The use of music and computer technologies in the activities of a music director. Pedagogical technologies in music education

irina biryukova
Modern educational technologies in the work of the music director of the preschool educational institution

Municipal Autonomous Preschool educational institution

urban district of Korolev MO kindergarten No. 39 of a general developmental type

"Sunny city"

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

Muses. hands Biryukova I. A.

g. o. Korolev 2015

Introduction

List of literary sources

Application

Introduction.

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

Keeping up with modern educational processes, preschool teacher education 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 the important problem of early musical raising children - I develop emotional responsiveness to music. In his work, I use new programs and technologies in various forms musical activity .

The use of information and communication technology in music classes allows me, as a teacher, to significantly revive joint educational relationship with children, expanding the possibility of presenting musical and didactic material. Classes with the use of ICT activate the attention of a preschooler, increase cognitive interest in music. Classes become more meaningful and harmonious.

Tasks musical education is carried out through several types musical activity: hearing music, singing, musically- rhythmic movements musical - didactic games, games for children musical instruments. Means of new information technologies I include in all kinds musical activity:

In chapter "Hearing music» - computer presentations are used to enrich the process emotionally - figurative cognition of the child, causing a desire to repeatedly listen 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»- the use of voiced presentations ( "Good Master", "Forest Orchestra", "Whose house", "Guess the melody and mood", "Yablonka" etc.) help the child first learn the task, and then check the correctness of its execution.

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

Shaping the foundations musical culture of preschoolers, accumulation of experience musical perception contributes technology development of perception music Oh. P. Radynova. Application algorithm technologies in practical activities:

Stages:

1st stage: listening setting (talk about a piece of music, acquaintance with the author, title);

2nd stage: execution musical works by a teacher or listening to an audio recording;

3rd stage: definition of emotional - figurative content of music("What feelings does music?» );

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

5th stage: defining the expressive means by which the musical image("As he tells music?» );

Moreover, these stages can be layered on top of each other at each subsequent lesson. The first stage is pivotal.

6th stage: Perception Combination music with practical and creative actions that help the preschooler to express their experiences in external manifestations, to feel the character more deeply music to actively experience their experiences.

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

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

2nd stage: development of the ability to independently perform individual movements, exercises and entire compositions. (The reception is used We: showing performance by a child, showing conditional gestures and facial expressions, verbal instructions, "provocations", i.e. special errors of the teacher to activate the attention of children).

3rd stage: creative self-expression.

(Formation of the ability to independently select and combine familiar movements and invent their own, original ones).

gaming technology the formation of creative music-making skills by T. E. Tyutyunnikova allows you to preserve and develop the natural musicality preschoolers on the basis of equal, interpersonal, creative, joint game interaction, non-judgmental musical process.

Stages:

1st stage: learning the simplest elements of the game on musical tools and the ability to apply them in practice;

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

3rd stage: concert music - performance by an ensemble of children of some works of classical, children's and folklore 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, arouses interest in theatrical and gaming activities.

Stages:

1st stage: Expansion and systematization of children's knowledge about the theater topics:

Features of theatrical art,

Types of theatrical art,

The birth of the play

Theater inside and out

The culture of behavior in the theater.

2nd stage: "Theatrical Game"- is aimed not so much at acquiring professional skills and abilities as a child, but at developing playful behavior, aesthetic sense, the ability to be creative in any business, to be able to communicate with peers and adults in various situations. Includes:

Games for the development of auditory attention, creative imagination and fantasies

Games with improvised noise instruments;

Finger game training;

Games for the development of the perception of the nature and content of music. works

Games for the development of visual attention

Games with household items and toys

Exercises with attributes for the development of fine motor skills, attention, memory, imagination

Action games with imagined objects or memory of physical actions

Exercises for the formation of expressiveness of performance (development of facial expressions, pantomime)

Etude games for the development of emotions

Sketch games for the development of creativity imagination

Games-etudes for communication

Exercises and games for the development of culture and speech techniques(breathing and articular exercises)

Tongue Twisters

Exercises for the development of intonational expressiveness

Creative word games

Dramatization of poems

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

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

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

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

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

4. Quest musically- plastic solution of individual episodes, staging of dances. Creation of sketches of scenery and costumes with children.

5. Transition 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. Specifying the tempo of the performance. Appointment of persons 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 at the OD in music education solve the problem of the overall development of children by means of music, enrich the inner and spiritual world of the child, develop emotional responsiveness, form an elementary idea of ​​the arts, national traditions and holidays. Application of these technologies correspond to GEF DO in educational educational process.

The use of game techniques and methods in non-standard, problematic situations that require a choice of solutions from a number of alternatives, in children forms flexible, original thinking. For example, in the classroom, writing musical stories, fairy tales, pupils gain experience that will allow them to then play games - inventions, games - fantasies. So way, modern gaming technologies are closely connected with all aspects of educational and educational work kindergarten and the solution of its main tasks.

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

musical entertainment

"Trip to "Play - city"

(for children of the middle group)

Target: encourage children to actively participate in all activities.

Tasks:

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

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

Educational: develop interest in music.

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

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

The course of educational activities:

Children are free to enter the hall with the teacher.

Muses of hands: Hello guys!

Children: Hello!

Muses. 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!

Muses. hands: Guys, I would like to know if you like to play?

(children's answers)

Muses. hands Q: What games do you like to play?

(children's answers)

Muses. hands: I asked you about the game is not accidental. This morning I received a letter from my friend musician who lives in magic "Play City". Its inhabitants love to play, sing and have fun. The funniest of them all is Princess Igrul. But lately she has become sad, does not play with anyone, but only cries. The inhabitants of the city were upset because of this and also sad. My friend asks us to help, cheer up the princess and return laughter and joy to the city. Let's help the residents "Play - cities"? But only friendly and kind guys can do this. How do you think you will cope with this task? Why do you think so?

(children's answers)

Muses. hands: then you can go. I know the way and I will lead you. Unfortunately, in "Play - City" only kids can get in, so you guys need to slam (scheme of rhythmoslogs) and say magic syllables so that I turn into a child. And so ready.

Scheme of rhythmoslogs (Game technology

Children: (clap)

(music hand puts on a bow)

Muses. hands: Well, I'm ready! Let's go now to the city in which the main guest is the GAME! Went…

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

Muses. hands: guys, look, and here is the gate "Play - cities". The gates are closed. My friend musician warned that there is a castle on the gate, and there should be nearby "Chest of tasks". The lock will open if you complete the task.

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

1 task:

Tell a story with these musical instruments, and the dolls will help you (the fairy tale "Teremok")

(Technology development creativity preschoolers in musically-theatrical activities of A. S. Burenin, M. Rodin, M. D. Makhanev, E. G. Churilov)

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

Children are listening music D. Kabalevsky "Rezvushka"

We listen to 2 melody and select the desired card.

Children are listening music D. Kabalevsky "Crybaby"

We listen to 3 melody and select the desired card.

Children are listening music D. Kabalevsky "Evil"

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

Muses of hands: well done, we guessed the mood of the residents "Play - Cities". And so that the mood of all the inhabitants was joyful, let's teach them the game "Mouse and mice"

A game "Mouse and mice" (rhythm game)

Musical hands .: we continue our journey. And here is the area "Joys" And "Palace of Happiness". And the princess of Igrul herself. But look, she's sad. Let's cheer her up and dance "Polechka".

Dance "Polka"

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

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

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

Muses. hands: guys, we cheered princess Igrulya, and now in "Play - the city" everyone is having fun again. And it's time for us to return to kindergarten, we were late. And the autumn song will help us with this. We will sing it and find ourselves in kindergarten.

Song "Autumn"

Muses. hands: Here we are at home. Oh guys, they forgot about me, I need to turn into an adult. Rather turn me where our musical schemes, you need to clap and say magic syllables. Ready?

(scheme of rhythmoslogs)

Muses. hands takes off the bow.

Muses. hands: Thank you. Tell me, where have we been today? What good did they do?

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

References

1. Merzlyakova, S. I. "The role of integrated classes in the development of preschoolers" //« Musical director» 2010.- No. 2.- p. 2

2. Radynova, O. P. “Preschool age: how to shape the foundations musical culture» // « Musical director» 2005.- №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 older 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 doubt that modern children are very different not only from those described in their writings by Ya.A. Kamensky and V.A. Sukhomlinsky, but also from their peers in recent decades. And this happened not because the nature of the child himself has changed - life itself has fundamentally changed.

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

Education can be productive only when the needs of modern children are incorporated into its content, and the process of education and upbringing 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 should be able to develop and use innovative technologies of upbringing and education 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 computer ones, can help the teacher in solving these problems. The use of information and communication technologies, the development of their own multimedia projects, educational, methodological, gaming aids and their implementation in practice allows the teacher to improve the quality of the organization of the educational process, make the learning process interesting, and the development of the child effective, opens up new educational opportunities not only for child, but also for the teacher himself.

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

As the main goal of using information and communication technologies in music classes, one can consider the activation of the cognitive and creative activity of students.

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

• increasing students' motivation for learning;
• development of students' interest in independent creative activity; activation of the creative potential of students;
• increasing students' interest in musical culture;
• enrichment of the methodological possibilities of organizing joint activities of the teacher 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 thinking, perception, and memory of students; allows you to make educational material more accessible for perception; expand the conceptual range of the covered musical topics; contributes to the improvement of the assimilation of educational material. The use of information and communication technologies in music education helps to form the skills of active perception of music, enrich musical experience children, instill 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 teacher-musician can create with the help of information and communication technologies. These didactic materials contribute to the optimization of the educational process, make classes rich, interesting and informative. So, let's consider these forms of didactic materials in more detail.

multimedia presentation

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

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

• Demonstration of video fragments of operas, ballets, musicals, documentaries, etc.
• The video fragment should be extremely short in time, and the teacher needs to take care of providing feedback to the students. That is, video information should be accompanied by a number of developmental questions that cause the guys to have a dialogue, comment on what is happening. In no case should students be allowed to become passive contemplators.
• Virtual tours of museums of musical instruments, museums-apartments of composers.
• To develop the musical abilities of students, the teacher can use special multimedia musical and didactic games. They in an accessible, attractive form contribute to the development of modal, timbre, dynamic hearing, a sense of rhythm.
• When mastering theoretical information, it is appropriate to use multimedia projects, teaching aids, demonstration materials created using information and communication technologies, for example, a poster-illustration, a poster-diagram. Converted to digital format, they will undoubtedly be convenient for frequent use. They can be demonstrated in the course of explaining the material; can be printed and distributed to students as a handout visual material.
• Such a type of musical activity as singing also involves the use of information and communication technologies. Thus, the condition for expressive singing is the students' understanding of the musical image of the song, understanding the meaning of its text. Assistance in solving this problem can be provided by the creation of a file cabinet of electronic illustrations and presentations for various songs. When working on the quality of song performance, sound extraction, diction and other elements of vocal and choral sonority, you can use videos With participation of children: the performance of a song by children is recorded on a video camera, then this recording is viewed and discussed with students together.
• When teaching a child to play a musical instrument, presentations-concerts can be used to get acquainted with a musical instrument and the specifics of its sound.
• It is also possible to use Internet resources for students to do homework, develop and apply new test tasks, taking into account the technologies of student-centered learning, as well as students creative tasks using information and communication technologies.

In conclusion, I would like to note the importance and necessity of using information technologies by a teacher-musician. This helps to increase students' interest in learning, increase the effectiveness of learning, develops the child comprehensively, 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, connected not only with the world of music, but also with the world of art in general. And the ability to use a computer allows you to develop modern didactic materials and effectively apply them.

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 musical lesson attractive and truly modern, to individualize learning, to objectively and timely monitor and summarize learning.

List of used literature

1. Beloborodova V. Methods of musical education. - M.: Academy, 2010.
2. Dmitrieva A., Chernoivanenko N. Methods of musical education at school. - M.: Academy, 2011.
3. Zakharova I. Information technologies in education. Textbook for higher. textbook Institutions. - M.: "Academy", 2008.
4. Klarin M. Pedagogical technology in the educational process. - M.: Education, 2009.
5. Selevko P. Modern teaching technologies. – M.: Enlightenment, 2010.
6. Shtepa V. Computer training programs in music lessons. – M.: Enlightenment, 2011.

