Olympiad “Innovative technologies in music education. Musical games using information and computer technologies Olympiad using musical and computer technologies

Methodological development on the topic

"Types of work using

music and computer technologies

at the lessons of the theoretical course of the Children's Music School"

Teacher of theoretical disciplines

Municipal Educational Institution of Children's Education "Children's Music School No. 2"

Podolsk, Moscow region

The rapid development of information technology in the world in recent decades is an integral part of modernity. The presence in almost every home, every apartment of a computer with access to the Internet suggests that modern people strive to use new technologies for their own benefit, to find something new, important, and interesting in them. Gradually, computer technologies are penetrating into a variety of fields of knowledge, in particular, into music education and upbringing, becoming their integral part.

And if the technical side of such progress can be appreciated by almost all professional musicians (after all, we are talking about the possibility of recording, storing and reproducing a huge amount of useful information), then the methodological side of the issue remains ambiguous: is it possible to give a child the basics of music education through computer programs, simulators, video lessons?, what will be the level of creative development of the student when using computer technology? And how can a teacher of special music disciplines also be a computer specialist who is forced to master a variety of programs designed to work in a new direction?

Be that as it may, it is worth noting that modern music education is already taking a new path of development - training using computer technology. This is proven by many educational institutions in our country at different levels of music education, which have been actively introducing music and computer activities into their structural divisions for almost ten years now.

Let's take a closer look at possible options for using computer technology at the level of the Children's Music School, as part of the theoretical course lessons.

First of all, it should be noted that it is necessary to use a computer in the classroom competently, i.e. expedient, methodologically sound, dosed, and most importantly - subordinated to the main goals and objectives of teaching in the course of theoretical disciplines of a children's music school.

To successfully conduct a lesson with computer support, there are three main tasks that need to be solved:

1. Didactic (educational materials for the lesson, specific training program and equipment);
2. Methodological (determining methods of using a computer in teaching a topic, analyzing the results of the lesson and setting the next educational goal);
3. Organizational (developing and consolidating students’ skills in working with the curriculum, avoiding overloading students and wasting time).

I tried to group the possible types of work with the use of computer technologies in subjects of the theoretical cycle of children's music school in accordance with the types of music-computer programs, and within them - in accordance withteaching methods.

So, in class musical literature, as well as to prepare for the lesson, in the process of independent work of students, you can use the following types of work:

1) :

1. according to methodmusic demonstrations:

1. listening to digital audio recordings of musical works;

1. in accordance with video teaching method:

1. viewing fragments of digital video films (documentary and feature films about composers, performers, individual musical works; opera films, animated films),
2. viewing digital video recordings of musical performances (in various performance versions, as well as using associative video sequences);

1. in accordance with visual illustration method:

1. illustration of digitized reproductions of paintings, computer drawings, photographs of masterpieces of world art, musical instruments;
2. illustration of all kinds of diagrams and tables in computer quality;

1. according to method working with the book:

1. observation of notes, analysis of digitized or originally computerized music examples, collections, scores;
2. selection, reading and subsequent analysis of digitized literary works - sources of musical works;

2) :

1. according to methodprogrammed learning:

1. completing tasks of test computer programs (adaptive programs, “blitz survey” programs, control programs, quizzes);

1. in accordance with game method:

1. completing tasks from gaming educational computer programs (musical crosswords, puzzles, riddles, games);

1. according to method projects:

1. in accordance withresearch method:

1. using a MIDI keyboard as a simulator for performing musical works;

3) :

1. according to method working with a book

1. work with digital reference material for the preparation of the above creative works - abstracts, reports, presentations (interactive music reference books, encyclopedias, dictionaries; websites dedicated to the life and work of individual composers and performers; additional teaching aids).

Solfege lesson , as well as in the process of independent work of students, you can use the following information resources:

1) using programs for technical equipment of lessons:

1. according to methodmusic demonstrations:

1. listening to digital audio recordings of musical works (for example, when learning new keys, chords, intervals);

1. in accordance with video teaching method:

1. viewing digital videos of musical performances (for example, when learning new keys, chords, intervals);

1. in accordance with visual illustration method:

1. illustration of computer drawings; all kinds of diagrams and tables in computer quality (including sheet music assignments prepared using computer programs, rhythm blocks, individual measures for the “cut” form of dictation);

1. according to method working with the book:

1. observation of notes, analysis of digitized or originally computerized music examples;

2) using educational music programs:

1. according to methodprogrammed learning:

1. completing tasks of computer training programs;
2. completing tasks of test computer programs (adaptive programs, “blitz survey” programs, control programs, “Musical dictation” programs);

1. in accordance with game method:

1. completing tasks from gaming educational computer programs (musical crosswords, puzzles, riddles, solfeggio games);

1. according to method projects:

1. providing computer presentations;
2. presentation of abstracts, reports, essays prepared using computer programs;

1. in accordance withresearch method:

1. recording one's own singing or playing a musical instrument in a computer program, making phonograms for a musical work;
2. own performance to digital soundtracks of musical works;
3. entering into a computer program, designing and printing the actual composed musical work;
4. using a MIDI keyboard as a simulator for performing musical works and improvising;
5. participation in competitive events, olympiads presented on the Internet.

3) using reference music programs:

1. according to method working with a book , as well as using search, research, verbal methods, and project methods:

1. work with digital reference material for the preparation of the above creative works - abstracts, reports, presentations (interactive music reference books, encyclopedias, dictionaries; additional teaching aids).

Of course, preparing lessons using computer technology requires the teacher to have such personal qualities as, first of all, enthusiasm, the desire to make the lessons bright, rich, and multifunctional. Of course, a huge role is played by the professionalism of the teacher, his ability to use new technologies in accordance with the goals and objectives, assessing the feasibility and standards of such use. Teachers who already use computer technologies in their practice note, on the one hand, how much personal time they spend searching, systematizing, and organizing information, but on the other hand, students’ growing interest in the subject, children’s joyful anticipation of lessons, success at competitions, competitions and upon admission to special educational institutions. And it is this aspect, I believe, that should be fundamental when making a decision in favor of the use of computer technology in music education.

Kondratyeva Irina Nikolaevna

first category teacher

choir and theoretical disciplines

NR BOU DOD

"Children's Art School No. 1"

s.p. Salym, Novaya street 13,

Nefteyugansk district,

Tyumen region, Khanty-Mansi Autonomous Okrug-Yugra

USE OF INFORMATION AND COMPUTER TECHNOLOGIES IN MODERN MUSIC EDUCATION.

