certain level of competence is the student’s ability to use and combine knowledge and skills depending on the changing requirements of a specific situation or problem.

The development of innovative methods in the training of specialists is implemented through educational programs for undergraduate, graduate, postgraduate, additional education and advanced training programs. Determining factor innovative development education are information and communication technologies based on

scientific research because computer networks connect educational resources with participants in this process.

Let us identify and characterize the main modern humanitarian technologies that are used in music education.

The technology of reflective learning is the most developed in domestic music education. It is associated with the increasing role of subjectivity and independence, the need for learning “throughout life.” It can be described as leading in music education of the modern world. This is due to the increasing role of reflection in learning. It was used at all levels of musical primary, secondary (professional) and higher education. In the use of this technology, we have certain priorities and achievements, which are largely reflected in the leading role of domestic musicians in cultural life planets. In the technology of reflective learning, the subject position becomes the determining factor in the educational process. Personal development is one of the main educational goals, therefore internalization is of particular importance - psychological concept, meaning the formation of mental actions of the internal plane of consciousness through assimilation by the individual external actions with objects and social forms of communication. The internalization of subject knowledge in organic unity with reflective, methodological and cultural foundations creates conditions for the development of students’ reflective skills. In the technology of reflective learning, conditions are created for the formation of skills, abilities and abilities through one’s own personal experience student. Almost all methods and techniques of performing arts are based on reflective technology.

Projective learning technology is enough new form in domestic music education. It is based on humanitarian technology and ensures the actualization of personal attitudes towards educational and scientific problems, subjects studied and participants in the educational process. It helps subjects of the educational process realize their personal potential. The realization of a student’s personal potential is most effective in the technology of projective learning. In domestic humanities education, this technology was more often used in the system of higher music education.

The technology for developing critical thinking was used in domestic general music education at the level of vocational training. It could be characterized by the words of D. Brous and D. Wood, who believed that critical thinking is “reasonable, reflective thinking, capable of putting forward new ideas and seeing new possibilities.”

A problematic situation in the psychological state of a student’s intellectual difficulty arises if he cannot explain the new

new fact using existing knowledge or perform a known action in the same ways familiar to him, and therefore must find new opportunities. This humanitarian technology is represented by problem-based learning. Methods of problem-based learning are determined by the degree of search and creative independence of the student. In problem-based learning technology, the heuristic method plays a special role.

Heuristic learning puts a chain on constructing your own meaning, purpose and content of music education. This includes the process of organizing it, diagnosing it and understanding the result of this training. Students use this technology in music education quite often, if not on a daily basis, especially in performing practice during regular rehearsals.

The “case study” technology in domestic music education is a fairly new and promising form of teaching. At the core this method lies the theory of practicing learning. Case study is a method of specific situations, situational analysis, i.e. training that uses descriptions of real economic, social and business situations. The student must analyze the situation, understand the essence of the problem, propose possible solutions and choose the best one. Cases are based on real factual material or are close to a real situation.

The technology of game learning has been sufficiently developed in domestic music education, and exists in a variety of forms of education. For more than forty years, children's play learning technology has been used Musical Theatre“Around the Piano”, the permanent leader of which is the St. Petersburg Okhta Center aesthetic education is L.M. Borukhzon. More than one dissertation has been defended on gaming technologies, and its authors continue to improve this form of education. It should be noted that any game-based learning technology has several stages of development.

Stage 1 - introduction to the game. It includes: defining the content of this game; analysis of the information received; instructing about the purpose of the game and what can be learned from it; formation playgroups and distribution of roles.

Stage 2 includes: constructing a description of the object being developed, which involves role-based communication in groups and a description of the object of study.

The 3rd stage involves evaluating group projects or discussing the presented projects in the form of a discussion.

The 4th stage is the experimental implementation of the presented projects. It includes an assessment of players’ projects and activities, and an analysis of the game itself.

Group discussion technology involves managing the progress of the group discussion, and also pays attention to the consistency of the content

discussion of the topic, goals, problems posed. Group learning technology includes structured discussion, compliance with its regulations and rules. The second participant in this technology, besides the teacher, is a group of students who actively and interestedly join in the discussion of each of its elements.