Internet resources

Federal Agency for Education

State educational institution of higher professional education

SAINT PETERSBURG STATE UNIVERSITY OF ECONOMICS AND FINANCE

General Economic Faculty

Abstract on the topic:

Information technology in music

Saint Petersburg 2009

Introduction

1. New technologies and music

2. Sound recording

3. Prospects for the development of information technologies in music

Bibliography

Introduction

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

Appearance is enough 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 a mature constructive relationship, a time for the construction of a common building, where both parties will feel an increasing need for mutually enriching projects. So different and once seemingly distant spheres of human intellectual activity over the last decades of the past century have not only been imbued with mutual respect, but one can already safely predict the brilliant fruitful development of their cooperation.

The obviousness of the fundamentally new opportunities provided by the musical computer in the development of the professional thinking of a musician in all areas of musical creativity will inevitably lead to the increasing introduction of music and 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 not only) machines capable of producing sound have led to the emergence of various ways of writing music, and hence to the emergence of various styles and directions. The new sound, unusual and unaccustomed to the ear, became an innovation in music. Many famous contemporary composers, for example, K. Stockhausen, O. Messiaen, A. Schnittke, despite the complexity of working with technology, created works using new electronic instruments or just on them.

The development of electronic computing itself already at an early stage led her to "invasion" of music. Already in the 50s, using the very first computers, scientists made attempts to synthesize music: to 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 the loss of random numbers. Algorithmic compositions were created 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 memorize, play and edit music, and also made it possible to create new timbres, print scores of their own creations. It became possible to use a computer in concert practice.

So, today the computer is a multi-timbral instrument and an integral part of any recording studio. Undoubtedly, the very word "studio" for many people is associated 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 entering 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 to cure some diseases. The availability of computer technology and the convenience of software will create unprecedented conditions for musical creativity (musical “needlework”), comparable in part to the current avalanche-like spread of amateur music-making in pop and rock styles. The expressions: “my music”, “my home studio”, “my CDs”, “my video clips”, “my music site” (everywhere “my” means “created by me”) will also become familiar mass concepts. Everyone will be able to try himself as a composer, arranger, sound engineer, composer of new timbres, sound effects.

1. New technologies and music

The influence of new technologies on music can be traced from ancient times. Music has evolved 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. And that's where the music comes from. Some kind of troglodyte there in the Mesozoic era sat and pulled a branch from nothing to do. Another troglodyte walked by, heard sounds, caught some harmony in them and decided to try too. The third, the most intelligent 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 pulled this same hair across it. This is approximately the story of the birth of the first stringed plucked musical instrument. I note that if the third troglodyte had not known the technology of wood processing, then nothing would have come of it.

In the future, 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 is made. Also, the fragile horse hair gave way to a metal string. And somewhere in the two thousand years before our era, such instruments as the lyre or harp appear.

For the entire period human history from the invention of the lyre to the present day, a huge number of musical instruments have been created. But three groups have been most influenced by 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 apply it in almost all areas of their activity. The classical piano was no exception. People tried to make string vibrations undamped, that is, they wanted the volume of the sound not to decrease over time, like wind instruments. As a result, the following design was invented: a contact was established under the key, which turned on the electromagnet. At the same time, as in an ordinary piano, the hammer hit 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, under the action of elastic forces, deviated back, 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 sharp 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 there, so classical organs occupied entire halls. Yes, and the furs for him had to be pumped continuously. With the invention of the electric generator, the question arose about its use in musical instruments - after all, if you rotate it at different angular speeds, then when you connect it to a speaker, you can hear sounds of different frequencies. The first instrument using this principle was invented in Chicago in the late eighties of the last century. It was named Telharmonium. Since there was a separate generator for each frequency, it occupied a whole basement. In this cellar, a musician, usually an experienced organist, sat and played. At the same time, the telephone was invented, and the first speakers.

And so, to listen to music, Chicagoans called a certain number and connected to the Telharmonium. Due to its bulkiness and complexity of manufacture and adjustment, telharmonium has not received a sufficiently wide distribution. However, later, on the basis of telharmonium, in the thirties of the last century, an American engineer Hammond created an instrument that very much resembled the sound of an organ. They called it the Hammond organ. It has become very popular 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 momentum at that time.

Modern keyboard instruments - synthesizers - originated, 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 is king and god today. Because of its ease of use, it is now used by anyone who can play the piano even a little bit. Three classes of an ordinary music school are enough to play it more or less tolerably.

In the last decade, the synthesizer has gained 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 a computer, it became possible to insert chips with a bank of instruments from any modern synthesizer onto them. With the help of special sequencer programs, you can drive any melody into your computer and play it. It looks like a synthesizer. 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, having connected it to a synthesizer, play this timbre. Hardware samplers were expensive and difficult to handle, 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 being able to play on anything. The price-to-sound ratio of synthesizer and computer made them indispensable instruments for rock and pop musicians.

2. Sound recording

Since ancient times, people have tried to somehow perpetuate musical works.

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

It does not require any technical devices, except for a pen with ink and a piece of parchment, and then paper. Musical notation consists in the conventional designation of musical sounds on a sheet. An experienced musician, seeing these signs, immediately plays a 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 it was naturally different in different countries. In the process of spreading a civilized people over the earth, musical writing came to a certain standard. However, the writing that we now use is suitable for recording music, the roots of which lie entirely in classical European music. It is difficult for them to record, for example, Chinese, Indian or African music.

In the process of the formation of music as an art, a need arose for a more perfect 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 keep a court musician, or go to the theater for concerts of some famous musician. And what about the poor, who can not afford either one or the other? It was they who invented the first devices that made it possible to play music without being able to play anything. These were hurdy-gurdies. In fact, in order to play the barrel organ, no musical knowledge and skills are required, just turn the handle.

The mechanical method of sound recording has been used over the past few 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 scrolled between the organ pipes and bellows. Where there were slots, 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 an 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. A new method of recording sounds was applied - wave, that is, due to the fact that sound is a mechanical wave, it causes vibrations of the membrane, which are recorded on any medium. During playback, the recorded vibrations from the carrier are transmitted to the membrane, which oscillates and vibrates the air in which the waves arise.

The invention of wave sound recording made it possible to record any instrument, but what is there 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 because of the terrible sound quality. But the further improvement of this method of sound recording and the invention of high-quality electric players and tape recorders dotted the i. They appeared in the forties and fifties of the last century.

It was in these conditions that rock music arose - the first truly mass music. It became massive precisely thanks to the invention of simple, high-quality and cheap sound recording devices. Do not confuse rock music and pop. Pops, also a product of new technologies, I devoted a separate chapter. Rock music is first and foremost an art. To create a quality work in this genre, no less skill and talent are needed, as well as for another kind of art.

The development of rock music is most closely associated with the introduction of new technologies in instruments and sound recording. One vivid example I have already given is the improvement of the lead guitar to the level of the Fender Stratocaster or Gibson Les Paul. Another impressive example is the invention of stereo players and stereo tape recorders. Monophonic players did not allow to achieve 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 Beatles' album “Sgt. Pepper’s Lonely Hearts Club Band”, rock opera Jesus Christ Superstar is the first and so far the only successful project fusion of rock and classic. Also at that time (late sixties) there were so-called "gadgets" for electric guitars, 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 rock, only very loud and faster.

Sometimes rock is unfairly called the music of the sixties-seventies generation, evil tongues say that it is already dead. Actually it is not. 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. Due to the fact that the heyday of rock did not last long, new technologies are again partly to blame. Approximately in the mid-seventies, a new generation of musical instruments began: microprocessor - basically these were all sorts of different synthesizers, and a little later, computers. The next generation of youth has changed, and, as you know, youth is the mover of everything new and denies everything old. Rock became the music of the fathers, and therefore unfashionable. However, that new generation did not offer anything new, but stubbornly asserted that “rock and roll is dead, but I am 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 to look at today's music, then maybe some masterpieces will be found that are now tightly clogged with pop.

3. Prospects for the development of information technologies in music

Nevertheless, we will try to "foresee" the directions that seem to be the most promising from the point of view of the future application of a musical computer. The most realistic for us is to assume that the technology of distance music education will be widely used. So, first of all, the history and theory of music, but, in part, practical advice, will become available in any remote from reputable educational institutions geographic 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 possess scientifically reliable and practical musical knowledge. The computer is already ready today to offer a lot of things that will finally make it possible to realize the historically and socially mature slogan "Music for everyone!".

Easily and excitingly, all people will master musical literacy, as if learning their native language, as if adopting the tunes of her favorite songs from their 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 musical training programs based on medical and pedagogical methods, the deaf and dumb, for example, will hear music and, in the end, even speak (there are already methodological developments in this direction today).

Thanks to a computer equipped with musical training programs based on medical and pedagogical methods, the deaf and dumb, for example, will hear music and, in the end, 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 to cure some diseases.

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

Against the background of such a mass enthusiasm, the prestige and quality of music education will increase many times over, the content of which, thanks to the computer, will change significantly, become more high-tech and intensive, flexibly customizable for any specific tasks. Each music teacher in a special lyceum or a general school (it doesn't matter) will be fluent in music and computer technologies. Of course, he will be able to lead his subject in an interesting and exciting way, it will not be difficult for him to compose a song or dance, make full-sounding arrangements, form a bright school concert, record it on a digital disc with high quality and then give his pupils such a record as a memory of the wonderful time of childhood and youth .

It is possible that music-computer technologies will even more squeeze the labor-intensive musical professions, due to which, under the coercion of parents, not too diligent boys and girls are often deprived of their childhood happiness for 10-15 years in a row. The joy of momentary direct music-making will be brought to them by even more ingeniously designed synthesizers and musical computers. And only truly talented, enthusiastic and patient musicians will become virtuosos (violinists, pianists, clarinetists, trumpeters).

Bibliography

1. Informatics and computer intelligence / A.V. Timofeev. - M. Pedagogy, 1991.

2. Information technology. Yu.A. Shafrin. - M. Lab. basic knowledge, 1998.

3. Informatics: textbook. for students of tech. directions and specialties of universities / V.A. Ostreikovskiy. - Ed. 2nd, sr. - M.: Higher. school, 2004.

4. Continuous course of informatics / S.A. Beshenkov. - M. BINOM. Lab. knowledge, 2008.

5. S. Kastalsky. Rock Encyclopedia / M. Peer, 1997.

“...Music should teach you to freely and directly express your feeling in sounds and sympathize with all the voices and all the calls that only sound in the world... Art should approach each age in a form corresponding to its understanding and skill, for everyone should become his accustomed to speak, move, hear, see, act freely, the child in his life will be without embarrassment, it will be easy to use these skills to fulfill his creative will, he will know the way to give an outcome to this will .. Through art, the creative will of children, their will to action should be nurtured; where, listening, watching or performing works of art made by others, children should, as it were, create them again, internally experience that strong will and that strong feeling that this work created ... Such a direction aesthetic education not at all like teaching art in old school, where children were taught only to listen, look and fulfill what was planned, to agree with what was done before them, to accustom their taste to old, conventional models ... ". Theoretical knowledge and methods that characterize new technologies in music education, using the example of modeling the artistic and creative process, allow the music director to achieve the main goal - to form the student's idea of ​​​​the activities of the Musician - composer, performer, listener - as a high manifestation of human creativity, as a great work souls like oh supreme need in the transformation of man and the world.

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MURMANSK REGIONAL INSTITUTE FOR PROFESSIONAL DEVELOPMENT OF EDUCATIONAL AND CULTURAL EMPLOYEES

NEW TECHNOLOGIES IN MUSIC EDUCATION

(modeling of the artistic and creative process)

Performed:

Musical director

MBDOU "Kindergarten No. 1" Yakorek "of the combined type, the city of Gadzhiyevo, Murmansk region.

Ivanova Yu.P.

Checked:

Golovina B.G.

Murmansk 2012

Introduction

Part I. Theoretical. Psychological - pedagogical aspect.

1.1. The term "technology" in pedagogy.

1.2. Modeling of the artistic and creative process.

Part II. Practical. Forms and methods of work with children.

2.2. "Choose Music"

2.4. "I compose music."

2.5. "Child and Music".

Conclusion

Bibliography

Introduction

One of the new concepts for pedagogy is the concept of technology, which is often found in pedagogical literature (scientific, journalistic, educational). The heterogeneity of the content invested in this concept by various authors suggests that it has not yet reached the need for the legitimate use of the degree of formation.