Today, no matter how vicious it may sound, our way of life, communication, and culture are “plunging” into the routine of hypocrisy, indifference and unceremoniousness. And again, before teachers and professors, the need for global changes emerges, which should be aimed at “returning” culture, or at least at understanding that this is necessary. Scientific institutes are trying to introduce something new into the education system and draw experience from European sources.

Will these “innovations” be able to eliminate the problems that have arisen today in introducing children and adolescents to musical creativity, to knowledge of a number of phenomena and historical events related to the art of music? After all, it’s no secret that in recent years, Children’s Art Schools and Music Schools have experienced a shortage of people willing to study music. This situation is partly dictated by existing, perhaps even outdated, curricula. And when the specialty is interconnected with other subjects, it can be seen that solfeggio and musical literature and even the choir (today it has become fashionable to perform works in arrangements and with a “minus”) are failing. As for the older generation of teachers, many of them often work “the old fashioned way,” remaining within the framework of outdated academic dogmas. It is no secret that many children, having graduated from music school, do not approach the instrument for many years, as if they had never learned to play it. In our opinion, this is the worst thing a music school could do to a child. Obviously, teachers are to blame for this because they failed to feel the child’s individuality and personal needs. Or maybe the culprit is the framework of the programs that some teachers blindly follow, forcing students to play not what they want, but what they need, or what is still difficult for the child. Meanwhile, modern requirements for art school programs provide many educational options for children with different abilities and needs.

Agree that with modern capabilities, “new” forms of lesson delivery will not require special financial costs. And many teachers have already taken an interested and close approach to the modern education system. The system of additional education today rewards teachers who skillfully integrate ICT into their curricula. New ideas, new approaches will interest the child, make music lessons desirable, interesting, and most importantly, promising. In modernized and technological language, there should be a “reboot” of old programs. And new forms of conducting lessons, group classes, filling them with modern technologies will be able to return the Music School to full-blooded vital activity. This is a kind of revolution!

You can be modern, you just need to want it and teach yourself to be closer to the interests of children and youth. It’s great to play improvisations on pop music themes on an electronic piano or synthesizer, or perform, in the simplest way, arrangements of educational sketches by K. Czerny. The synthesizer is becoming an unprecedented means of interactive learning, and the capabilities inherent in it can introduce the wonderful idea of ​​comprehensive musical education for a child. As a student this will be impressive! This is where the subject-matter relationship that is discussed in the educational tasks comes in handy. Good knowledge of solfeggio and harmony, form analysis and instrumentation is required. And these objects also lend themselves perfectly to new transformation. These are existing music programs on arrangement, processing, theory, and musical literature. Pressing the keys of a computer instrument and composing your own composition using “incredible and unusual sounds” is so interesting! The synthesizer seems to “provoke” the student to be creative, and they begin to master all the capabilities of the synthesizer, as well as work with computer programs. Such sketches become fertile material for the development of the students’ imagination. A child’s question about whether or not to go to solfeggio will be completely unnecessary.

The fact that modernization of music education is necessary was confirmed by teachers who are already aware of its need. The developments in the field of media pedagogy by the head of the theoretical department of the Children's Music School in the city of Dzerzhinsk, E.A., turned out to be deeply professional. Muravyova. She is the creator of the five-year integrative course “Musical Literature in the Context of World Artistic Culture.” The main goal of the maximum program is to cultivate a love of classical music and the ability to consider a specific artifact in a general cultural context. The minimum program is the creation in an educational institution of a climate corresponding to modern information culture. The content of the course consists of the study of general patterns inherent in different types of art: music, literature, theater, fine arts. It is important that the idea of ​​computerizing schools does not pass by the remote corners of our country. Therefore, the task is set to create self-learning computer programs.

For many years the question has been raised that the teacher and student should “hear and understand” each other. Such “getting used to” the interests and desires of the child eliminates the distance (if any has arisen), brings them closer in spirit, and they begin a process of co-creation and empathy.

What is closest to the child? If he is of primary school age, then you can try to voice a cartoon (sound recording program). You can suggest coming up with your own musical style for a cartoon character. This is a remarkable creative development of the student, and who knows, maybe in the future he will choose a field of professional activity related to some creative tasks.

For children of middle and high school age, it will be interesting to create a video series or video presentation with musical accompaniment, especially since they cope with presentations very easily and skillfully and this is an adapted form for them! And adding your own musical impressions to them is really great!

It would be great for Music and Art Schools to learn how to create high-quality music recordings without the help of arrangers, producers and sound engineers. By recording their concert performances, the teacher and student can track the development of performing skills. By recording simple composed melodic dictations, a student can perform an arrangement of his own composition in the senior class. Students and teachers can leave their notes in the educational fund and save them for the family archive. And he already involuntarily becomes a musician, because he works and thinks like a musician. Interest in learning develops, critical thinking, creative and research activities are activated, and independence in learning activities is stimulated. Isn't that important?

It is useful for teachers who want to make their lessons entertaining to master and use specific terminology for their work, which helps to master multimedia technologies. There is a musical dictionary of computer terms by P. Zhivaikin. The very fact of the appearance of such a dictionary speaks of the serious introduction of computer technology into the process of music learning.

All the positive aspects of the Online Community:

Destroys the boundaries of time and space, and the student, thanks to the Internet, turns into a virtual creative person who can test himself and connect with the whole world

You can easily discuss a musical topic, exchange it, and even create joint musical compositions. Such communication is possible in written, audio and video formats

You can find the style of music you are interested in, learn about it, use stylistics, learn the genre features of eras, easily moving through time

Learn about musicians-performers, composers, instruments

Learn musical notation and playing technique on your own

Learn the history of music

Discuss a musical topic with your peers, and even make musical compositions together

There is everything! And, moreover, everything with tips, links, and a list of educational literature. The main thing is to teach the child to differentiate this huge available musical space and highlight what will help improve his ear for music, become a beautiful soul and a purer heart.

And what each teacher chooses for himself, how he wants to teach and learn together with a modern child, depends only on himself!

in music education

modernschoolchild"

Music teacher

Emelyanova S.V.

