Health-saving technologies in music education
Music is integral part human life, and therefore it should be varied, like the world around us. An innovative approach to the pedagogical process in kindergarten expands the possibilities of using a variety of musical genres. Music has positive effect for preschoolers. Sometimes aggressive children, entering the music room, change, listen to the music and calm down.
During the stay of children in preschool educational institutions, it is necessary to create the most optimal conditions. This is the main task of the teaching staff, because kindergarten For a child, this is his second home. In the morning, when receiving children, you can play recordings of classical and modern works with a major, sunny sound. IN this moment, music will correct the psychophysical state of the child.
Continuing the theme of the health-improving and preventive orientation of musical accompaniment, it is necessary to use the technique of musical reflex awakening of children after sleep. The type to consider here is nervous system child. 10 minutes are allotted for this. For children who sleep poorly - 1-2 minutes and 6-8 minutes - for those who slept soundly. Such individual awakening has a great corrective and preventive effect. To awaken children, you need to use quiet, gentle, light music so that awakening does not bring out negative emotions. It is necessary to use a constant musical composition that will develop a unique reflex in children. After a month, the musical composition can be replaced with another.
When children wake up, you should pay attention to the text spoken by the teacher against the background of music. The teacher should pronounce words gently and softly.
Talking about non-traditional forms When using music, it should be remembered that music does not always have to be played constantly, from the first to the last minute of the lesson.
1. Not all activities need to be narrated through live accompaniment or soundtracks.
2. Musical accompaniment may be partial:
To create an appropriate associative background at the beginning of the lesson;
To organize children, increase their attention and concentration;
Music can sound at the end of a lesson as a final final fragment and carry a certain message for the future;
Musical accompaniment can also be used during the “functional peak” to stimulate the emotional activity of children.
3. Musical accompaniment can be combined, combining both live accompaniment and independent play of children on simple musical instruments, listening to records and audio recordings.
Characteristics of health-saving technologies in preschool educational institutions
Today, doctors are not able to cope with the problems of deteriorating health, so the question arises about preventive work, about the formation of a conscious attitude towards health and healthy image life (HLS). Propaedeutic work in in this direction falls on the shoulders of teachers.
How ready are modern teachers to implement the principles of health-saving technologies in the educational process?
How open are they to cooperation with doctors?
Are they able to conduct a dialogue with parents and take joint actions to preserve and strengthen the health of children?
Analysis of the current situation gives very sad answers to the questions posed.
Most teachers adhere to the definition of health, often referring to its physical component, forgetting about the socio-psychological and spiritual-moral. It is important to reverse this trend and be guided by the definition of health as a multifaceted concept, including physical, socio-psychological and spiritual-moral aspects.
The choice of health-saving pedagogical technologies depends on the program in which teachers work, the specific conditions of the preschool educational institution (DOU), the professional competence of teachers, as well as indications of illness in children.
Health-saving educational technologies are the most significant among all known technologies in terms of the degree of influence on children’s health. Their main feature is the use of psychological and pedagogical techniques, methods, and approaches to solving emerging problems. They can be divided into three subgroups:
Organizational and pedagogical technologies that determine the structure of the educational process, helping to prevent states of overwork, physical inactivity and other maladaptive states;
Psychological and pedagogical technologies related to the direct work of the teacher with children (this also includes psychological and pedagogical support of all elements of the educational process);
Educational technologies, which include programs to teach students how to take care of their health and create a culture of health for students.
Modern health-saving technologies
Types of health-saving pedagogical technologies. Time spent in the daily routine. Features of the methodology. Responsible.
1. Technologies for preserving and promoting health
Stretching no earlier than 30 minutes. after meals, 2 times a week for 30 minutes. from middle age in physical education or music halls or in a group room, in a well-ventilated area. Recommended for children with sluggish posture and flat feet. Beware of disproportionate load on muscles Leader physical education.
Rhythmoplasty no earlier than 30 minutes. after meals, 2 times a week for 30 minutes. from middle age. Emphasize on artistic value, the amount of physical activity and its proportionality to the age of the child. Head of physical education, music director.
Dynamic pauses during classes, 2-5 minutes, as children get tired. Recommended for all children as a preventive measure against fatigue. May include elements of eye exercises, breathing exercises and others, depending on the type of activity. Educators.
Outdoor and sports games- as part of a physical education lesson, on a walk, in a group room - low with an average degree of mobility. Every day, for all age groups, Games are selected in accordance with the age of the child, the place and time of the game. In preschool educational institutions we use only elements sports games. Teachers, head of physical education.
Relaxation. In any suitable room. Depending on the condition of the children and goals, the teacher determines the intensity of the technology. For all age groups You can use calm classical music (Tchaikovsky, Rachmaninov), sounds of nature Educators, head of physical education, psychologist.
Aesthetic technologies. Implemented in artistic and aesthetic classes, when visiting museums, theaters, exhibitions, etc., decorating premises for holidays, etc. For all age groups. It is carried out in classes according to the preschool educational program, as well as according to a specially planned schedule of events. Of particular importance is working with families, instilling aesthetic taste in children. All preschool teachers.
Finger gymnastics – with younger age individually or with a subgroup daily. Recommended for all children, especially those with speech problems. Conducted at any convenient time (at any convenient time). Teachers, speech therapist.
Gymnastics for the eyes. Every day for 3-5 minutes. at any free time; depending on the intensity of visual load from a young age. It is recommended to use visual material and demonstration by the teacher. All teachers.
Breathing exercises. IN various forms physical education and health work. Ensure the room is ventilated and the teacher give children instructions on mandatory nasal hygiene before the procedure. All teachers.