The novelty of the approach to the study of the process of formation of musical culture lies mainly in the interpretation of the data obtained. What comes to the fore is not individual indicators according to individual methods (and they give a certain idea of ​​the state and level of development of musical culture), but the understanding of one or another particular result as a form of expression of certain aspects of the child’s spiritual development, as a form of spiritual development. emotional response to the high spiritual values ​​of art. The idea of ​​such an interpretation of the data becomes the “key” to all methods where the spiritual is necessarily present and must be “read” by the educator-researcher (and the music director, exploring the process of developing the musical culture of children, as if “automatically” acquires this status) in all individual components formation of musical culture. Therefore, the study includes a special technique designed to figuratively express the child's assessment of his relationship with the spiritual essence of music.

The purpose of this essay is to explicate the range of concepts, theoretical knowledge and methods that characterize new technologies in music education using the examplemodeling of the artistic and creative process.

In connection with the goal, the following tasks can be distinguished:

1. Consider the psychological and pedagogical aspect associated with the use of new technologies in pedagogy.
2. Explore the modeling of the artistic and creative process.
3. In the practical part, reflect the forms and methods of working with children.
4. Make conclusions in accordance with the goal.

Research methods are the study of methodological literature and Internet resources.

Part I. Theoretical.

Psychological - pedagogical aspect.

1. The term "technology" in pedagogy.

The development of pedagogical science shows that the appearance of the term technology and the direction of research in pedagogy is not an accident. Why is it that the “accidental” transition of the term “technology” from the field of information technology to pedagogy is in fact not accidental and has a serious basis. The definition of technology can be formulated as follows: technology should be understood as a set and sequence of methods and processes for converting raw materials that make it possible to obtain products with specified parameters. If we transfer this meaning of the term "technology" to pedagogy, then the technology of learning will mean a certain way of learning, in which the main load on the implementation of the learning function is performed by a learning tool under the control of a person. With technology, the music director performs the function of managing the learning tool, as well as the functions of stimulating and coordinating activities. In view of the fact that the technology involves the preliminary determination of a diagnostic goal, it is first necessary to consider whether it is possible to set a diagnostic goal in music education. This may be a certain amount musical material. Thus, the main goal of the music director is to form the foundations of spiritual and moral education through familiarization with the musical culture using new technologies, as the most important component of the harmonious development of the individual. You can also highlight the following tasks:

1. to instill love and respect for music as a subject of art;
2. teach to perceive music as an important part of every person's life;
3. contribute to the formation of emotional responsiveness, love for the world around;
4. instill the foundations of artistic taste;
5. to teach to see the relationship between music and other art forms;
6. teach the basics of musical literacy;
7. create a need for communication with music;
8. simulate the artistic and creative process.

1. Modeling of the artistic and creative process.

The main methodological position that ensures the implementation of the ideas of developing education in music (generally in art classes) should be the modeling of the artistic and creative process, when students are put in the position of a creator-composer, creator-artist, as if re-creating works of art for themselves and for other people. Modeling the artistic and creative process is, in fact, is the passage of the path of the birth of music, recreating it, as it were, "from the inside" and living the very moment of re-creation. This is especially important when children master compositions that have always been intended only “for listening”; this is also important for mastering the layer of folk music - folklore, when preschoolers immerse themselves in the element of the birth and natural existence of music, they themselves compose and say proverbs, sayings, riddles, epics in the musical language; this is important both when mastering (learning) any song, and for instrumental music-making. This universal and common method for art requires: independence in acquiring and appropriating knowledge (which is not alienated from the child during the path of the composer), creativity (when the child, relying on musical experience and on imagination, fantasy, intuition, compares, compares, transforms, chooses , creates, etc.), developing the ability for individual hearing and creative interpretation.

Is it difficult to distinguish between "folk" and "composer's" music? It turns out that children almost unmistakably feel this difference already ... from the age of four!

The purpose of such questions is clear: before doing anything, the child must understand the meaning of his activity. Therefore, it is necessary to model the creative process so that the child looks into himself, sees himself from the position of another person, i.e. speaking scientifically, he would explore his value orientations in this world: what is significant for him, what can become significant for all people. And this important thing, called in art "artistic idea", will then determine the choice of all musical means. Only after passing the path of the creator, the child can understand what it means how to make a melody, how to play music, how to listen to it. Perhaps, after such experiences, the children will stop saying that they sing in the choir, "to develop their voice, because it's interesting together"; want to be an artist in order to “perform on stage, they will clap me”; playing an instrument well means “playing all the notes correctly and following the teacher’s instructions” and much more. It is clear that this universal method is completely organically applicable to music lessons. Is it possible to apply the method of modeling the artistic and creative process to the lessons of rhythm, artistic movement, musical theater, and in general in free musical activity? How can this be done?

In connection with the method of modeling the artistic and creative process, it is appropriate to raise the question of revising the attitude towards children's musical creativity. Traditionally, in musical education, creativity was considered as a separate type of activity, associated primarily with improvisation. However, this "creativity" in practice was reduced to the assimilation by children of traditional "general musical" rhythmic and melodic formulas, intonation schemes, when thinking, internal hearing of music by children moves along a predetermined path. Such an approach to creativity is unlawful, since any form of involvement in art, which is an activity as such, and not work according to a model, must be precisely creative in the true sense of this concept.

The criterion of creativity is not necessarily something complete (for example, the final phrase of a song, which is “completed”, but does not require anything other than the search for “melodic stamps” in their experience), but that readiness for creativity, when the pupil wants and is ready to comprehend the meaning of his activity, when he has a feeling of the need to compare, correlate, choose and find something that can best express his hearing and vision of a particular phenomenon, event, fact, his own artistic attitude as a whole. The result can sometimes be expressed in just one intonation, in one poetic phrase, movement, line, or at first it may not even appear at all. The meaning of readiness for creativity is that music can sound inside the child, that he can have a clear idea of ​​what kind of music it should be, but his musical thoughts may not yet materialize in a clear form, in a specific melody. It is this inner work - the process of mental experimentation with expressive means, that is much more important than the finished result, especially at the initial stages of entering music.

Misunderstanding of nature and conditions children's creativity, the indispensable desire of the music director to definitely get the result can lead to trauma to the child's psyche and a violation of the naturalness and freedom of the creative process. There are two important implications from this.

Firstly, the main thing is not so much the development of children (education in its “pure form”!), How much to observe their development in contact with music and the outside world. And secondly, the focus on the musical development of the child requires the rejection of many clichés and stereotypes of pedagogical thinking. First of all, you need to understand that the process of entering art cannot be forced, which means that there is no need to “pull” a child into music. In other words, with regard to musical development one should not engage in self-deception by falsifying a quick result. What is needed is the naturalness of the process when the music director goes along the path to music together with the child, in accordance with the nature of the child and the nature of art. To do this, you need to be sure: in the correct choice of the goal - the development of the personality of the pupil, his talents, individuality; in music that is chosen for children and that is sincerely felt by the music director himself; in methods and techniques that may interest children in music; and, of course, that every child is an artist, and necessarily talented. The ability to see the child's abilities, which he himself may not be aware of, and to convince him of this is the highest, which can only be in musical education and education in general.

Of course, these are generalized criteria. They will be identified directly in the research methods through more particular, “technological” criteria, where the level of manifestation of the general in the particular will make it possible to judge the formation of one or another parameter (component, element) of musical literacy and musical culture as a whole.

Part II. Practical.

Forms and methods of work with children.

2.1. "Musical Life Associations".

The first method can be conditionally called "Musical Life Associations". It reveals the level of pupils' perception of music: it makes it possible to judge the direction of musical-life associations, the degree of their correspondence to the musical-life content, reveals emotional responsiveness to the music heard, and the reliance of perception on musical patterns. The music chosen for this purpose must contain several images, the degree of contrast of which may be different, but the contrast must be “read” in relief. At the same time, one condition is observed: the music must be unfamiliar to children. You can recommend, for example: "Humoresque" P.I. Tchaikovsky (preparatory group, October).

The sound of music is preceded by a confidential conversation between the music director and the children in order to adjust the perception. This is a conversation about the fact that music accompanies a person’s whole life, it can recall events that happened before, evoke feelings that we have already experienced, help a person in a life situation - calm, support, cheer. Next, it is proposed to listen to music and answer the following questions:

1. What memories did this music evoke in you, what events in your life could it be associated with?

2. Where in life could this music sound and how could it affect people?

3. What in music allowed you to come to such conclusions (meaning what the music tells about and how it tells, what are its expressive means in each individual work)?

For research, it is fruitful to offer children of different ages the same music: this additionally allows you to identify what each age is looking for in music, what it relies on in its associations. Depending on the formulation of the educational process, the third question may have a different degree of complexity, professional content: how many images, what genres we attribute, in what form the music is written, how the unity of visual and expressive means is realized, etc. After listening to music, an individual conversation is held with each child; if there are difficulties with answers, the children are reminded of musical fragments. The answers are best recorded in writing (for "history": it is interesting to compare the answers of children in a few years in order to trace the dynamics of musical development). The results are processed according to the following parameters: accuracy musical characteristic, unfolding and, artistic associations, emotional coloring of answers. Particular attention is paid to the direction of children's thinking: from the general to the particular: from the figurative content of music to expressive means, language elements, genre, style, etc. If the children's answers show that they understand the form of a work as a secondary phenomenon, determined by the content, then we can say about their developing holistic perception of the musical image.

2.2. "Choose Music"

The second technique "Choose music"is devoted to the definition of music related in content: how reasonably children can, when comparing 3-4 fragments, find consonant in content. The proposed music should be similar in appearance: similarity of texture, sound dynamics, elements of musical speech, composition of performers, instrumentation, etc. The difficulty of the technique is that the works do not contrast with each other. For example, you can offer such works:

Option 1: "March" D.D. Shostakovich and "March" by D. Rossini (middle group, January);

Option 2: “Rain” by A. Lyadov and “Sad rain” by D.B. Kabalevsky (middle group, March).

After listening, the pupils must determine which works are related in the "spirit" of music and tell on what grounds they determined the commonality.

The technique allows to reveal a special “sense of music”. The main thing in it: what children evaluate: their own emotions caused by music, or simply expressive means, divorced from life's content. Reliance only on means indicates a low level of perception; reliance only on their emotions - the average level. The highest level should be considered the establishment of a relationship between one's emotions and the sounding music, when the child can tell in sufficient detail why he has these particular emotions and not others.

2.3. "Discover yourself through music."

The third method, "Open Yourself Through Music," aims to penetrate into the depths of the personal relationship and perception of children by music. To some extent, it allows revealing a very important thing: to what extent children “discover themselves” to themselves through music, to what extent they are aware of their feelings and experiences, whether they feel their involvement in the content of music, its images, events.

For this, one work is offered, for example, a fragment from the "Dance of the Elves" by E. Grieg, "Dance of the Dragee Fairy" by P.I. Tchaikovsky and “In the Cave of the Mountain King” by E. Grieg and others, and three tasks are associated with him (senior group, April). In the 1st task, the children are put in the position of "the interlocutor of music." She “tells” them about something, and then they must tell about their feelings, about what was born in them during the “dialogue”. The 2nd task involves the child revealing the musical content in plastic, in motion (this can be a plastic miniature pantomime improvisation or, in extreme cases, you can simply “breathe” with your hands). The 3rd task is connected with the embodiment of "himself" in the drawing. Let us emphasize in particular: the pupil does not draw the music that he hears, but rather himself, how he felt during the sounding of this music. This condition applies to all three tasks of the methodology, since in it we are not interested in music itself, but in the child, his spiritual world in the assessment of himself, i.e. self-esteem, music acts here as its source, a meaningful occasion.

2.4. "I compose music."