M BOU S O SH No. 35

1. Introduction.

2. ICT - a new pedagogical form of music education.

3. Other means of communication in the field of music education.

4. Conclusion.

5. An example of the use of computer technology in a music lesson in 7th grade. Topic: “Ivanovo land - the “cradle” of Soviet music during the war.” In the form of a presentation.

6. Literature.

1. Introduction.

There are many changes in modern life: social values ​​have changed, highly moral ideals have given way to material well-being. The stratification of society led to alienation of people and aggression. Money has become a measure of success. And the human soul still reaches out to Perfection and Beauty, the Ideal and Grace - endless, wise, eternal music, from which one so wants to live. Music reveals to a person a diverse, wonderful world and himself in this world. My teaching experience proves that music not only sounds in the souls of children. but also has a strong impact on them. It is interesting to notice how the tastes of my students change over time. If at first they like “hit” music more, then gradually they fall in love with classical music, which they had not listened to before, considered it boring and difficult to understand. It is more important than ever for modern people to become familiar with world cultural traditions. This allows him to be creative in solving problems and adapt to unstable conditions. I believe that a music teacher has a special status among school teachers. It is designed to bring culture to children with its external and internal appearance, to create an atmosphere of beauty and harmony. This is probably why I’ve been rushing to school every morning for 15 years now. I hasten to fill the souls of children with kindness and nobility, to open the tender buds of talent and to believe that they will soon turn into a bright, fragrant bouquet.

V. A. Sukhomlinsky rightly stated: “Musical education is not the education of a musician, but, first of all, the education of a person.” For how many decades have these words been the “creed” of hundreds of music teachers? My lesson is a flight of creative thought, imagination, talent, spiritual perfection, a lesson in the education of the Personality. What does it mean to raise a person who knows how to live in harmony with the world, a bright, creative, and most importantly spiritually rich person? How can students discover the beautiful world in themselves and in the surrounding reality? How to teach them to work, strive for good and light? Questions, questions, questions...

In this regard, the methods and techniques of pedagogical influence are being radically revised, the thematic content and structure of programs are being creatively reworked.

In music education, there is some opposition between approaches to teaching: the development of general principles of didactics in music lessons and the principles of artistic didactics. In this regard, the thematic basis of the traditional program of D. B. Kabalevsky is complemented and developed by the program “The Art of Hearing” by V. O. Usacheva, L. V. Shkolyar. Children are immersed in the world of musical images of Russian and foreign classics, modern music, folklore, and their own creativity.

E. D. Kritskaya’s program has been built somewhat more broadly, taking into account the updating of content and technologies of mass musical education. This program relies on identifying the vital connections of music. Here, a music lesson is not just a lesson in the development of sensory musical abilities, but a lesson in art, when all mental processes develop: thinking, memory, attention, perception, and, among other things, musical abilities: a sense of rhythm, timbre hearing, musical thinking, etc. Thus, using the example of the creation of new methodological kits, we see a qualitative change in pedagogical methods, we see an attempt to predict and direct the result of development and training. When talking about the use and improvement of pedagogical technologies, we also mean information technologies, i.e. technologies that are based on the maximum amount of information.

2. IKT is a new pedagogical form of music education.

Modern education is rapidly gaining speed in the field of latest technologies. Computerization has become one of the main directions in obtaining certain knowledge among students. The computer itself does not play any role in education without a general concept of its use, software and methodological support that corresponds to the tasks of development, education and training of the child, as well as his psychophysiological capabilities. Experts in the field of psychological and pedagogical research point to both positive and negative factors of computerization of the educational process. We can agree with the opinion of researchers that all functions of the educational process cannot be transferred to a computer, especially such as the formation of motivation, worldview, value relations, and the cultivation of artistic and aesthetic taste. In any case, the teacher remains irreplaceable and a very important link in the education system of the future.

Computer technologies provide many interesting opportunities in music education, and this can become an effective tool and basis for musical creativity and the development of musical abilities. They provide great assistance in developing music lessons and help solve the most important problems related to the education and aesthetic upbringing of children both during the lesson and outside of class time. IKT occupies a leading position in high-quality and effective teaching of the subject “Music”.

Let us note some areas of musical activity in which the computer plays an increasingly important role. This is the creation and use of musicological databases, music publishing activities, the creation of arrangements and original compositions using sequencer programs, sound synthesis and electronic music, interactive performance systems, preparation of phonograms and video clips, etc. When learning songs in music lessons in school, the so-called backing tracks stimulate children's interest in the subject much more strongly than simple piano accompaniment. In addition, ICT promotes better mastery of the material and allows children to identify and develop their creative abilities. Using a computer, children can study the works of composers and musical notation, take excursions and virtually wander through the halls of museums, for example, the Museum of Musical Instruments.

In my 1st grade lesson, I introduce students to the expressive capabilities of the piano and musical keyboard. Here I am using the computer program "Musical Keyboard". This program is a sounding musical piano keyboard on which you can play any single-voice melody, for example, “Chizhik-Pyzhik”, if desired, even with accompaniment, which even children studying at a music school can do. Using this program, children can compare the sounds of different registers in a playful way; by changing the timbre, they learn that the family of musical keyboard instruments has a large number of varieties: celesta, harpsichord, vibraphone, electric organ. Children listen to their timbre and compare the sound.

In the 2nd grade, during a lesson on the topic “The genre of a symphonic fairy tale,” before listening to the work being studied, I show students illustrations of woodwind instruments and let them listen to sound fragments so that the children can recognize the sound timbres of these instruments, for example: flute, clarinet, oboe (section "Musical Instruments" from the CD "Encyclopedia of Classical Music.") and showing the structure of the flute instrument (section "Media. Animation." from the CD "Encyclopedia of Classical Music.") A mini-film about the musical instrument flute is quite compact in volume , lasts about 3 minutes, the technology of the demonstration is based on the fact that the instrument is shown in cross-section before the eyes of children, the purpose of its component parts is explained, and the sound mechanism is shown.

Lessons on the topic “Nature in Music” are taught expressively and vividly. In a comparative analysis of a musical work, for example, A. Vivaldi’s cycle “The Seasons”; Students use encyclopedic definitions of character taken from the viewed CD. The child makes a discovery: he learned, understood, explained.

Disks from the company “Cyril and Methodius” help to conduct these lessons. With the help of the discs “Music Class”, “Masterpieces of Music”, “Encyclopedia of Rock, Jazz and Pop Music”, “Life and Work of Composers” offered by this company, the creative and intellectual abilities of children are developed. The use of ICT increases the activity of students, the richness and effectiveness of the lesson.