The technology of modular learning has become especially widely used in music education in recent decades, and is associated with the intensive introduction of computer technologies into the field of education. A training module is an autonomous part of educational material in the form of a standard package (set) consisting of the following components: information bank, methodological manual, practical exercises, summary, test (test) work different types for training and inspection purposes.

The latter, quite in demand in music education and modern stage, effectively included in the modern educational process - the technology of organizing student’s independent work. According to the nature of students’ cognitive activity, all independent work is divided into three types. The first type is reproductive. It includes the following elements: reproduction, training and review. The second type is search work. They include: laboratory-practical and logic-search forms of training. The third type of technology for organizing student’s independent work includes creative work. This different kinds artistic-creative, constructive-design and productive-technological works.

Adaptation of humanitarian technologies in relation to music education, their awareness, comprehension, free use and formation systematic approach in technological processes will not only enrich student learning, but will make it creative and open up interactive opportunities in the future of lifelong education.

Notes

1. Soviet encyclopedic dictionary / ed. A.M. Prokhorov. M.: Council, en-tsikl., 1980. 1600 p.

2. Braus J.A., Wood D. Environmental education in schools: trans. from English No. LLEE, 1994. 97 p. See also: Zagashev I.O., Zair-Bek S.I., Mushtavinskaya I.V. We teach children to think critically. 2nd ed. St. Petersburg: Alliance “Delta”: Rech, 2003. 192 p.

3. Case method - a teaching technique that uses descriptions of real economic, social and business situations. Students must analyze the situation, understand the essence of the problems, propose possible solutions and choose the best one. Cases are based on real factual material or are close to a real situation.

4. Borukhzon L.M. Children's musical theater "Around the Piano". St. Petersburg: Composer, 2009. 40 p.

Federal Agency for Education

State educational institution of higher professional education

ST. PETERSBURG STATE UNIVERSITY OF ECONOMICS AND FINANCE

Faculty of General Economics

Abstract on the topic:

Information technology in music

St. Petersburg 2009

Introduction

1. New technologies and music

2. Sound recording

3. Prospects for the development of information technology in music

Bibliography

Introduction

One of the main characteristics of the post-industrial period should be considered the rapid development of electronic technologies, which contributed to the automation of information storage and processing using computers.

The emergence of sufficiently powerful computers and new computer technologies had a huge impact on the formation of modern musical culture. The capabilities of modern computers are increasing every day in parallel with advances in the scientific and technical field and developments in the field of programming.

The time has come for mature constructive relationships, the time for the construction of a common building, where both parties will feel an increasing need for mutually enriching projects. Over the last decades of the past century, such diverse and once seemingly distant spheres of human intellectual activity have not only become imbued with mutual respect, but we can already safely predict the brilliant fruitful development of their cooperation.

The obviousness of the fundamentally new opportunities provided by a music computer in the development of a musician’s professional thinking in all areas of musical creativity will inevitably lead to the increasing introduction of music-computer technologies, which will significantly supplement and even change the very nature of the work of a composer, musicologist, performer and teacher.

Numerous experiments with electronic (and other) machines capable of producing sound have led to the emergence in various ways writing music, and hence to the emergence of various styles and trends. A new sound, unusual and unusual to the ear, became an innovation in music. Many famous modern composers, for example, K. Stockhausen, O. Messiaen, A. Schnittke, despite the complexity of working with technology, created works using new electronic instruments or only on them.

The development of electronic computing technology itself led to its “invasion” into music at an early stage. Already in the 50s, using the very first computers, scientists made attempts to synthesize music: compose a melody or arrange it with artificial timbres. This is how algorithmic music appeared, the principle of which was proposed back in 1206 by Guido Marzano, and later applied by V.A. Mozart to automate the composition of minuets - writing music according to random numbers. The creation of algorithmic compositions was carried out by K. Shannon, R. Zaripov, J. Xenakis and others. In the 80s, composers had the opportunity to use computers equipped with special programs that could store, play and edit music, and also allowed them to create new timbres and print scores of their own creations. It has become possible to use a computer in concert practice.