The fourth technique "I compose music"- is carried out with each child individually and helps to identify the degree of development of figurative representations, fantasy, imagination, thinking within the framework of artistic tasks, figurative hearing, vision, etc. The procedure for conducting the technique resembles a creative process. An initial creative task is given, which serves as the first impetus for the child to organize independent artistic activity. You can offer several situations, from which pupils choose the ones they like the most. These can be, for example, such situations: “Spring Voices”, “Summer Day”, “Sounds of a Big City”, “Winter Road”, fairy tale events, etc. After choosing a situation, the children, together with the music director (his participation, if possible, should be as limited as possible) reflect on the logic and originality of the development of the figurative content of the future work of art. For example, how life awakens in the spring: the snow melts, the sun burns, drops, icicles fall, streams murmur - how to hear and express all this, and your attitude to it? ... Or: “Winter Road”: quietly, gloomy, falling rare snowflakes, “the transparent forest alone turns black”... You can embody your idea on the piano, on other instruments (children's and folk), with voice, plasticity. The first landscape sketch becomes a “background”, against which gradually appearing characters (as a rule, children choose fairy tale characters and animals) act out invented actions, the music director traditionally monitors what character the characters are, their relationships, how they appear, what habits, etc. .d. Organizing creative activity as independent as possible, he observes the process of embodying an artistic idea: how children look for means of expression, select tools, turn on their voice, plasticity - behind all these actions, the child’s thinking is easily “deciphered” when creating artistic images, the content of which he talks about. himself (or with the help of careful leading questions).

It is very difficult to analyze the creativity of children, because, as a rule, the “technical skill” of the incarnation is of a low level, and the creativity of children itself often remains only at the level of an idea and sketches for it. However, the following parameters can be distinguished as evaluation parameters:

The degree of awareness of the intention. Here the independence of the idea is revealed, its logicality, the feeling of time and space in it (which we judge by the content side of creativity);

Inventiveness, originality, individuality in the choice of means of embodiment. Here an important role is played by non-standard, non-traditional, but it is desirable that it be argued;

To what extent the child is attracted by the musical experience he already has. For example, whether he instructs the characters to perform songs known to him, whether he relies on knowledge and ideas about the phenomena and facts of music.

The main attention in the analysis of children's creativity should be directed to the study of how the child plans his activity, starting with the motive of creativity and ending with the real embodiment of the idea. The main criterion here is, as already noted, the degree of harmony of the attributes of musical and creative activity: the harmony between “I hear-think-feel-act”.

So, each selected component of musical culture corresponds to certain methods. Some of them (questionnaires, questions, observations) are of a traditional nature, others were created specifically for the program of studying musical culture, are authorial (but they are also close to traditional motifs).

2.5. "Child and Music".

Fifth technique "Child and music". The music director asks the children: “Imagine that music is a living being. Try to draw this creature, this personality in such a way as you feel it, understand it when you listen to it or perform it. And don't forget to depict yourself in your drawing." The difference between this technique is that children do not draw specific music (impressions from the work) - their drawing is not connected with live sound at all. The purpose of the methodology: to find out how much the child identifies with music as a huge and important phenomenon in the world. He draws music in general. It can be seen from the drawing whether he feels small in front of her or feels like a part of her, identifies himself with her; how holistically he perceives the “image of music” (for example, expressing it in something unified - color, impulse, movement, etc.), or presents it as overly detailed. No more than 15 minutes are allotted for this procedure, after which, in an individual conversation with each child, it is possible to clarify why he portrayed himself and the music as such. It has been noticed that through emotional richness and an attempt to express the “image of music” in children, a genuine (sometimes unconscious) attitude towards it is manifested. This method becomes “the final chord of the program for diagnosing the musical culture of preschoolers.

Conclusion

“... Music should teach you to freely and directly express your feeling in sounds and sympathize with all the voices and all the calls that only sound in the world... Art should approach each age in a form corresponding to its understanding and skill, for everyone it should become his own property, his own language... Having become accustomed to speak, move, hear, see, act freely, the child in his life will be without embarrassment, it will be easy to use these skills to fulfill his creative will, he will know the way to give the outcome of this will ... Through art, the creative will of children, their will to action, must be brought up; where, listening to, watching or performing works of art made by others, children should, as it were, create them again, internally experience that strong will and that strong feeling that this work created ... This direction of aesthetic education is not at all like teaching art in old school, where children were taught only to listen, look and fulfill what was planned, to agree with what was done before them, to accustom their taste to old, conventional models ... ".

Theoretical knowledge and methods characterizing new technologies in music education on the examplemodeling of the artistic and creative process allows the music director to achieve the main goal - to form the student's idea of ​​the activities of the Musician - composer, performer, listener - as a high manifestation of human creativity, as a great work of the soul, as the highest need for the transformation of man and the world.

Bibliography

1. Burenina A.I. A world of exciting activities. Issue 1: The world of sounds, images and moods. SPb., 1999
2. Zimina A.N. Fundamentals of musical education and development of young children. M., 2000
3. Kabalevsky D.B. The beautiful awakens the good. M.: Enlightenment, 1973
4. Linchenko N.M., Kirillova O.A. Serious music for kids: a guide for educators and music directors of preschool educational institutions. Murmansk, 2000
5. Minaeva V.M. The development of emotions in preschoolers. Classes. Games: a manual for practitioners of preschool institutions. M., Arkti. 2001
6. Novikova G.P. Musical education of preschool children. M., 2000
7. Radynova O.P., Gruzdova I.V., Komissarova L.N. Workshop on the method of musical education of preschoolers. M., 1999
8. Radynova O.P., Katenene A.I., Palandishvili M.L. Musical education of preschool children. M., 2000

Thesis

Puchkov, Stanislav Vladimirovich

Academic degree:

Ph.D. in History of Arts

Place of defense of the dissertation:

Saint Petersburg

VAK specialty code:

Speciality:

Theory and history of art

Number of pages:

Chapter I. Musical and historical prerequisites for the emergence and development of technical music

Section 1. Analysis of the process of formation of technical music

1.1. Development of musical thinking and composing technique

1.2. The history of electronic music, the development of technical methods for its creation and some artistic achievements up to about 1975).

1.3. Goals of electronic music

1.4. The history of the development of electronic instruments.

Section 2. Methods of composition of technical music and computer technologies.

2.1. Analysis of the principles and methods of composition of technical music in the first half of the 20th century

2.2. computer music

Chapter II. Music playback using computer technology

Section 1. Experience of computerization of musical activity (recording and performance of technical music).

1.1. Historical stages of origin and development of computer-acoustic music.

1.2. Technical toolkit of the modern musician.

1.2.1. Systematization by functional features of recording studios

1.2.2. Systematization and classification of electronic musical instruments (EMI)

The main types and principles of functioning of synthesizers.

Basic types and principles of sampler functioning.

Sequencer as a new quality in the control of synthesizer devices.

1.2.3. MIDI - Musical Instruments Digital Interface (digital interface of musical instruments).

Section 2. Software for musical computer MIDI technologies.

2.1. Systematization of software tools, taking into account the technology used.

Features of MIDI and AUDIO technologies

Classification of programs by functional features

2.2. Characterization of different types of sound and music programs.

Main functions of sound file management programs (multimedia players)

MIDI sequencers - the ability to record, play and edit musical works.

Interactive sequencer programs (auto arrangers).

Multitrack digital audio studios.

Virtual synthesizers

Emulators of sound modules and synthesizers.

Music Tutorials

Music subjects and reviewed tutorials.79 Utilities

Section 3. Principles of musical activity of traditional musical art and the system of interconnections with computer technologies

3.1. Systematization and classification of performance parameters of synthesizers.

3.2. Relationship between performance parameters and methods of sound articulation in a synthesizer

Chapter III. Computer methods of music research.

Section 1. Computer methods for studying the acoustic features of sound.

1.1. Analysis system acoustic characteristics Russian bells.

1.2. Preparing to record bell sounds.

1.3. Bell sound analysis.

1.4. How to work with the Wavanal program

1.5. Spectral analysis used by Wavanal

1.6. Sound wave digitization details

1.7. View waveform (View waveform).

1.8. View transform / get partials

1.9. View View / Edit partials

1.10. Methodology for using the program of digital sound recording of Russian bells

1.11. Digital restoration technique using various music editors and specialized programs Cool Edit, Sound Forge, Dart Pro.

1.12. Digital restoration technique using a specialized program Dart Pro.

1.13. Methods for calculating the spectral analysis of bell sounding samples, constructing their spectrograms and three-dimensional cumulative spectra

Section 2. Methodology for creating an electronic analogue of bells on the technological basis of Wavetable synthesis from sound samples of church bells

2.1. Technique for Preparing Bell Samples for the EMU Sampler

2.2. Some technological aspects of creating and storing information about tools.

Section 3. Some aspects of modern music education - problems and innovations associated with the computerization of the process.

3.1. Possibilities of using computer technologies in music education.

3.2. Computer music teaching systems.

3.3. Application of computer technologies in teaching music-theoretical disciplines.

3.4. Distance learning.

Introduction to the thesis (part of the abstract) On the topic "Musical computer technologies as a new toolkit for modern creativity"

The dissertation is devoted to the study of modern instruments of musical creativity (composition, performance, music research). The intensive development of computer technologies, their widespread use in various types of musical creativity, put forward a number of problems that require their understanding and solution by modern musicology. The impetus for the emergence and development of technical music (TM) and its variety - electronic music (EM) - in the 20th century was two factors: a) the desire of composers to search for new expressive means in music, to a new musical language and, as a result, to a new instrumentation; b) rapid scientific and technological development in the field of electronics and later information technology.

A bright "surge" of interest of musicians (and listeners) to unusual sounds, to new timbres, as well as the desire to at least somehow facilitate the unusually difficult work of the composer and performer, plus the emergence of the opportunity to use new information technologies for this, predetermined the use of computers in the composing process music. The first computers were not designed for this; the designers had to work, but without the musicians they would not have done anything. Now this technique, one might say, is ready to completely turn over musical thinking. And for some very short time in the historical aspect (only in August 1981, IBM began to produce the world's first personal computers), this technique united many millions of people; interest in her opportunities in the musical field has become truly colossal. Appeal to information technologies, musical acoustics in their actual connections with music poses many difficult problems for researchers. Undoubtedly, the most important of them is the problem of the correlation between artistic (musical) and natural-science thinking or the problem of the correlation of the figurative emotional perception of music and the accuracy, objectivity of the methods of its cognition. However, objective criteria make it possible to obtain knowledge only about the external, material manifestations of art. For representatives of the exact sciences, the spiritual essence of art, which forms the basis of the aesthetic knowledge of music, will remain hidden (if not forever, then for a long time). In any case, information technologies and musical acoustics do not provide researchers with such opportunities. Consequently, scientists are faced with the problem of creating a method for cognizing the spiritual essence of art. Paying attention to it is one of the goals of this work.

So, musical information technologies as a dynamic, actively developing system in its relations with the art of music, the features of the formation of this system, the formation of musical information technologies and musical acoustics as a result of the numerous influences of music on the area under study - these issues constitute the content of this work.

The problems of the relationship between musical art and modern technical means were discussed long before personal computers appeared (that is, until August 1981). It is worth recalling that P. Kh. Zaripov worked extremely fruitfully in this direction in Russia. In the west, the works of A. Mol and colleagues stand out. Thus, conditions were created for the musical direction of informatics and acoustics to acquire new qualities and enter the practice of musical art in order to become computer musical technologies (computer acoustics).

At the base of this "duet" are at least three "whales". First, the most important is the experience of creative - composing and performing activities; only this experience gives the content, the aesthetic essence of the music that is associated with new technology (electronic, concrete, computer) and, of course, actively influences the musical instrumentation. Secondly, these are theoretical and practical works in the field of electricity, electronics and computer science. They ensured the creation and development of special equipment, software, electronic musical instruments. Finally, thirdly, this is special knowledge in the field of physical, musical acoustics, architectural acoustics, electroacoustics, psychophysiology of hearing. They are specific to the development of the direction under consideration. Included in the system of musical knowledge, computer technologies and acoustics have found the most diverse application - in composing, performing music, in musical pedagogy, in special musicological research.

This study draws attention to the relationship between musical computer technology and music, which determine the development of both musical art and science. That is, we are talking about an integral system, which includes both musical creativity and the knowledge of creativity by exact methods. The intensive development of computer technologies, their widespread use in various types of musical creativity has put forward a number of problems that require their understanding and solution by modern musicology.

The relevance of this study is determined by the existing contradictions between:

The degree of distribution of electronic musical technologies in real artistic practice and the level of theoretical understanding of various aspects of the application of electronic technology in specific areas of musical creativity;

The possibilities of musical computer technologies in artistic practice (composition, notation, performance, research area, etc.) and the degree of their implementation.