Having set myself the task of including ICT in music lessons, I had to start work from scratch. First of all, it was necessary to resolve the issue of accumulating curriculum that could be used in the classroom. I started my activity with only two computer training programs available. This programPowerPoint, the use of which I repeatedly resort to when getting acquainted with the music of various authors, when studying the features and variety of timbres of musical instruments, when studying the work of a particular composer. Using this program allows me to illustrate my story with the necessary thematic video fragments. One of the directions of this program is the demonstration of educational material in slide show mode and viewing images of music.

Another program isBand - in - a - Box. The program is designed to create and arrange a specific melody or a ready-made musical fragment. The creators of the program have built into it rich possibilities: it can select accompaniment to a ready-made melody, it can imitate elements of accompaniment characteristic of certain musicians; can choose different orchestration; can use some special effects: strokes, texture, etc. This program has a fairly large archive, which contains a collection of recordings of classical and modern works. Today I use other programs that can be divided into groups: informative encyclopedias, educational and developmental - thematic, educational - game, music library, phonograms.

This small analysis shows what broad opportunities ICT opens up for us when conducting lessons.

My practice has shown that it is effective to use computer programs in music lessons starting from elementary school and middle school, selecting educational programs taking into account the age interest of students and their readiness to perceive the material presented.

For students in grades 1 and 2, a music library and phonograms are mainly suitable; educational - game programs, when using their individual elements.

Pupils of grades 3 and 4 are well perceived by thematic, educational and developmental, educational and game programs, music library and phonograms in full, and informational ones - partially.

At the middle level, all groups of programs are involved in full, using both individual program elements and in the form of a lesson - presentation and integrated lesson.

ICT expands the information base in preparation for a lesson, allows you to more effectively develop all types of perception: visual, auditory, sensory; increases the intensity of the lesson, contributes to the expansion of interdisciplinary connections when presenting lesson material, and monitors students’ assimilation of the material covered; enrich and expand the song repertoire in the classroom and during school events.

The forms of work in the lessons can be varied: students perform creative tasks, fun musical exercises, go on exciting trips and excursions, compose simple melodies, and write notes. Forms of mastering ICT in music lessons can be the completion of reports, tests, projects with electronic presentation in the programPowerPoint.

The purpose of using these forms is to organize comfortable learning conditions in which all students actively interact with each other.

In my lessons I use project activities to master the material, to gain new knowledge of musical terms, and to generalize topics. In project assignments, students use concepts they are familiar with in combination with new knowledge gained in class. A huge advantage of this type of educational activity is the involvement of absolutely all students in the class in the common work. One of the forms of using the project method in the classroom is computer presentations, which I also use in my work. This allows you to more clearly present the illustrative material for the lesson. The next form of my activity is the use of computer testing in general lessons. The goal is to systematize and summarize the key knowledge acquired during the quarter and year. When defending a project or presentation, schoolchildren acquire skills in selecting and using the necessary information, learn to work in a team, and applyknowledge gained from studying other subjects. The main thing is to introduce the child to the creative process, when he sees the result of his work appreciated by the teacher. Thus, the use of ICT makes the lesson informative, varied, and most importantly – modern.

My experience in using ICT shows that their use in music lessons can really become the basis for the formation of artistic taste, the development of a child’s creative potential and the harmonious development of the personality as a whole.

3. Other means of communication in the field of music education: synthesizer, multimedia technology, Internet.

The use of digital educational resources using the example of a musical synthesizer is of great help in music lessons. By introducing a new musical instrument into a music lesson, traditional types of musical activity are enriched: listening to music, vocal and choral performance, instrumental music-making, plastic intonation, etc. Thus, the vocal and choral activity of schoolchildren receives a new impetus through the use of a synthesizer as an accompaniment. This is facilitated by the rich timbre and rhythmic capabilities of the instrument, ease of use and accessibility. When organizing listening activities in a music lesson, the synthesizer can be used during intonation-figurative analysis of musical works. In 7th grade we study “Bolero” by M. Ravel. When preparing to listen to a complex piece to activate the attention of schoolchildren, I show on the synthesizer 2 main themes performed by oboe, flute, saxophone, trumpet, clarinet against the background of the constant rhythm of a snare drum. I involve students to perform rhythmic patterns on the synthesizer. The possibilities of using a synthesizer in the music education process go beyond the scope of the lesson. In extracurricular and extracurricular work, the teacher needs it to create negative phonograms. Thus, music orchestration, arranging, and musical and compositional activities find their place in a music lesson through the use of the timbre, dynamic, and meter-rhythmic capabilities of the synthesizer. There is a lot of methodological literature devoted to learning to play the synthesizer. Some manuals focus on the mood and functions of musical and digital instruments. This is a manual by V. Rellin and A. Thaler; P. Gorges and A. Mer; G. V. Bogacheva, D. Yu. Dubrovsky and others; others focused on the theory and practice of training in musical creativity. Manuals by J. Drexler and K. Herle, I. G. Shavkunov, P. L. Zhivaikin, N. Berger, I. B. Gorbunova and A. V. Gorelchenko and others.

Another widespread tool for informatization of music education has become interactive multimedia technology - the integration of interactive CDs with a computer, which allows the user to work with information presented in various forms: auditory, graphic and video. Using this technology, you can listen to music and get various information about it in the form of texts, drawings, photographs, video clips, for example, interviews with the performer of this music, etc.

And finally, the Internet has become widespread as a means of informatizing music education. As a global information exchange medium, the Internet is becoming an inclusive educational environment. Various forms of communication make the Internet a flexible learning tool. With its help you can create a web. – educational pages in the field of music, forward emails, etc.

4. Conclusion.

A synthesizer, a computer, multimedia technologies, the Internet - all these new means of communication provide access to high-quality information in the field of music education. They allow you to optimize the learning process within the framework of traditional classroom lessons by enhancing the independent cognitive activity of students, and also expand the possibilities of distance learning and self-study in this educational field.

5. An example of the use of computer technology in a music lesson in 7th grade in the form of a presentation. Topic: Ivanovo land - the “cradle” of Soviet music during the war.