So, today the computer is a multitimbral instrument and an integral part of any recording studio. Undoubtedly, the very word “studio” is associated with the concept of “ popular culture"or the "third layer", i.e. with manifestations of pop culture and modern show business. Perhaps this is one of the main factors that attracts applicants when enrolling in sound engineering or any other faculties, one way or another, related to music and computer technologies. The question arises: what role does the introduction of computers play in the education of future music teachers?

It is quite possible that a certain timbre-rhythmic code of computer music will help treat some diseases. The availability of computer equipment and the convenience of software will create unprecedented conditions for musical creativity (musical “handicrafts”), comparable in part to the current avalanche-like spread of amateur music-making in pop and rock styles. Expressions: “my music”, “my home studio”, “my CDs”, “my video clips”, “my music site” (everywhere “my” - meaning “created by me”) will also become familiar mass concepts. Everyone will be able to try themselves as a composer, arranger, sound engineer, creator of new timbres and sound effects.

1. New technologies and music

The influence of new technologies on music can be traced back to ancient times. Music developed along with the development of the means of its performance, that is, musical instruments. It is impossible to imagine, for example, Mozart's fortieth symphony played, say, on a branch sticking out of a stump. But this is where music originates. Some troglodyte in the Mesozoic era sat there and, having nothing to do, pulled a branch. Another troglodyte walked by, heard the sounds, caught a certain harmony in them and decided to try it too. The third, the smartest troglodyte, guessed that it was better to pull not a branch, but some kind of fiber, for example, horsehair, made a frame for him from wood and stretched this very hair across it. This is roughly the story of the birth of the first plucked string musical instrument. I note that if the third troglodyte had not known the technology of wood processing, then nothing would have worked out for him.

Subsequently, with the development of mainly woodworking and metallurgical technologies, people began to notice the dependence of sound on the type of wood from which the frame was made. Also, fragile horsehair gave way to metal string. And somewhere around two thousand years BC, instruments such as the lyre or harp appear.

Over the entire period of human history from the invention of the lyre to the present day, it was created great amount musical instruments. But greatest influence Three groups have undergone new technologies over the past one hundred and fifty years - keyboards, drums and strings (mainly guitar).

When electricity was discovered, people began to try to use it in almost all areas of their activity. Classical piano was no exception. People tried to make the vibrations of the string undamped, that is, they wanted the volume of the sound not to decrease over time, like with wind instruments. As a result, the following design was invented: a contact was installed under the key, which turned on an electromagnet. At the same time, as in a regular piano, the hammer struck the string, it began to vibrate, and when it reached the magnet, it was turned off by pressing the string on another contact. When the string was deflected back under the action of elastic forces, the contact opened, and the magnet again began to work and attract the string to itself. Due to the fact that the string periodically touched the contact on the electromagnet, this instrument had a very harsh sound and therefore was not widely used.

Another keyboard instrument - the organ - suffered from another problem: its high cost and size. After all, each frequency needed its own pipe, so classical organs occupied entire halls. And the bellows for it had to be pumped continuously. With the invention of the electric generator, the question arose about its use in musical instruments - after all, if it is rotated at different angular speeds, then when it is connected to a speaker, you can hear sounds of different frequencies. The first instrument using this principle was invented in the late eighties of the last century in Chicago. It was called Telharmonium. Since it had a separate generator for each frequency, it occupied an entire basement. In this basement a musician, usually an experienced organist, sat and played. At the same time, the telephone and the first speakers were invented.

And so, to listen to music, Chicagoans called a certain number and connected to the teleharmonium. Due to its bulkiness and complexity of manufacturing and configuration, the telharmonium has not become widely used. However, later, based on the telharmonium, the American engineer Hammond in the thirties of the last century created an instrument that very much resembled the sound of an organ. That's what they called it - the Hammond organ. It has become very widespread due to its low cost and good sound. Also, the Hammond organ began to be used not only in classical music, but also in rock music, which was gaining strength at that time.

Modern keyboard instruments - synthesizers - originate, in principle, from the Hammond organ. With the development of electronics, people tried to somehow improve its sound. Gradually, mechanical oscillators were replaced first by multivibrators and then by integrated circuits.

Also, with the further development of microelectronics, it became possible to obtain almost any timbre. In modern popular music The synthesizer today is king and god. Due to its ease of use, it is now used by everyone who can play the piano even a little. Three regular classes are enough music school, so that it can be played more or less tolerably.