Gymnastics is invigorating. Every day after nap, 5-10 min. The form of implementation is different: exercises on beds, extensive washing; walking on ribbed planks; easy running from the bedroom to a group with temperature differences in the rooms and others depending on the conditions Preschool educators.
Corrective gymnastics. In various forms of physical education and health work, the form of implementation depends on the task and the number of children. Teachers, head of physical education.
Orthopedic gymnastics. In various forms of physical education and health work. Recommended for children with flat feet and as a prevention of diseases of the supporting arch of the foot.
CONSULTATION
“Health-saving technologies in music education”
Prepared by: Music Director
MDOU No. 377
Emelyanova Tatyana Mikhailovna
Recently appeared significant interest society towards electronic music and, in particular, towards 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, the versatility, the fantastic limitlessness of improvement, the global applicability of electronic music elevate learning to new level, stimulate the rapid development of intelligence, make music lessons in demand in wide circles lovers of art and creativity.
Thirdly, the compatibility of electronic music with traditional music technologies creates conditions for the continuity of musical eras and styles, their interpenetration and synthesis, thus promoting the development creative potential students and strengthening interest in musical culture in general.
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 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 a symphony orchestra or solo performers to score his music - be it an experimental work or a work of the 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. In children's music schools, art schools and other institutions additional education electronic music classes and departments are opening; 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 the synthesizer and computer in music classes - they are designed to facilitate the learning process necessary knowledge, skills and abilities in traditional fields musical activities or 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 playing will take a strong place not only in mass primary music education, but also in modern professional education, in particular at the 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 devote all their free time to 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 problem of moving two vectors towards each other is on the agenda educational technologies in music: 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 piece in different performances, can make a comparative analysis, highlight the positive aspects and advantages of each instrument.
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 fit perfectly 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, game questions and answers, multimedia crosswords 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 make it possible to enrich the musical process of lessons with bright and interesting events in the art of music, and the demonstrated material will be absorbed more deeply by students.
Finally, in professional music education, if we keep in mind the difficulty of introducing a talented musician to the intricacies of modern computer technologies, then it is probably necessary to begin this introduction at an earlier stage, 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 been created evolutionarily new period 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, training, editing, sound recording, sound reproduction, etc.).
The methods discovered in electroacoustic music form a new compositional technique. Modern professional requirements for a composer require knowledge in the field of acoustics, electroacoustics, and sound recording. It is important for future composers to study software, sound synthesis methods, 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 students of the specialty "composition" academic disciplines of the corresponding focus. In a number of universities (Moscow, St. Petersburg), electronic technologies in relation to musical creativity are studied as an elective, and as a subject curriculum- at the Ural Conservatory (course "Electronic and Computer Music"). Practical work of students, as well as composers from Yekaterinburg (T. Komarova, V. Galaktionov, O. Paiberdin, etc.), is carried out in an electroacoustic music studio. 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 developing an ear for music, in listening to musical works, in selecting melodies, in arranging, improvising, typing and editing music 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 in synthesizers and music computers, electronic musical instruments in 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 teaching technologies, music education, reflective, projective learning, development of critical thinking, problem-based learning, case study technology, game-based, modular learning, organization of student independent work.
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 vocational education today 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. The determining factor in the innovative development of education is information and communication technologies, based on
Scientific research, since 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.” She can be designated as a leader in music education modern world. This is due to the increasing role of reflection in learning. It has been used at all levels of musical beginner, intermediate (professional) and higher education. We have certain priorities and achievements in the use of this technology, which are largely reflected in the leading role of domestic musicians in the cultural life of the planet. In the technology of reflective learning, the subject position becomes the determining factor in the educational process. Personal development acts as one of the main educational goals, therefore, interiorization is of particular importance - a psychological concept that means the formation of mental actions of the internal plane of consciousness through the individual’s assimilation of 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 abilities, skills and abilities through the student’s own personal experience. 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
a new fact with the help of existing knowledge or to perform a known action in the same ways familiar to him, and therefore must find new possibilities. 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, the technology of game learning has been used by the Children's Musical Theater "Around the Piano", whose permanent director at the St. Petersburg Okhta Center for 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 of game groups 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 lessons, resumes, control (test) works of various 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 works. 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 the formation of a 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.
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 methods training and modern information technologies, including computers. 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 to a large extent 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;
- enriching the methodological capabilities of organizing joint activities between teachers and students, giving them 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, make 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, 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.
- To develop the musical abilities of 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. When mastering theoretical information, it is appropriate to use multimedia projects, teaching aids, and demonstration materials created using information and communication technologies, for example, an illustration poster, a diagram poster.
- 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 students’ understanding of musical, understanding the meaning of its text. 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’ performance 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 allows you to do music lesson attractive and truly modern, individualize training, monitor and summarize training 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 technologies 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.
Internet resources
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 tools or only using 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 1980s, composers had the opportunity to use computers equipped with special programs, which could remember, 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 by many people with the concept of “mass culture” or “third layer,” that is, 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, a huge number of musical instruments have been created. 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 further development 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 way- This is a 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 first different countries it was naturally different. 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 barrel organ, you don’t need any musical knowledge and skills, you just need to turn the handle.
The mechanical method of sound recording has been used over the past several 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. I have already given one striking example - 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”, the rock opera Jesus Christ Superstar is the first and so far the only successful project of merging rock with classical music. 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 “ Swan Lake"Tchaikovsky - 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 exciting for all people to master musical literacy, as if learning their native speech, as if taking over from their mother the tunes of her favorite songs, 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 educational programs based on medical and pedagogical methods, the deaf and mute, for example, will hear music and, in the end, even speak (methodological developments in this direction already exist 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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