6. Literature.

/ Information and computer tools in school: methodological manual / Ed. G. K. Selevko - Yaroslavl: I R O, 2003

I. M. Krasilnikov. Synthesizer and computer in music education. - M. “Art at school”, V. 8, 2002.

I. M. Krasilnikov. "Electronic musical creativity in the art education system."

D. B. Kabalevsky. Musical education and technical means of disseminating music. M: Enlightenment, 1981

V. P. Bespalko. Education and learning with computers (Pedagogy of the third millennium). - Voronezh: M O - D E K, 2002.

A. V. Fedorov. Media education: history, theory and methodology. Rostov: TsVVR, 2001.

N. Berger. Modern concept and methodology of teaching music. Series "Modernization of General Education". – S P b; 2004

I. Gorbunova. On the main areas of activity of the educational and methodological laboratory “Musical and Computer Technologies” //Modern music education, 2003.

N. Berger, N. Yatsentkovskaya Electronic keys as a necessary attribute of new technologies in music education // Telecommunications of music education // , 2004

Lesson in 7th grade

Topic: “Ivanovo land - the “cradle” of Soviet music during the war.”

During the classes.

1. Organizational stage. Greetings. Introduction.

U. My friends, I am very glad to come into your friendly class and for me now the shine of your gentle eyes is a reward, I know every genius in the class, but talent without work is of no use. Let's take music and creativity and create a lesson together.

U. Determine from the musical fragment what we will devote the lesson to?

Listening to the song by E. Sokolskaya You are my city!

So, your thoughts.

U. Yes. Indeed, we will talk about our small Motherland, namely, about the music born on Ivanovo land not only in the present time, but in the distant Soviet years. And I invite you to visit an amazing place, which is only 7 km away. from the center, more precisely on the eastern outskirts of our city, the village of Afanasovo.

What is amazing about this place? The fact is that here once upon a time, or rather in 1943, the House of Composers’ Creativity was opened.

Has anyone heard of this? Why do you think this house began to be called that? I invite you to visit it as guests. Pay attention to the topic of our lesson: “The Ivanovo land is the “cradle” of Soviet music during the war.” I think today you will understand why our Ivanovo land was called the “cradle” of owls. music wartime. But first, let's sing E. Solodovnikov's song “And I live in Ivanovo.”

2. Explanation of new material.

U. 1943 - the year of the opening of the House of Composers' Creativity on Ivanovo land. Does this date mean anything to you by any chance?

Yes, indeed, it was a difficult time for our Motherland. The war continues, but musicians and composers are beginning to return to Moscow from hospitals and evacuation. Union of Composers and Musicians. The USSR Foundation is trying to create basic conditions for them to work creatively. Take a look at the screen. Do you know these faces? Reinhold Gliere and Aram Khachaturian turned to the People's Commissariat of Agriculture with a request to find a place to work and recuperate. From several options, a place was chosen on the outskirts of Ivanovo - the village of Afanasovo. The former landowner's estate at the poultry state farm was very energetically and quickly put in order, and the landowners' house was adapted into a family hostel and a dining room for the first 4 families of Soviet composers. Its first inhabitants were in the early summer of 1943. there were families: D. Shostakovich, R. Glier, A. Khachaturian, V. Muradeli.

Take a look at the screen, are these composers familiar to you? They were the ones in the summer of 1943. visited Ivanovo land for the first time.

What do you think is the purpose of composers coming to DTK? Can we guess what the composers talked about in their works?

What role did music play during the war? D. Shostakovich created his 8th symphony in the first summer on Ivanovo land.

Can we guess what this symphony is about? This is a tragic story of “sorrow and rage” of a fighting people. Before that, he had already written a symphony, which triumphantly marched around the world.

A fragment of symphony No. 7 (Leningrad) sounds - an episode of the invasion.

Is this fragment familiar to you? What is it called? Did you know that this year, on January 27, the 65th anniversary of the complete liberation of Leningrad from the fascist invaders was celebrated. A. Khachaturian creates Symphony No. 2 and gives it the name “Symphony with a Bell”.

Why do you think Khachaturian came up with the idea of ​​giving such a name to the symphony? Remember, why were bells needed in Rus'?

(notified people about fires, enemy attacks, disasters and holidays) You know, I suggest you compose a symphony with a bell yourself. Let's try.

What do you think, what is a symphony?( symphony - musical composition) What is the essay about?(about life)

How many parts are there in a symphony?

Since this is Op. about life, so let there be 4 views on life in it, let's designate them.

Let us remember that Khachaturian created the symphony in 1943, at the height of the war, which means the symphony will talk about the events of World War II.

So, 1 hour - the beginning of the war, conscription, clash, struggle. What role will the bell play at 1 o'clock? What does it notify? How will it sound: jubilant, victorious or stern, gloomy, alarm?

Let's listen to how Khachaturian's bell sounds? Did our thoughts coincide with the composer’s thoughts? Hearing.

…Here, humming, the bass hits:

Listen! Listen!

It's like God's voice from heaven -

Straight to the soul

He gathers people

Together

And calls for heroic deeds

Giant.

2h. tells us: life is a reflection, a dream, but anxiety and excitement do not leave us. What awaits us?

3h. - a memory of something kind, bright, cheerful, you can smile and joke.

4h. -The musicians call it the finale. She seems to be saying the war is over - victory. Do you think the sound of the bell will change at the end of the symphony? Listening to a fragment of the finale.

Like a flame

As witnesses of centuries

All of you are with us

Were doubts burning you?

Either troubles-

You still came with us

Until victory.

So take off again and again

Into the blue dome,

May she always live

Love

Over Russia.

Has Khachaturian changed something in the sound of the bell?

What did A. Khachaturian’s symphony instill in the hearts of people? ( confidence, bright hopes)

Summer 1944 S.S. came to DTK Prokofiev. Here, on Ivanovo Land, his best creations were born. Next to the house where the composer worked there was a wonderful birch grove.

Look, here she is in front of you. Because of the abundance of sunlight in it, Prokofiev called it “the grove in C major.”

Beautiful, isn't it? Looking at her, I remember E. Hank’s song “You Make Noise, Birches” - performance.

In 1952 A composer whose songs you are familiar with came here for the first time. I'll sing fragments for you, and you try to guess. Performance of the fragment “Seryozhka with Malaya Bronnaya”, “And it’s snowing...”. Did you guess it? These songs were composed by A. Ya. Eshpai.

AND I. Eshpai is a frequent visitor to our land. This year he turned 84 years old and is going to work here again. Let's sing a song born here. Performance of “Seryozhka with Malaya Bronnaya”.