The purpose of the study is to analyze and theoretically substantiate the system of interconnections, mutual influences of traditional means of musical creativity and new tools, as a means of cognition and creation of modern musical art. In the process of research, a number of questions arise that require reflection. What was the impetus for the emergence and development of technical and electronic music? How did these areas develop? What results (creative and technical-technological) have been achieved in this area? What prospects (creative, scientific, technological and didactic) are expected, and what problems arise in connection with the rapid development of contemporary art? These and other questions predetermine the range of tasks facing the researcher:

Determine the stages and directions of development of technical music;

Investigate and generalize the experience of teaching with the use of musical computer technologies;

Compare the technological and artistic possibilities of technical music of the first half of the 20th century and modern electronic music;

Reveal the terminology of modern musical computer technologies (MIDI technologies, sequencing, notators, etc.);

To systematize the software and hardware components of the modern tools of musical creativity;

To create methods of adaptation of traditional instruments in the virtual environment of musical computer technologies.

This study is based on a systematic methodology for studying and modeling the processes of formation and development of new artistic and musical-technological phenomena in the instrumental culture of the XX-XXI centuries. The author is based, first of all, on methodological guidelines, develops theoretical and methodological provisions, ideas of predominantly foreign musicological, instrumental and computer science research (P. Boulez, J.-B. Barrier, A. Mol, J. Xenakis, A. Hein,

C. Osgood and others). This study was also influenced by the works of domestic scientists of the school of N. A. Garbuzov: E. A. Maltseva, A. V. Rabinovich, S. G. Korsunsky, E. A. Rudakov, B. M, Teplov, A. A Volodin, V. Nazaikinsky, V. V. Medushevsky, Yu. Tsekhansky, L. P. Robustova, R. X. Zaripova, A. Ustinova, E. Komarov, A. Gurenko and others. The dissertations and works of supporters of an integrated approach to the study of the laws of musical thinking B. Asafiev, A. Losev, S. Skrebkov and etc.

An analysis of the literature shows that the problem of this research project has so far received only partial coverage, which indicates the need for a special study.

In this paper, the main requirements for the classification of components of sound equipment and software are formulated, the specifics of modern computer notography (MIDI technology) are studied. An important component of the study was the development of a technique for digital recording of the sounds of Russian bells of the 16th-19th centuries. and creating banks of sounds1 based on their samples. Musical art was chosen as an object of study as a field of application of musical computer technologies, the subject - musicians, specialists in various fields of art, using musical computer technologies as tools for solving artistic, creative, research, didactic and other tasks.

The methodological basis of the study predetermined the nature of the work, which consists in the following areas:

1) the study of the musical-historical prerequisites for the formation of technical music;

2) reproduction of music using computer technology;

3) computer methods of music research.

The real research of electronic music was preceded by further achievements in the development of equipment, the creation of electronic musical instruments.

Obviously, the very first experiments with the use of electricity were realized as early as the 18th century - in a static electricity-powered “ electroharpsichord» La Borde (1759); later in the 19th century. - in C. Page's electronic musical instruments, called " galvanic music”(1837) Then this is the possibility of transferring music concerts by telephone from one city to another, which appeared after the experiments of the German Philipp Rais (1861) and the American Graham Bell (1876). It is also an opportunity to transmit various messages, including music, by radio (after the research of Faraday, Maxwell and G. Hertz, after the creation of radio devices by A. S. Popov in 1895, Marconi in 1897). Finally, it should be said about the attempts to obtain sounds by means of electrical vibrations; one of them was embodied in The Singing Arc by W. Duddell "a (1899).

The accumulated experience made it possible to turn directly to music. The first electric musical instrument Telharmonium T. Ca-hill appeared (1900). Finally, the first concert electronic musical instruments appeared - the theremin JI. S. Theremin (1920); trautonium by Friedrich Trautwein (1928); emiriton A. A. Ivanov, A. V. Rimsky-Korsakov and others (1935). But electro-acoustic music itself was still far away. It could have arisen only on the basis of special electro-acoustic equipment.

From the first steps in the development of electronics, various possibilities for its use in the field of music were considered. Scientists were primarily interested in the possibility of creating new instruments, "creating" the sounds themselves, and transmitting the sound. It doesn't make much sense to argue who made the world's first electronic music synthesizer. Composer and researcher of computer music V. Ulyanich believes that the world's first synthesizer "Variafon" was invented in 1929 by a domestic engineer E. A. Sholpo. N. Sushkevich names in this connection the American S. Cahill (Thaddeus Cahill) - the inventor of telharmonium (1903); however, it should be borne in mind that this too imperfect apparatus has not received any use in concert practice. The theremin mentioned above by JI. S. Theremin (1920) is also a synthesizer, only made on a different basis. E. A. Murzin developed the ANS synthesizer (named after A. N. Skryabin) in the 50s; E. Denisov, A. Schnittke, S. Gubaidulina, E. Artemiev, A. Volkonsky, P. Meshchaninov and others tried their hand at electronic music on this instrument. mathematician and musician R. Zaripov began his first experiments on modeling monophonic melodies on the Ural computer ”(that is, in fact, Zaripov used the computer as a synthesizer). Following him, A.R. Bukharaev and M. Rytvinskaya tried their hand at the same car. Nowadays, with the help of algorithmic methods, quite good results (in reproducing sound on a computer) have been achieved by the Moscow musician and programmer D. Zhalnin. The Americans believe that their "Mark-1" - a computer-based synthesizer (1960) - is also the first in the world. Everyone is right in their own way, since each of these devices is the first in its "family" or on its basis.

Regarding the development of electro-acoustic equipment for musical purposes, synthesizers, it should be noted that in our country, in this respect, a great contribution belongs, in particular, to I. D. Simonov, J1. S. Termen, A. A. Volodin. To date, there have been countless modifications of synthesizers. We have the most famous industrial versions of synthesizers - Roland, Korg, Yamaha, Casio, E-MU, etc.

Giving technical characteristics to synthesizers is not included in the range of tasks assigned to the study. This work is aimed at analyzing, evaluating the standard MIDI interface, samplers, sequencers, reverbs, mixers, acoustic systems, "software" (software), etc. devices, various methods used in the course of working on a composition. It should only be noted that new techniques and new methods are used by musicians to create electronic works, edit sequencer sequences and process digital sound.

The value of the idea of ​​using music-computer technologies as a research tool musical phenomena modernity lies in the fact that this is one of the first attempts in Russia to introduce musicological appeal circle of concepts, terminological base and a set of hardware and software, previously considered the prerogative of the exact sciences. The topic of this study is at the intersection of scientific and musical-theoretical problems and presents certain difficulties due to the novelty of the science of digital sound and the use of computer technology in musicology. The novelty of the dissertation lies in taking into account the mutual influence and interconnection of a wide range of possibilities of computer technologies in the context of new tools and its place in modern musical art. This is expressed in the realization of the possibilities of switching research to more high level knowledge of a musical work, when science becomes a tool for studying performing arts (and not just a system of knowledge about the technology of sound production and its perception). The didactic aspect is also new: the problems of training specialists in computer musical creativity, the study of the technical base and the technological principles of its application in the educational process.

Provisions are submitted for defense in the form of the results of: 1) a retrospective analysis of the formation and development of musical computer technologies, expressed in: a) periodization of the shift musical styles, composer technique, technologies of composing music; b) characterization of the factors that led to the development of this type of technology (computerization of musical activity, technization of creative musical processes and etc.)

On the specifics of modern electronic instruments, determined by the principles sound production, sound formation and a fundamentally different approach to the work of the performer;

About musical computer technologies as a new creative tool, a factor stimulating the integration of scientific methods into musicology, previously considered the prerogative of the exact sciences, and causing the transition of research to a higher level of knowledge of musical art; b) classification and characteristics of the areas of application of modern computer tools:

The study of musical art, where new technologies make it possible to identify new patterns and integral characteristics of music, to algorithmize different kinds composing and performing activities, to obtain objective characteristics of musical texture (agogics) and other components of creativity;

The scientific results of the work were tested at the St. Petersburg Humanitarian University of Trade Unions (SPbGUP) in the reports of the author: " Teaching experience in the field of music computer technology”, “Methodological aspects of the organization of teaching music and computer technologies”, “ Creating a multimedia tutorial on the basics of electronic music”(with a demonstration), “Computer technologies in the musical and aesthetic education of schoolchildren and students”; at international instrumental conferences at the Russian Institute of Art History: "Traditional methods in the field of instrumental culture (music theory, performance, teaching aids) and computer musical technologies (report and presentation of electronic music sound recordings)," Computer music technology and software»; interuniversity symposiums in St. Petersburg State Unitary Enterprise "The role of modern music and computer technologies in the educational process of mastering electronic keyboard instruments", " Study musical features old Russian bells» - a joint report with Doctor of Technical Sciences, Professor of St. Petersburg State Unitary Enterprise I. A. Aldoshina and junior researcher of the sector instrumentation RI-II A. B. Nikanorov; at the International instrumental symposium " Musician in traditional and modern culture» - «Arrangement for MIDI Instruments - modern approach to the problem of multi-instrumentalism” (RIIII).

The volume of the main text of the dissertation is 207 sheets of typewritten text. The dissertation consists of an introduction, three chapters and a conclusion, is provided with a list of references and appendices with illustrative material - tables of the results of the study of the electronic sound virtual space environment, graphic images of individual samples and working panels of electronic devices.

Dissertation conclusion on the topic "Theory and History of Art", Puchkov, Stanislav Vladimirovich

I. The relevance of the research direction with the use of computer technology is evidenced at least by the fact that this topic was actually prepared by the entire practice of theoretical and historical musicology. New opportunities in conducting scientific research using a computer:

1. Possibilities of using exact research methods in musicology.

non-computer»experiments in the study of certain patterns of music, and between works that consistently use the quantitatively accurate characteristics of these patterns or do not use them.

II. The problems of recording, saving and acoustic analysis of bell ringing have been topical for a long period of time. However, the emergence of a new generation of digital sound recording equipment, new computer technologies for processing, restoring and recording sound made it possible to move on to solving this problem at a qualitatively different level:

The possibility of setting the task of restoration, spectral and temporal analysis of bell ringing and saving them on modern digital but-cm^x (CD-ROM, DVD, DSD, etc.);

The formulation and implementation of the tasks of restoration, spectral and temporal analysis of bell ringing samples became possible due to the availability of the "Wavanal" program;

Creation of musical sequences (sequences) imitating bell ringing.

III. The use of new computer technologies in modern music education and musical creativity is characterized by many contradictions, the main of which are:

The gap between conceptual innovations in the field of general pedagogy and music;

This necessitates a theoretical and methodological study of the possibilities of using computers in music education and gaining practical experience in using computers in conducting classes in musical subjects, which will make it possible to provide a scientific and methodological basis for the content and forms of computer education and purposefully organize the process of acquiring knowledge and skills of their practical use. The introduction of computer training systems into the educational process is one of the ways to increase the effectiveness of training.

1 When the sound path of a sound recording device, especially a digital one, is overloaded, distortion of the sound signal occurs, the so-called clipping, which interferes with high-quality sound recording.

2 Overtones hum, prime, tierce, quint, nominal. 3

WavetabJe synthesis - wave synthesis. This is the general name for sampling-based synthesis. The WT method is an encoded set of stored sound samples called Wave Tables. Sound cards that support the Wave Table (WT) mode implement the considered synthesis method. Wavetable synthesis is also known as PCM synthesis (pulse code modulation). 4

Frequency modulation (FM) synthesis - synthesis using frequency modulation. Invented by John Chowning (Stanford University, DX7 synthesizer). The method is to use simple, digitally generated waves (called modulating waves) to control other simple waves (called carriers). Both waves are called workers (operators). The carrier wave determines the pitch of the sound, while the modulating wave is responsible for the harmonic content (timbre of the sound). With the FM method, sound synthesis with the required timbre is carried out on the basis of mutual modulation of the signals of several audio frequency generators.

5 In sound synthesis, resonance is used to add richness to the sound. Resonance accentuates frequencies around the cutoff point. An interesting option is when the filter itself starts to work as an oscillator. This happens when the feedback value is large. Exist different types filters. The most common in synthesis is lowpass, but in some models of analog synthesizers, and even more so in digital devices, other types can be used - highpass, bandpass and notch. All of them, one way or another, are designed to "subtract" (subtracting) some frequencies from the original signal.