In the last decade, the synthesizer has acquired a powerful ally - the computer. Modern computers, as you know, allow you to do whatever your heart desires. With the invention of sound cards for computers, it became possible to insert microcircuits with a bank of instruments from any modern synthesizer onto them. Using special sequencer programs, you can put any melody into your computer and play it. It turns out like on a synthesizer. And more recently, so-called software samplers have appeared. A sampler is a device that allows you to record a sound sample (in English sample, where the name comes from), indicate which note it corresponds to and, connecting it to a synthesizer, play with this timbre. Hardware samplers were expensive and difficult to use, so writing a software sampler created a sensation among musicians. Now in general it was possible to get by only with a computer, knowing a little musical literacy and not knowing how to play anything. The price-to-sound ratio of synthesizers and computers has made them indispensable instruments for rock and pop musicians.

2. Sound recording

Since ancient times, people have tried to somehow immortalize musical works

After all, for a composer to play one of his compositions every time is the same as for an artist to paint his painting anew every time. Therefore, the musicians somehow thought about perpetuating their own works. The most technically simplest, and therefore the most ancient, method is musical notation.

It does not require any technical devices other than a pen with ink and a piece of parchment, and then paper. The musical notation is symbol musical sounds on a sheet. An experienced musician, seeing these signs, immediately plays the melody in his head, and he can reproduce it almost the same as the original.

The invention of musical notation, of course, greatly contributed to the development of music as an art, but at the beginning it was naturally different in different countries. In the process of spreading civilized people across the earth, musical notation came to a certain standard. However, the script that we now use is suitable for recording music, the roots of which lie entirely in classical European music. They find it difficult to record, for example, Chinese, Indian or African music.

In the process of the development of music as an art, the need arose for a more advanced method of sound recording than notes. After all, not everyone who loved music knew how to play something. Of course, rich people could afford to host a court musician, or go to the theater for concerts of some kind. famous musician. But what about the poor who cannot afford either one or the other? It was they who invented the first devices that made it possible to play music without knowing how to play anything. These were barrel organs. In fact, in order to play the organ, you don’t need any musical knowledge or skills; you just need to turn the handle.

The mechanical method of sound recording has been used for several last centuries. They could, for example, record a piece for organ. Slits were made on a roll of paper in certain places, then this roll was rolled between the pipes of the organ and the bellows. Where there were slits, air passed into the pipes and sound was made. However, this method of sound recording had a number of disadvantages, in particular the complexity of manufacturing such a roll, the unevenness of its movement caused uneven sound. This method is not widely used.

At the end of the nineteenth century, the American Thomas Edison invented the phonograph. This invention is considered a turning point in the history of sound recording. Was applied new method sound recording is wave, that is, due to the fact that sound is a mechanical wave, it causes vibrations of the membrane, which are recorded on some medium. During playback, the recorded vibrations from the media are transferred to a membrane, which vibrates and vibrates the air in which the waves occur.

The invention of wave sound recording made it possible to record any instrument, and what an instrument, in general, now any sound could be recorded. However, a lot of time passed from the invention of the phonograph to the invention of high-quality players and tape recorders. At first, the phonograph did not find recognition due to the terrible sound quality. But further improvement of this method of sound recording and the invention of high-quality electric players and tape recorders dotted all the i’s. They appeared in the forties and fifties of the last century.

It was under these conditions that rock music arose - the first truly mass music. It became widespread precisely thanks to the invention of simple, high-quality and cheap sound recording devices. Rock music and pop music should not be confused. I devoted a separate chapter to pop music, also a product of new technologies. Rock music is, first of all, art. To create a high-quality work in this genre, no less level of skill and talent is required, as well as for any other type of art.

The development of rock music is most closely related to the introduction of new technologies into instruments and sound recording. One shining example I have already mentioned it - this is improving the lead guitar to the level of a Fender Stratocaster or Gibson Les Paul. Another impressive example is the invention of stereo players and stereo tape recorders. Monophonic players did not allow achieving such sound quality, even if a rock band created something truly grandiose, it could not be conveyed to the masses, much was lost.