Over the years, many celebrities have visited D T K. Very interesting works by composers of different generations arose here.

Let's turn to the topic of the lesson. Let's voice it again. Did you notice that the word “cradle” is highlighted?

What feelings do you associate this word with? Say it

Whose image is it connected with? Is it relevant to our lesson topic?

Can our land be called the “cradle” of Soviet music of the war years?

It's the 21st century. How can you assess the state of culture in our region today? Can you name composers who were born in our city and continue to glorify it far beyond its borders?

3. Reflection.

At the end of the lesson, I would like to draw your attention to the branches in our classroom. They stand completely without leaves, and I really want spring to come quickly, streams will run, birds will fly in, buds will swell and there will be more joyful and bright days. Let's bring it closer and decorate our branches with leaves. These will be unusual leaves. They have different colors. Each color means something:

Green - you have made a new discovery;

yellow - you felt calm and confident in the lesson;

red - you were not interested in the lesson;

blue - you haven’t learned anything new.

Students decorate branches against the background of E. Sokolskaya’s song “You are my city.”

Look how beautiful the branches have become. I am very pleased that I helped you learn new things and open the world of music and art.

See you again!

PRESENTATION.

Annotation: The article examines music and computer technologies in the educational system using the example of the work of the educational and methodological laboratory of the Russian State Pedagogical University named after A. I. Herzen (St. Petersburg). The interdisciplinary field of professional activity is associated with the creation and use of specialized musical software and hardware and knowledge both in music and in the field of computer science. And the implementation of the concept of music and computer education of a musician teacher is carried out through the main educational programs of the professional training system, a system of additional education, professional development of teachers and their methodological support on the Internet. In addition, the educational and methodological laboratory "Music and Computer Technologies" is engaged in scientific activities: this is, first of all, specialized research in this field of pedagogy and holding international conferences.

Abstract: The article deals with musically-computer technology in the educational system on example of the Educational and Methodical Laboratory at the Herzen State Pedagogical University of Russia, St. Petersburg. Interdisciplinary field of professional activities relates to the creation and application of specialized music software and hardware tools and the knowledge in music and informatics. A realization of the concept of musical-computer education in preparing music teachers is through basic educational programs of vocational training, supplementary education, professional development of teachers and methodical support via Internet. In addition, the laboratory Music & Computer Technologies engaged in scientific activity: it is, above all, specialized research in the field of pedagogy and international conferences.

Music is one of the facets of comprehending the spiritual content of the world, its beauty, reflected in sound. In addition, the sound of music is perceived by a person as a special information space. Computer science and information technology today affect various fields, including musical creativity and pedagogy. How information technologies function in the sound (and, in general, semantic) space of music - this issue has become the subject of attention of musicians-teachers and representatives of other specialties in connection with the formation of new creative prospects for musical activity, because knowledge of the secrets of sound formation, sound creativity, the richness of timbre and acoustic the influence of music provides an additional incentive for artistic innovation.

At the turn of the 20th and 21st centuries, a new direction appeared in musical creativity and pedagogy, due to the rapid development of the industry of electronic musical instruments: from the simplest synthesizers to powerful music computers. Modern electronic musical instruments have most fully and completely embodied the accumulated information technologies of music and the art of music-making over centuries [ ]. Therefore, a new interdisciplinary field of professional activity associated with the creation and use of specialized musical software and hardware - music-computer technologies1 (hereinafter referred to as MCT) - requires knowledge and skills both in the field of music and in the field of computer science.

1 The concept is used in various musical fields (creativity, education, media production). Thus, at the Russian State Pedagogical University named after A. I. Herzen (St. Petersburg), a professional educational profile for training bachelors of art education “050610 - Music and computer technologies” was developed, licensed and introduced into the pedagogical process in 2004.

In many educational institutions around the world, musicians are taught elements of MCT: Institut de recherche et coordination acoustique/musique (IRCAM) And Center d'Etudes Mathématiques et Automatique Musicales (CEMAMu) in Paris; Center for Computer Research in Music and Acoustics (CCRMA) Stanford University; San Diego Supercomputer Center (SDSC) University of California; Research Center for Music and Computer Technologies of the Moscow State Conservatory named after P. I. Tchaikovsky and others. The development trends of MCT in general and professional music education, the various areas of their application and wide demand allow us to talk about the emergence of the phenomenon of a new educational creative environment, the main components of which are: a music computer as a necessary element of the hardware-instrumental base and software of the music-computer educational complex; a methodological system that allows the organic use of computer technologies at all stages and in all directions of the music educational process (MKT is a dynamically developing educational environment that requires the constant development of new curricula and courses adapted to modern social needs and corresponding to the level of development of these technologies) [ ; ; ; ].

In particular, in 2002, at the Russian State Pedagogical University named after A. I. Herzen, an educational and methodological laboratory (UML) “Music and computer technologies” (http://muslab.spb.ru) was created, which develops both musical and information technology education also affects the social aspects of the process of informatization of education as a whole. The tasks set by the laboratory were: development of a new educational direction (in general and special music education); implementation of a methodological system of music-computer pedagogical education at different levels of education, which reflect the content, forms and methods of using MCT in professional, general and inclusive music education; introduction of IT technologies into the music educational process.2

2 The UML working group "Music and Computer Technologies" includes musicians and programmers: Irina Gorbunova, Gennady Belov, Nina Berger, Alexey Gorelchenko, Sergey Chibirev, Andreas Kameris, Peter Rodionov, Alexey Voronov, Elena Bazhukova, Yulia Kiseleva, Lyudmila Romanenko, Olga Prazdnichnykh and etc.

The main direction of the laboratory's work is educational activities. The implementation of the concept of music and computer education in the preparation of a musician teacher is carried out through the main educational programs of the professional training system, a system of additional education, professional development of teachers and their methodological support on the World Wide Web. Thus, the laboratory staff has developed classes in many specialized disciplines for students of music departments3. The implementation of an innovative educational system is also carried out through additional education: professional retraining programs, as well as advanced training programs and course training programs.