6 Sound element is a functionally complete, hardware-implemented elementary block polyphonic a synthesizer that reproduces the sound of only one voice.

7 EMU8000 - Chip for sound synthesis using the "wave table synthesis" method in the Sound Blaster AWE32 or Sound Blaster 32 sound card.

8 Oscillator [abbreviation for OSC, also VCO (Voltage Controlled Oscillator) or DCO (Digital Controlled Oscillator)] - VCO or "voltage controlled oscillator", was designed by Robert Moog in collaboration with Herbert Deutsch (Herbert Deutsch) in the process of creating the first in the world of modular analog synthesizer, the Moog Modular System. The term VCO reflects the principle of fundamental tone formation: due to the use of transistors, when a certain key was pressed, a control voltage was applied to the input of the oscillator, and a proportional frequency signal was generated at the output. Typically the voltage increased by 1 volt per octave; an increase in the control voltage by 1/12 V corresponded to a change in frequency by a semitone.

9 Sample (sample) - 1) A sound recorded in digital format for use as a timbre (patch, instrument, etc.) on a synthesizer or sound module. Sometimes it is called " sampled sound» (Sampled Sound). 2) An audio file that is used as a "building block" to create modern dance music (for example, a drum or bass melodic pattern, a phrase). See also Loop.

10 This refers to the phases of the dynamic development of sound, graphically reflected in the form of Envelope (envelope) [a curve that describes the change in the value of any sound parameter (loudness, pitch, timbre)].

11 Resonance low-pass filter (resonance, Q). Cutoff cuts off the harmonics, and when fully closed, only the fundamental harmonic is heard. The cutoff frequency in synthesizers is rarely determined by a specific value in Hz, more often it is some logarithmic scale, the maximum value of which can be 10 (a dash on the front panel) and a number on the display in the corresponding menu. However, the maximum value always means a fully open filter. The resonant filter is not found in every instrument. In particular, not in all analog synthesizers, and even more so samplers. In digital devices, filters, except for output ones, are implemented in software: their function, along with all others, is performed by a specialized DSP chip (Digital Signal Processor). Typical terms are Filter and VCF (Voltage Controlled Filter).

12 The two most important parameters of any filter are the cutoff frequency (filter cutoff) and Resonance, aka Q, aka Emphasis, aka generation. This filter is feedback(feedback): in the filter circuit (or the appropriate set of computer instructions).

13 Perhaps it is necessary to clarify what is meant by " some part of the audio signal". In the sound element, the signal follows two paths: the first leads directly to the output of the effect processor, and the second leads through the effect processor. On the first path, the sound does not undergo any changes. Passing through the second pugi, for example, it can completely turn into an echo. Then these paths converge again: the original sound is mixed with its echo. Obviously, you can adjust the depth of the effects by changing the level of the signal following the second path.

14 Reverb is one of the most popular sound effects. The essence of reverberation is that the original sound signal is mixed with its copies delayed relative to it for various time intervals.

Chorus (Chorus) - the effect of "chorus", usually obtained by slightly shifting the pitch, modulating the amount of shift, mixing the processed signal with the direct one.

15 DAC, (ADC) - digital-to-analog signal converter (anapo-digital converter).

16 S/PDIF is a digital interface format from Sony and Phillips. A standard for transferring data from one digital device to another.

17 ADSR - four phases of the dynamic development of sound, graphically reflected in the form of Envelope (envelope) - a curve that describes the change in the value of any sound parameter (loudness, pitch, timbre). It is depicted in a coordinate system, where the parameter of the dynamics of sound development is plotted vertically, and time is plotted horizontally.

18 Of course, there are no controllers in the physical sense, all settings are numbers that are stored in the memory of the driver that serves the EMU8000.

19 For a better understanding of this process, an example from Everyday life. Everyone uses a faucet. The water pressure is characterized by the position of the faucet handle. Let's draw an analogy between a water tap and a modulator in the EMU8000 circuit: tap - modulator, water - source signal (for example, low-frequency oscillations from LF01), knob - modulating signal (for example, LF01 to Pitch), knob position - adjustment parameter, i.e. a number characterizing the depth of modulation (in our example we are talking about frequency modulation - frequency vibrato).

20 Drivers are free software. The success of manufacturers of consumer equipment is based on the absence of problems with its software support.

21 Loop (loop) - a fragment of an audio file (or the entire file), which is played repeatedly (cyclically). In modern dance music, a sound file on the basis of which a musical part in a song is built (bass, drums, etc.). See also Sample.

22 The Program Change (or Patch Change) command is used in music editors to select a sound bank and preset number.

23 Polyphony of a sound card - the number of simultaneously reproduced "voices" of an instrument (synthesizer of a sound card). May differ from the number of notes played at the same time, as some instrument sounds may use several voices at the same time.

24 Coarse Tune (tuning) - change the overall tone of the synthesizer.

25 Filter (filter) - a device or program for isolating sounds of a certain frequency or frequency band from a complex sound. The phenomenon of resonance increases the effect of the filter. In modern sound engineering, resonant filters are used to change the timbre of a sound. For example, when the filter characteristics are periodically changed, a “wah-wah” effect is obtained.

26 Most commonly used digital audio file format.

27 This refers to the parameters of the digital audio format (standard 16 - quantization amount, mono - monophonic sound).

Works of the first year of study. Arrangements: Glazunov's gavotte from "The Maid Maid", Bordin's Village Choir from "Prince Igor" "Fly on the Wings of the Wind".

Conclusion

The result of the study should be considered the revealed regularity of the historical evolution of musical instruments, deeply connected with the creative processes occurring in the field of composition and composition, performing arts, musicology and education, expressed as:

1) in search and improvement musical language, enrichment with a variety of composing methods, techniques and means of texture of musical works and, as a result, the birth of electronic instruments - new in principle sound production, sound formation and requiring a fundamentally different approach to creativity from the performer;

2) in changing the concept of approach to creativity, expressed in the growing need to include knowledge from the technical and technological field, musical acoustics and information technology in the musical-theoretical science.

The study succeeded in:

To identify specific forms of organization of the system of musical computer knowledge in its relationship with traditional musical art;

Compare the stages and directions of development of technical (pre-computer) and modern electronic music, their artistic and technological capabilities;

Explore and generalize the modern experience of teaching with the use of musical computer technologies;

Reveal the terminology of modern musical instruments (MIDI-technologies, sequencing) and classify modern EMI with integrated music-computer technologies;

To test the methods of adaptation of sound samples of traditional instrumentation in the virtual environment of musical computer technologies.

In the course of the study, the mutual influence and interrelationships of a wide range of possibilities of computer technologies in the context of the new instrumentation and its place in modern musical art were identified and taken into account.

In the course of the study, it was possible to prove that the development of modern musical instruments is based on the mutual influence and interconnection of a wide range of capabilities of computer technologies and hardware with artistic processes in modern musical art. The new creative tools stimulate the integration into musicology of scientific methods, which were previously considered the prerogative of the exact sciences, thereby making the transition of research to a higher level of knowledge of a musical work, when science becomes a tool for studying performing arts, and not just a system of knowledge about the technology of sound production and its perception.

The study of musical computer technologies has shown that the fundamental difference between a modern electronic musical instrument (EMR) and traditional ideas about the possibilities of natural musical instruments is as follows:

In the presence of a huge, truly inexhaustible variety of timbres and their shades;

EMR is able to simulate artificial acoustic effects of various kinds of rooms (HALL, ROOM, PLATE, etc.), placing musical instruments in a variety of acoustically colored virtual rooms;

In the possibility of fixing the musical text in the form of a sequence of musical events with the reproduction of the sound palette of the timbre, metrorhythmic, dynamic, etc. music (MIDI sequencing)

The ability to quantize the rhythmic pattern of a musical text, which consists in aligning the rhythmic pattern of a melody or textured accompaniment (one of the functions of MIDI sequencing);

Converting a MIDI sequence to musical text in the form of a clavier, score;

The SKALE function, which allows to carry out modal modifications of the scale of the musical original.

Consequently, a significant difference between the modern user of musical sound and computer equipment and the activities of an academic musician-performer lies in a new approach to the creative process, since in order to create a sound image of a particular instrument, he needs accurate, rather than intuitive knowledge about the use of a particular technique. in a musical context, since music in computer technology is programmed.

It can be concluded that the methods of articulation when performing on a MIDI keyboard should be applied taking into account the specifics of the sound (timbre) used. The articulation of the sound in the synthesizer depends on the programming of the performance parameters (settings of knobs or controllers). For example, modulation (Modulation), portamento (portamento or glide), glissando (glissando), sustain pedal (Sustain Pedal), etc. Articulation of sound in the synthesizer is carried out by certain technological methods of programming the performance parameters of EMR.

The dissertation work showed that the integration of information technology into the research field of musicology manifested itself in computer methods for studying the acoustic features of sound samples. The use of precise research methods in musicology is nothing new in the science of music. However, in the second half of the 20th century, there was a significant enrichment of the content of these methods and an increase in their role and significance in research practice. The relevance of the research direction with the use of computer technology is evidenced at least by the fact that this topic was actually prepared by the entire practice of theoretical and historical musicology.

New possibilities have been revealed when conducting scientific research using a computer:

1. Possibilities of using exact research methods in musicology.

2. A more distinct character (which is manifested both in the methods and in the results of the study) is not between "computer" and " non-computer»experiments in the study of certain patterns of music, and between works consistently using the quantitatively accurate characteristics of these patterns or not using them.

3. A number of specific possibilities of acoustic methods were clearly demonstrated, but perhaps more importantly, questions were raised about the scope of application of exact experimental methods, about the methodology of scientific research, and a statement was made about the need to take into account the specifics of musical art.

This study reveals the problems of recording, preserving and acoustic analysis of bell ringing, which have been relevant for a long period of time. However, the emergence of a new generation of digital sound recording equipment, new computer technologies for processing, restoring and recording sound made it possible to move on to solving this problem at a qualitatively different level:

The possibility of setting the task of restoration, spectral and temporal analysis of bell ringing and saving them on modern digital media (CD-ROM, DVD, DSD, etc.);

The formulation and implementation of the tasks of restoration, spectral and temporal analysis of bell ringing samples became possible due to the availability of the Wavanal program;

Creation of an electronic bank of samples of bell sounds, carried out with the help of musical computer programs;

Development of a method for creating an electronic bell emulator;

Creation of musical sequences (sequences) imitating bell ringing.

Long before the advent of computers, musicologists from different countries paid much attention to theoretical and practical issues of using technical means in the educational process. With the advent of personal computers in the 80s, methodological problems of using computers in the educational process began to be discussed in our country. The use of new computer technologies in modern music education and musical creativity is characterized by many contradictions, the main of which are:

The gap between conceptual innovations in the field of general and musical pedagogy;

The need to include new information technologies in modern musical culture and their absence in musical educational programs.

This necessitates a theoretical and methodological study of the possibilities of using computers in music education and gaining practical experience in using computers in conducting classes in musical subjects, which will make it possible to provide a scientific and methodological basis for the content and forms of computer training and purposefully organize the process of acquiring knowledge and skills, their practical use. The introduction of computer training systems into the educational process is one of the ways to increase the effectiveness of training.

1) The results of a retrospective analysis of the formation and development of musical computer technologies, expressed in: a) periodization of the change in musical styles, composing techniques, technologies for composing music; b) characterization of the factors that led to the development of this type of technology (computerization of musical activity, technization of creative musical processes, etc.)

2) The theoretical concept of musical computer technologies as a new phenomenon in art, including: a) provisions:

On the regularities of the historical evolution of musical instruments (the process of accelerating the change of musical styles and creative methods of composing music, the spiral principle of mastering new timbre possibilities of electronic instruments, etc.)

About the specifics of modern electronic instruments, determined by the principles of sound extraction, sound formation and a fundamentally different approach to the work of the performer;

About musical computer technologies as a new creative tool, a factor that stimulates the integration of scientific methods into musicology, which were previously considered the prerogative of the exact sciences and causes the transition of research to a higher level of knowledge of musical art; b) classification and characteristics of the areas of application of modern computer tools:

Musical creativity - computerization of musical activity (creation, recording and performance of modern music);

The study of musical art, where new technologies make it possible to identify new patterns, integral characteristics of music, to algorithmize various types of composing and performing activities, to obtain objective characteristics of musical texture (agogics) and other components of creativity;

Teaching the art of music - the analysis of musical works, the assimilation of the history of music and performing arts, music theory, mastering the art of instrumentation and arrangement, etc., where these tools provide a solution to a complex of pedagogical, creative, psychological and technical problems.