Approximately immediately after the invention of the stereo player, such masterpieces of rock appeared, the album The Beatles“Sgt. Pepper’s Lonely Hearts Club Band”, rock opera Jesus Christ Superstar - the first and so far the only successful project fusion of rock with classical. Also at that time (late sixties), so-called “gadgets” for electric guitars appeared, which made their sound truly fantastic for that time, and to some extent contributed to the emergence of new styles, such as heavy metal. In principle, heavy metal is the same as rock, only very loud and faster.

Sometimes rock is unfairly called the music of the generation of the sixties and seventies, gossips They say he is already dead. Actually this is not true. With truly great works of rock, approximately the same thing will happen as with Mozart’s “Fortieth Symphony”, Beethoven’s “Moonlight Sonata” or Tchaikovsky’s “Swan Lake” - they will never be forgotten. New technologies are partly to blame for the short-lived nature of rock's heyday. Around the mid-seventies, a new generation of musical instruments appeared: microprocessor ones - basically these were all sorts of different synthesizers, and a little later - computers. Another generation of youth has changed, and, as you know, youth are the movers of everything new and deny everything old. Rock has become the music of fathers, and therefore unfashionable. However, that new generation did not offer anything new, but stubbornly asserted that “rock and roll is dead, but I’m not yet” (B.B. Grebenshchikov). The ease of use of synthesizers and computers has made them accessible to every fool, and now, perhaps, if in about fifty years you look at today’s music, then perhaps you will discover some masterpieces that are now tightly clogged with pop music.

3. Prospects for the development of information technology in music

And yet, we will try to “predict” the directions that seem most promising from the point of view of the future use of a music computer. The most realistic thing for us is to assume that they will receive widest application technologies for distance music education. This means, first of all, the history and theory of music, but, in part, practical advice, will become available in any place remote from reputable educational institutions geographical point. Consequently, we can count on the fact that a much larger number of people who are passionate about music, this beautiful and powerful art, will have scientifically reliable and practical musical knowledge. The computer is already ready today to offer much of what will finally allow us to realize the historically and socially overdue slogan “Music is for everyone!”

It will be easy and fun for all people to master musical literacy, as if studying native speech, as if taking over the tunes of her favorite songs from her mother, and the music computer will become a reliable guide for every inquisitive traveler to the World of Sounds. Thanks to a computer equipped with music training programs based on medical and pedagogical methods, the deaf and mute, for example, will hear music and, eventually, even speak (there are already methodological developments in this direction today).

Thanks to a computer equipped with music training programs based on medical and pedagogical methods, the deaf and mute, for example, will hear music and, eventually, even speak (there are already methodological developments in this direction today). It is quite possible that a certain timbre-rhythmic code of computer music will help treat some diseases.

The availability of computer equipment and the convenience of software will create unprecedented conditions for musical creativity (musical “handicrafts”), comparable in part to the current avalanche-like spread of amateur music-making in pop and rock styles. Expressions: “my music”, “my home studio”, “my CDs”, “my video clips”, “my music site” (everywhere “my” - meaning “created by me”) will also become familiar mass concepts. Everyone will be able to try themselves as a composer, arranger, sound engineer, creator of new timbres and sound effects.

Against the backdrop of such a mass hobby, the prestige and quality of music education will increase many times over, the content of which, thanks to the computer, will change significantly, will become more high-tech and intensive, flexibly customized to any specific tasks. Every music teacher in a special lyceum or a general school (it makes no difference) will be fluent in music and computer technologies. Of course, he will be able to teach his subject in an interesting and exciting way; it will not be at all difficult for him to compose a song or dance, make full-sounding arrangements, create a bright school concert, record it in high quality on a digital disk and then give such a recording to his students as a memory of the wonderful time of childhood and youth .

Perhaps music and computer technologies will further displace labor-intensive musical professions, because of which, under the coercion of their parents, not yet very diligent boys and girls are often deprived of their childhood happiness for 10–15 years in a row. The joy of immediate, direct music-making will be brought to them by even more inventively designed synthesizers and music computers. And only truly talented, passionate and patient musicians will become virtuosos (violinists, pianists, clarinetists, trumpeters).

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