3 “Computer music”, “History of electronic music”, “Technologies and teaching methods (in the disciplines of specialized training: music and computer technologies)”, “Architectonics of sound”, “Fundamentals of studio recording”, “Information technologies in music”, “Technology of musical styles", "Fundamentals of composition, instrumentation and computer arrangement", "Traditional and computer orchestration", "Studio recording technologies", "Methodology and practice of teaching electronic composition and arrangement", "Methodology of teaching playing an electronic musical instrument", "Standard software ensuring the professional activity of a musician", "Traditional and electronic instrumentation", "Musical computer", "Basic electronic musical instrument", "Additional musical instrument (electronic)", "Electronic synthesizer", "Electronic ensemble", "Musical and computer workshop" . Even for students of the Faculty of Correctional Pedagogy (department of deaf pedagogy), classes have been developed and conducted according to the programs of the cycle of disciplines “Music and computer technologies for the rehabilitation of people with hearing disabilities.”

The principles underlying the creation of the laboratory's methodological system are the foundation for various types of professional activities, both for musicians working with MCT (sound engineering, digital audio recording, sound design, sound production, performance on synthesizers and MIDI instruments, etc.), and and programmers and developers in the field of electronic music systems. This system is built on the basis of the use of specialized software and a specially equipped classroom, and is associated with an individual-group form of conducting classes (an important component here is ensemble play: creative aesthetic activity has a high developmental potential).

Based on the methodological system proposed by the laboratory staff, advanced training programs were created4. For everyone, course training is provided under the following programs: “Intensive course in playing keyboard instruments (musical computer and synthesizer)”, “Computer arrangement and composition”, “Modern recording studio and work in it”, “Designing sheet music on a computer”, etc. .

4 For music teachers of preschool institutions - "Innovative methods and technologies for the musical development of preschool children based on music and computer technologies." For music teachers of secondary schools and teachers of children's music schools and children's art schools: "Music and computer technologies", "Methods of teaching musical disciplines using music and computer technologies", "Computer musical creativity", "Methods of teaching electronic musical instruments", "Arranging music on electronic musical instruments" etc.

The implementation of the concept also provides for the professional development of music teachers and their methodological support on the Internet. The methodological system developed by a team of authors makes it possible for a wide range of students (both future professionals and amateurs) to communicate with music interactively. Over the past 10 years, large-scale testing of the developed comprehensive innovative educational system for various levels of education has been organized and carried out, in particular in pilot regions of Russia (many educational complexes have been developed, implemented and tested jointly with the St. Petersburg computer studio "Mart" with the support of the National Training Fund frames). Thus, the following have been introduced into the educational process: innovative educational and methodological complex (IUMK) “Music and Computer Science”, grades 1-4; educational and methodological complex (UMK) "Musical computer (a new instrument for a musician)", grades 9-11; information sources of complex structure (ISISS) and digital educational resources (DER) “Music in the digital space”, grades 5-9; "Sound and music in multimedia systems", grades 8-11; inclusive education system (equal opportunities for music education and rehabilitation of children with disabilities). The resources are freely available on the Internet (at the moment, absolutely all products created by the laboratory are open source).

For example, the IISS “Music in the Digital Space” is a practical course in mastering a field of knowledge that develops skills and abilities in the use of new music computer technologies in music education and subsequent creative activity (presentation of new material in the lesson and independent creative activity of students). IISS contains a set of the following training resources:
- a collection of information sources (systematized in a database), including texts, illustrations, audio and video fragments, animations (if necessary), etc., equipped with convenient navigation for searching for the necessary materials and their selection for further use;
- lesson models (ready-made “lectures”) that offer the author’s options for presenting theoretical materials, as well as assignments and creative works;
- tools for selecting and maintaining one’s own lesson trajectories (formed on the basis of resources presented in the IISS collection and, possibly, using resources found or prepared by the teacher independently);
- a set of teaching materials describing methods of working with the resource base and lesson models presented in the IISS, as well as instructions (or links to relevant printed and electronic publications) for using programs designed to work with digital music.

With the help of this digital course, a teacher can solve pedagogical and methodological problems: choose a ready-made “lecture” to accompany the lesson and adapt it to his own pedagogical tasks (excluding or adding the necessary resources); create your own lesson trajectory using materials from the resource collection and additional materials collected independently; select practical and creative tasks to complete in class or for homework; organize dialogue in the lesson using a pre-selected collection of resources. And the student gets the opportunity to use the materials of the resource collection to complete teachers’ assignments, create their own creative projects based on the studied material and proposed methods for working with digital music, as well as independently increase the level of knowledge and develop creative abilities. Thus, IISS acts as an organizer of dialogue between teacher and student in the process of studying and understanding the features of the musical and cultural space.5

5 The introduction of this IISS into the educational process contributes to: improving the quality of mastering a number of traditional musical disciplines, such as classical musical literature, solfeggio, composition, arrangement, etc.; a significant expansion of the range of theoretical and practical ideas of students about modern forms of music as an art form and about the technologies of its creation; the formation of new artistic and aesthetic ideas about computer and electronic music; getting to know new genres and trends in computer and electronic music; acquiring knowledge about the possibilities of using a music computer for school musical creativity (computer arrangement, composition, studio work, etc.); expanding ideas about the latest trends in music related to new computer technologies; formation of knowledge in the field of electronic sound and systematic ideas about the prospects for the development of musical art in general; developing students’ needs for music education, including the use of a music computer; expanding opportunities for professional guidance for students in the field of music and computer technologies.

The use of IISS in everyday educational activities allows: to provide students with the opportunity to acquire practical skills in mastering a music computer as a new musical instrument; master new knowledge and skills (including initial professional ones) through musical and practical activities in the classroom; get an idea of ​​the acoustic capabilities of a music computer, the features of computer instrumentation, working in a modern digital recording studio, etc. To solve these problems, an electronic manual has been developed, consisting of two main sections.

The first section, “On the Way to a Music Computer,” offers information and lesson structure on topics dedicated to musical creativity in traditional and computer representation. This section includes lessons on the following topics:
- Music as information (the art of music is a specific sound language. This topic is devoted to the comprehension of various forms and aspects of the informativeness of musical language);
- Musical instruments - from the bowstring to the synthesizer (a story about the development of musical instruments in its historical evolution, as well as the specific features and capabilities of acoustic and electronic musical instruments).

The second section, “Computer Lessons in Composition and Arrangement,” is devoted to the study and practical application of existing computer programs for creating and processing digital music. This section includes:
- Composition as musical programming (studying the components of musical language in direct work with them);
- “Something for us from Mozart...” (introduction to the basics of composition using the example of musical classics);
- Composing step by step (practical lessons on composing and arranging in the simplest forms and various genres);
- Sound and music in multimedia systems (the variety of manifestations of musical digital technologies in various types of arts);
- Music without borders (workshop on searching for musical information on the Internet, sound design of an Internet site, remote communication between teacher and student in the process of music education).