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211. F1 orian L. Experimentalne hudobne nastroje a moderna technika // Slovenska hudba.- 1962.-N 6.-S. 32.

212. Hiller L. A., Isaacson L. M. Experimental Music. New York: McGraw/Hill Book Company, Imc., 1959.

213. Hi 11 er L. A. Muzyczne zastosowanie elektronowych maszyn cyfrowych // Ruch muzyczny. 1962. - N 7. - S. 5.

214. Holde A. The Electronic Music Synthesizer // Neue Zeitschrift fur Musik. -1960.-N 121.-S. 21.

215. Henze H. W. Neue Aspekte in der Musik // Neue Zeitschrift fur Musik. 1960.-Nl.-S.78.

216. Karkoschka, E. Ich habe mit Equiton komponiert, Melos. 1962. - Heft 7/8.

217. Klangstruktur der Musik // Neue Erkenntnisse musikelektronischer Forschung. Berlin: Verlag fur Radio-Foto-Kinotechnik GHBH, 1955. - Heft 5-7.

219. Laszlo A. Farblichtmusik. Berlin, 1925. - 78 S.

220. Leeuw T. Elektronische Probleme in den Niederlanden // Melos. 1963. - S 41.

221. Lebl V. 0 hudbe budoucnosti a budoucnosti hudbv // Hudebni rozhledy. -1958.-T. 11.-P. 42.

222. Lollermoser W. Akustische Beurteilung elektronischer Musikinstrumente // Archiv fur Musikwissenschaft. 1955. - N 4. - S. 51.

223 Mayer-Eppler W. Grundlagen und Anwendungen der Informations-theorie. -Berlin; Gottingen; Heidelberg: Springer Verlag, 1959.

224. Metelka J. Matematicke stroje - kybernetika. Praha: SPN, 1962.

225. Mever-Eppler W. Elektronische Kompositionstechnik // Melos. 1956. - N 1.-S.45.

226. Meyer-Eppler W. Elektronische Musik. Berlin, 1955. - S. 18.

227 Moles, A. A. Perspectives de rinstrumentation electronique, Rev. Beige de musicologie. 1959. - N 1. - P. 15.

228 Moles, A. A. Structure Physique du Signal Musical. Paris. Sorbonne, 1952.

229. Moroi M. Elektronische und konkrete Musik in Japan // Melos. 1962. - N 2. -S. 17.

230. Marozeau J., de Cheveign A., Adams S., Winsberg, S. The perceptual interaction between the pitch and timbre of musical sound // Journal of the Acoustical Society of America. 2001. - N 109. - P. 52.

231. Paclt J. Quo vadis, musica? // Culture. 1957. - N 33. - S. 32.

232. Prieberg F. K. Die Emanzipation des Gerausches // Melos. -1957. N 1. - S. 5.

233. Prieberg F. K. Musik des technischen Zeitalters. Zurich: Atlantis Verlag AG, 1956.

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236. Pressnitzer D., Adams S. Acoustics, psychoacoustics and spectral music // Contemporary Music Rev. 1999. - Vol. 19. - P. 33-60.

237. Paraskeva S., Adams S. Influence of timbre, presence/absence of tonal hierarchy and musical training on the perception of tension: Relaxation schemes of musical phrases // International Computer Music Conference, ICMA. -Thessaloniki, 1997. P. 438-441.

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243 Schaeffer P. Konkretni hudba. Praha: Supraphon, 1971. S.34

244. Schonberg A., Ausgewahlte B. Ausgewahit und herausgegeben von Erwin Stein. Mainz, Schott's Shone, 1958. S 8.

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253. Wilkinson M. An Introduction to the Music of Edgar Varese // Score. 1957.-N19.

254. Winckei F. Berliner Elektronik // Melos. 1963. - N 9. - S. 27-56.

255. Winckei F. Klangwelt unter der Luppe. Berlin: Wunsiedel, 1952. - S.56.

256. Worner K. H. Neue Musik in der Entscheidung. 2 Auf. - Mainz: Schott "s Sohne, 1956. - S.72.1. Glossary Aa

257. Aftertouch A generic term for pressure data on a key. Channel Pressure (channel pressure). Poliphonic Key Pressure 3D 3 dimensional. - three-dimensional (surround) sound

258. A/D Analog/Digital. - analog-digital

259. A3D Aureal surround sound simulation technology

260. AC Alternating Current. - alternating current

261. A-channel left channel in a stereo signal

262. ADAT Alesis Digital Audio Packaging. - Alesis digital audio tape recording format

263. ADC Analog to Digital Conversion. - analog to digital conversion

264. Adaptive Delta Code (PCM) Modulation Adaptive differential (delta) pulse-code modulation Pulse method of representing audio data in digital form. There are various algorithms that apply this principle

265. ADAT Alesis Digital Audio Tare

266. ADSR phases of dynamic sound development, envelope curve of the sound signal (A - Attack, D - Decay, S - Sustain, R - Release)

267. AES/EBU Audio Engineering Society/European Broadcast Union Audio Engineering Society/European Broadcast Union. A standard for transferring data from one digital device to another

268 AIFF Audio Interchange File Format. - file format containing digital audio

269.AM Amplitude Modulation. - amplitude modulation

270. Ambience space (sometimes - medium reverb level)

271. Amiga multimedia computer, which was produced by the company

272. Commodore (later the rights were bought by other firms)

273. ANSI American National Standard Institute. - American National Standards Institute

274. ASP Association of Shareware Professionals. - Shareware Manufacturers Association

275 ASPI Advanced SCSI Programming Interface. - advanced SCSI programming interface

276. ATAPI ATA Packet Interface. - interface for CD drives with IDE controller

277. Attack - Attack. The time it takes for a sound to rise dynamically until its amplitude reaches its maximum value. Percussion instruments have a fast attack, while many brass and strings have a slow attack

278. ATTS Address Track Time Code. - track with address-time code

279. Audio Compression Manager Microsoft Audio Compression Manager. is a standard interface for audio file compression supported by Windows, Windows 95/98 and Windows NT. Is part of Windows

280. AudioX Windows Driver Standard by Cakewalk

281. AUX Auxiliary. - additional (audio output)

282. AVI - Digital video file format supported by Windows1. bb

283. B-channel Right channel in stereo signal

284. BIOS Basic Input-Output System. - basic input-output system. A program in the ROM of a computer device (such as a motherboard)

285. Bit binary digit. See BPF Bit

286. Bandpass Filter

287. Breath controller 1. A device in the form of a tube into which the musician blows (as when playing wind musical instruments). Converts the force of the breath into an appropriate MIDI message.

288. MIDI message of type Control Change (CC=2). Controls some characteristic of the played timbre (volume, expression, vibrato) depending on the synthesizer model.

289. Buffer underrun Buffer underrun". In the process of "burning" the CD, the program did not have time to load the next portion of data into the buffer, and the operation had to be stopped. This CD burning session failed, the recorded data is corrupt1. Built-in

290BWF Broadcast Wave Format. - sound file standard introduced by the European Broadcasting Union (EBU)

291. Bypass ss

292. Canon Standard Audio Connector (aka XLR) Carrier - Carrier Frequency (see FM Synthesis)

293. CD Compact Dick. - CD

294. CD Extra A CD format in which audio tracks are recorded during the first session, and various computer data (texts, illustrations) are recorded during the second session1. CD Plus See CD Extra

295. CD-A Compact Disk Audio. - audio CD, aka CD-DA

296. CD-DA Compact Disk Digital Audio (Red Book). - the main format for burning audio CDs

297. CD-E Compact Disk Erasable. - early name for the CD-RW format

298. CD-I Compact Disk Interactive (Green Book). - interactive (multimedia) CD

299. CD-MO Compact Disk Magneto Optical. - magneto-optical CD

300. CD-R Compact Disk Recordable (Orange Book). - a compact disc standard that allows one-time write-to-disc

301. CD-ROM 1. Read Only Memory (Yellow Book) - CD-ROM format used for reading only.

302. CD-ROM drive.

303. Data CD. CD-ROM XA (See CD-XA Bridge Disc)

304. CD-RW Compact Disk Rewritable. - 1. A compact disc standard that allows multiple recordings on a disc.

305. Device for reading and writing reusable CDs.

306. CD-XA Bridge Disc CD extended Architecture (White Book). - a compact disc format that allows you to write data so that they are read both in the form of CD-ROM XA and in the form of CD-I. Most commonly used for burning video discs using MPEG technology

307. Chipset - A set of specialized chips for the interaction of the processor with other devices

308. Clipping Clipping of input channel or recorded sound

309. Coarse tuning

310 Codec Coder/Decoder. - encoding/decoding See Codec1. Compander See Compander1. Compressor See compressor1. Converter See Converter

311. CPU Central Processing Unit. - central processing unit

312. Cut fragment, cut (of frequencies), blockage of frequencies1. Dd

313. D/A Digital/Analog. - digital-analog

314. DAC Digital to Analog Conversion. - digital to analog conversion

315. Damper pedal - See Sustain in the MIDI Glossary

316. Darth Vader The sound effect produced by lowering the vocal part by two or more steps (apparently in honor of Lord Vader from Star Wars)

317. DAT Digital Audio Tare. - digital audio recording format on magnetic tape

318. Daughterboard An additional sound card that is installed in a special slot on the main sound card. See Daughter Sound Card

319. DC Direct Current. - direct current

320. DCC Digital Compact Cassette. - cassette standard for digital tape recorder (DAT)

321. Decay " Decay": in the envelope of the audio signal - the section of the signal transition from the maximum value to a constant

323. Delay - A small but noticeable delay in the audio signal. The musical effect " delay", in which we hear a direct signal and after a certain interval - its repetition

324. Desired Reference signal Dictation system Announcer system (text input via microphone)

325. Digital Signal

326. DIMM Dual In-line Memory Module. - view of the RAM module DIP Dual In-line Package - view of the RAM module

327. Disk At Once

328. DirectX A set of technologies developed by Microsoft to work with multimedia programs. Includes technologies DirectDraw, DirectSound, DirectPlay, DirectShow, DirectInput and others. Originally called ActiveMovie

329. Dithering - a method of sound processing in the audibility range important for the human ear. Usually used when switching from an audio format with a large bit depth (20-24 bits) to the 16-bit format adopted when recording a CD.

330DMA Direct Memory Access. - direct memory access

331.DM1 Desktop Management Interface. - interface for collecting, storing and managing information about a computer system

332. Dolby Digital Six-channel (center, left, right, left-rear, right-rear, bass) format for creating surround sound (formerly called Dolby Surround)

333. Dolby Pro-Logic A format for creating surround sound. It uses four signal channels, but for data transmission and storage they are encoded into two channels. Before playback, the original four signals are decoded and received

334. Dolby Surround A six-channel surround sound format used in cinema (now called Dolby Digital)

335. Dongle A key that is inserted into the I / O connector (printer, computer, etc.) to protect programs from unauthorized use

336. Double-speed Download

339. Copying files from remote storage (another computer, sequencer, MIDI-Data-tiler, etc.) to your computer.

340.DP Dual-Processor. - dual processor computerdpi dots per inch. - dots per inch (density, resolution when printing, scanning)

341. DPMI DOS Protected Mode Interface. - DOS protected mode interface (allows you to load several DOS programs into the computer's RAM at the same time)

342. Drag-and-drop Drag and drop". - Windows technology for working with objects on the monitor screen

343. DRAM Dynamic Random Access Memory. - dynamic random access memory. DRAM modules are used in RAM 1. Driver See Driver

344. Drum kit A special set of samples (sounds) of drums and percussion instruments. Each note of the piano keyboard has its own instrument (sample).

345. Dry - sound without natural reverberation. Obtained when recording from a highly directional microphone at a very close distance or in a very “muffled” studio room

346. DSD Direct Stream Digital. is a digital audio technology developed by Sony.

347. DSP See Digital Signal Processing.

348. Dual density - designation of bilateral SIMM modules

349. Dummy panel

350. Digital Versatile Disk Digital Video Disk. - a CD format that allows you to store more information than a regular CD (approximately 4-17 Gb) DVD CD containing audio tracks

351. Digital Versatile Disk Recordable

352. Digital Versatile Disk Random Access Memory

353. Digital Versatile Disk Read Only Memory

354. Digital Versatile Disk Rewritable

355. DVD-Video A DVD disc format for high quality video. A regular disc contains two hours of video, a double-sided-dual-layer disc contains 8 hours. In addition, the disc can have up to eight audio tracks per movie (in different languages)

356. Digital Video Interactive - digital interactive video1. Her

357. EASI-Enhanced Audio Streaming Interface - audio driver technology developed by Emagic

358. Echantillon a sound formation of limited duration (from several seconds to one minute), not organized according to any characteristic feature and not closed (ie, has no clear beginning and end).

359. ED-Extended Density increased recording density (on a disk, floppy disk, magnetic tape)

360. EG-Envelope Generator envelope generator. See Envelope.

361. Element minimal sound phenomenon perceptible to the ear, for example, the rise, fading of sound, etc.

362. EMU-8000 - a chip for sound synthesis using the "wave table synthesis" method in a Sound Blaster AWE32 or Sound Blaster 32.1 sound card. Emulator See Emulator

363. Enhancer A program or device for digital sound processing. Adds upper harmonics to the audio signal to create a richer, "transparent", "bright" sound.1. Envelope See Envelope.1. Exciter See Enhancer1. FF

364. Fragment is a sound construction with a duration of several seconds, composed of several elements. Differs in a certain characteristic feature, does not contain a single repetition and does not develop.1. Kk

365. Keyboard split

366. C-Line Time Code Linear time code1. mm

367. Manual Description, instruction1. Master See Master

368. MB-Megabyte Megabyte (million bytes). See Byte

369. MCI-Media Control Interface An interface for multimedia devices and programs that controls data exchange, file launch, etc.

370. MIDI (Music Instruments Digital Interface) digital interface of musical instruments

371. Micky Mouse

372. Mixer, Mixing console Modulator See Modulation.

373. Modulator Modulating frequency. See FM Synthesis.

374. Montherboard

375. MPEG-Motion Pictures Expert Group (image transmission expert group) - a technology developed by this group for encoding video and audio information.

376. MTR-Multi Track Recording spatial» way.

377. Multisession recording

378. Mute Mute (MIDI or audio channel, track, etc.)1. Uu

379. Universal Synthesizer Interface (universal synthesizer interface) a device for accessing the control of synthesizer parameters using another synthesizer using a single standard (data format) .1. Nn

380. NL-Noise Limiter Noise

381. Noise Reduction

382. Noise shaping A method for reducing noise in the hearing range that is important for the human ear. It is usually used when a high-bit audio format (20-24 bits) is transferred to the 16-bit format adopted when recording a CD.

383. Normalize Normalization is a proportional change in the amplitude of the entire signal so that the loudest signal corresponds to a certain level (for example, 0 dB)1. NR See Noise Reduction

384. Note On. MIDI message for pressing a MIDI keyboard key. 128 valid note values. (from 0 to 127)

385. Note Off indicates that the key is released. Release velosity (key release speed) is used to control how fast the sound decays.1. Oo

386. OCR-Optical Character Recognition Optical character recognition (letters, numbers, notes).

387. Off line

388. Offset Offset of MIDI events or an audio file during playback from the point in time at which they were recorded.

389. OLE-Object Linking and Embedding

390. On line Connected channel (line).

391. Orange Book The CD format is an extension of the Yellow Book format. Computer data is written over multiple sessions, but older single and dual speed drives will only be able to read the data that was written during the first session.

392. Overdub overdub or overdub.

393. Overload 1. Overloading an amplifier or other sound processing device.

394. Musical effect used by guitarists in popular and rock music.1. PP1. Pan Panorama.

395. Parametric Equalizer - Parametric equalizer.

396. Pattern Rhythmic or melodic pattern, phrase (pattern).

397. Patch-wires Bonding wires that create a specific configuration for connecting synthesizer devices.

398. PCI-Peripheral Component Interconnect Type of computer bus.

399. Pulse Code Modulation

400. Pin 1. A computer connector pin in the form of a pin. 2. Needle in the heads of dot matrix printers.

401. Pith The pitch of a note (tone, sound).

402. Pith Shift

403. Pith Shifting

404. Pith variation See detonation of sound.1. Plug connector.

405. Power Supply Unit

406. PQ-Parametric Equalizer Parametric equalizer.

407. Preset (preset) - a set of samples combined into a bank of sounds.

408 Prelevement any formation of a sound phenomenon that can be electro-acoustically captured, "intercepted" and recorded

409. PSU-Power Supply Unit

410. Patch-wires - connecting wires that create a specific configuration for connecting synthesizer devices. Patch sound resulting from combinations of patch wires.

411. Pitch Bend Elevation data includes 16384 positions.

412. Program Change message about program change. Preset, Patch, Voice - program timbre formation sound. General MIDI is a division of the MIDI specification that defines a set of standards for consumer MIDI instruments.

413. Physical modeling synthesis creates sounds in real time using complex mathematical formulas that describe how acoustic instruments work.1. Qq

414. Qsound Surround sound technology from Qsound.

415. Quantize Quantization is the shift of a variable to the nearest acceptable value. A similar concept is rounding.1. Rr

416. Rack (Rack) rack for various blocks and devices

417. RAM (Random Access Memory) memory with random access. It is also RAM - random access memory device.1. Range - Range.

418. Resonance, aka Q, aka Emphasis, aka generation filter is a feedback (feedback)

419. S/N- Signal/Noise Signal/noise ratio.1. Sample See Sample.

420. Sample Size See Sample Size.1. Sampled Sound See Sample 1. Sampler See Sampler.

421. Sampling Frequency See Sampling Frequency. Sampling Rate - See Sampling Rate.

422. SCMS A copy protection system used in digital audio recording technology.

423. SCSI See Small Computers System Interface

424. SDIF - Sony Digital Interface Format Tt Digital audio data interchange format developed by Sony.

425. SDRAM-Synchronous Dynamic Random Access Memory SDRAM modules are used in RAM.

426. SDX- Storage Data Acceleration Interface for connecting CD-ROM and DVD-ROM drives to a hard disk (and using the latter as a cache memory for them)

427. SIMM Single In-line Memory Module - Type of RAM module.

428. Shareware See Shareware.

429. Single-session recording A CD recording mode in which all data is recorded in one session and the disc is "closed".

430. SIPP- Single In-line Pin Package Type of RAM module.

431. SMPTE time code A code adopted by the SMPTE organization to synchronize the operation of different devices. Its format is Hours: Minutes: Second: Frames (Hours: Minutes: Seconds: Frames), in each second there are 30 frames.1. Socket Connector socket.

432. SO-DIMM-Small Outline Dual In-line Memory Module Type of RAM module for laptops.

433. SRAM -Static Random Access Memory SRAM modules are used in RAM.

434. SRS Sound Technology for creating surround sound.

435. Subtractive synthesis Creation of complex, harmonically rich waveforms with subsequent modification and filtering of certain harmonics.1. vv

436. Velocity is the speed at which a key is pressed. Valid range is 0-127.1. www

437. Wavetable synthesis This is the general name for sampling-based synthesis.A

438. Auto-arrangers is a program that performs the functions of an arranger, requiring the user to have minimal musical knowledge and skills.

439. Hardware and software sequencers -1) Hardware sequencers are special devices designed only to process MIDI data. 2) Software sequencers are software that is received with a computer.

440. Analog instruments - a sound already colored by timbre, similar to the tones of traditional instruments, arises directly in generators with complex frequency parameters. B

441. Bank is a set of instruments that this synthesizer or sound module has. An instrument is a sound timbre chosen by the performer (patch, preset) in the bank of sounds of a synthesizer or sound module.

442. Virtual synthesizers programs that use mathematical algorithms to create a synthesized sound at the output of a synthesizer sound card.

443. Audio frequency generator VCO (voltage controlled oscillator)

444. Driver - a device or program that controls the operation of another device or program

445. Up to the first octave (C1) on the piano corresponds to MIDI note #60.

446. Sound card - a specialized device of a multimedia computer that performs the functions of sound accompaniment of the work of various (music and gaming) computer programs

447. Compression is the process of compressing the dynamic range of a phonogram.

448. Converters of the program for converting formats of sound files.

449. Controller is the name of a message about changing the control of a certain type of MIDI event that is entered to change aspects of the sound (eg volume, vibrato)

450. Controller (MIDI controller) MIDI keyboard or other types of MIDI controllers (such as MIDI guitar, wind controllers) designed to record musical data to a sequencer, or transmit this data to a sound generating device.

451. Quantize (Quantize) - the shift of the variable value of any parameter to the nearest valid value. A similar concept is rounding.M

452. Mixage simultaneous recording of several different sound constructions.

453. Multimedia player is designed to play various music and sound files, as well as audio CDs.

454. MIDI sequencer - a program that allows you to record and edit MIDI messages and present them as tracks.

455. Music kits are computer programs that allow you to create simple musical works without requiring the user to have special musical knowledge and skills.

456. Multi-track digital audio studios are a complete analogue of multi-track tape recorders. Many tasks of audio studios coincide with similar tasks of programs - sound editors and MIDI sequencers.

457. Programs for converting sound to a MIDI file and notes translating a musical audio file into a musical text.

458. Multitimbral composition a musical composition consisting of several instrumental lines of different timbre colors.

459. Teaching and testing music programs programs that perform the following tasks: music theory, instrumental art training, ear development (solfeggio) and music history (musical literature).

460. Operator is a combination of a generator and a circuit that controls it. The connection scheme of the operators and the parameters of each of them determine the timbre of the sound. The number of operators determines the maximum number of synthesized tones.P

461. Panaromirovanie placement of sound sources in space.

462. Programs for working with MIDI devices - editors for external synthesizers and sound modules.

463. Spatial reproduction is one of the three main methods of sound projection (spatial reproduction - static, spatial reproduction - kinetic and sound reproduction from one source)

464. A preset is a complex sound that itself consists of several samples. The pre-set also contains data on how this sound can be changed.

465. Varieties of installation: spatial installation; - structures installation; - installation of thematic layers; - installation of electric sounds.

466. Reverb (Reverb) - refers to the most popular sound effects. The essence of reverberation The original sound signal is mixed with its copies delayed relative to it for various time intervals.

467. Editing recorded musical events Performer's actions related to MIDI controllers (pressing a key, pressing force, key number, instrument sound dynamics, etc.) are recorded by the sequencer in the form of a list of musical events

468. Patch editors (Patch) - specialized programs that edit the sound parameters of the timbre of a set of sounds (sound banks) of synthesizers or samplers. С

469. Sample (Sample) 1) Sound recorded in digital format for use as a base for creating an EMP timbre.2. an audio file that is used as a musical material in modern dance music creation technologies.

470. Sequencers are various editors of musical events that control the work of processors of multimedia sound cards and synthesizers using MIDI commands.

471. Sequencing is the process of writing MIDI messages to a sequencer.

472. Sound synthesizer electronic device consisting of the following components: a sound generator, a filter bank, an amplifier, and one or more envelope and low frequency generators.

473. Synthesizing instruments - the timbre of sound is synthesized from simple harmonic, aliquot tones

474. The register method is a variation of the additive method. Using more complex waveforms (e.g. sawtooth or rectangular)

475. Transmutation is a manipulation that changes the material, that is, the spectral composition, pitch, timbre, and often the duration of the sound.

476. Transformation = transformation of sound in the field of timbre and dynamic characteristics (rise and fall)

477. FM frequency modulation

478. Emulators of sound modules and synthesizers The purpose of this type of program is to replace the real synthesizers of manufacturers with their virtual analogue.1. Example #1

479. Bidule en U "t" P. Henri and P. Schaeffer.1. Example No. 3

480. Composition of Messiaen and Henri " Timbres Duration"("Timbres-Durees")

481. O. Messnan, Timbres-duration. Score

482. OUViEfi MSH/*DGA/ T>Mdf£S"DU#i£$ .dneg fomn< a м5 ff j Vvut^.f Ь

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