The use of IISS in the educational process solves a number of problems that are relevant for modern education. Among them: expanding the sources of knowledge, including the use of information capabilities of the Internet (in the form of homework or extracurricular work); reducing the load on the teacher when preparing for classes by activating the creativity and individuality of his activities (creating his own educational trajectories); increasing the motivation for obtaining knowledge from students by introducing computer technologies into traditional approaches to studying music and relying on the individual’s needs for creative self-realization; the student gains the experience of co-creation with the teacher and friends through various forms of teamwork in mastering educational material.

The educational process is accompanied by the scientific activities of the laboratory staff, which are carried out in various areas. In particular, fundamental research is being conducted on the topics “Development of conceptual foundations for the introduction of information technologies in music education” and “Formation of information competence of a modern musician based on music-computer technologies”, Ph.D. theses devoted to the functioning of music-computer technologies in the music-educational process are defended, musical creativity, information technologies in music and music education, computer modeling of elements of musical creativity (I. V. Zabolotskaya, S. V. Chibirev, A. Kameris, A. V. Gorelchenko, E. V. Kibitkina, M. Yu. Chernaya , S. Yu. Privalova, etc.).

UML "Music and Computer Technologies" organizes and conducts a number of conferences, seminars, and participates in exhibitions. The most large-scale projects here are: a permanent city seminar “New information technologies in modern music education and creativity”, within the framework of which composers, as well as scientists from a number of universities in Russia and the world (Great Britain, Poland, USA); the annual International Scientific and Practical Conference "Music and Computer Technologies in the Modern Education System", which has been held by the laboratory staff together with various institutions in St. Petersburg since 2008; annual International scientific and practical conference "Modern music education", held jointly with the St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov since 20026.

6 Conference topics (2012): current problems of music education in the system of holistic art education; problems of professional music education; electronic musical instruments; new trends in the system of general and special music education; new information technologies in music education and creativity; computer music; music informatics; music and computer technologies in primary music education (children's music schools, children's art schools, lyceums); media music; music theory in modern musical practice; computer musical creativity; problems of implementing state standards in the field of music in school education.

This requires, on the one hand, the training of musicians who understand modern multimedia technologies. On the other hand, there is an obvious need to train technical specialists who have the basics of general music education and have knowledge in the field of sound programming, sound synthesis, audio engineering, sound-timbral programming, modeling of musical creative processes, as well as knowledge of studio recording technologies and computer programs, - that is, specialists who are able to engage in modeling as one of the methods for objective research of musical creativity [ ; ]. This explains the creation of special training courses and teaching aids aimed at a wide audience of students, which make it possible to present at an accessible level the principles of operation of a musical computer and an electronic musical instrument [ ; ; ; ].

The versatility and global applicability of electronic and computer music provide new, essentially limitless opportunities for self-realization, stimulate the rapid development of intelligence, raising learning to a new level. The compatibility of electronic music with traditional music technologies creates conditions for the continuity of musical eras and styles, their interpenetration and synthesis, strengthening interest in musical culture as a whole. Success in the modern use of such systems lies in the integration of all computer capabilities (symbolic and numerical interface, built-in graphics, music, animation, databases and data banks, etc.).

Bibliography

1. Belichenko V.V., Gorbunova I.B. The phenomenon of music and computer technologies in teaching computer science to musicians (in the context of the transition to new educational standards): Monograph. SPb.: Publishing house of the Russian State Pedagogical University named after. A. I. Herzen, 2011. 220 p.
2. Gorbunova I. B. Information technologies in music: Textbook. allowance. SPb.: Publishing house of the Russian State Pedagogical University named after. A. I. Herzen, T. 1. 2009. 175 pp.; T. 2. 2010. 210 pp.; T. 3. 2011. 399 p.
3. Gorbunova I. B. Musical sound: Monograph. SPb.: SOYUZ, 2006. 165 p.
4. Gorbunova I. B. Musical computer: Monograph. SPb.: SOYUZ, 2007. 400 p.
5. Gorbunova I. B. The phenomenon of music and computer technologies as a new educational creative environment // News of the Russian State Pedagogical University named after. A. I. Herzen. 2004. No. 4 (9). pp. 123-138.
6. Gorbunova I. B., Zalivadny M. S., Kibitkina E. V. Musical programming: Textbook. allowance. SPb.: Publishing house of the Russian State Pedagogical University named after. A. I. Herzen, 2012. 195 p.
7. Gorbunova I. B., Kameris A. The concept of music and computer education in the preparation of a musician teacher: Monograph. SPb.: Publishing house of the Russian State Pedagogical University named after. A. I. Herzen, 2011. 160 p.
8. Gorbunova I. B., Privalova S. Yu. A musical instrument for every child. SPb.: Publishing house of the Russian State Pedagogical University named after. A. I. Herzen, 2009. 117 p.. St. Petersburg: Izd-vo RGPU im. A. I. Gertsena, 2011. 220 p. (In Russian).
9. Gorbunova I. B. Informatsionnye tekhnologii v muzyke. St. Petersburg: Izd-vo RGPU im. A. I. Gertsena, 2009, vol. 1. 175 p.; 2010, vol. 2.210 p.; 2011, vol. 3. 399 RUR (In Russian).
10. Gorbunova I. B. Muzykal"niy zvuk. St. Petersburg: SOYuZ, 2006. 165 p. (In Russian).
11. Gorbunova I. B. Muzykal"niy komp"yuter. St. Petersburg: SOYuZ, 2007. 400 p. (In Russian).
12. Gorbunova I. B. Fenomen muzykal "no-komp" yuternykh tekhnologiy kak novaya obrazovatel "naya tvorcheskaya sreda. In Izvestiya RGPU im. A. I. Gertsena, 2004, no. 4 (9), pp. 123-138. (In Russian).
13. Gorbunova I. B., Zalivadniy M. S., Kibitkina E. V. Muzykal"noe programmirovanie. St. Petersburg: Izd-vo RGPU im. A. I. Gertsena, 2012. 195 p. (In Russian).
14. Gorbunova I. B., Kameris A. Kontseptsiya muzykal "no-komp" yuternogo obrazovaniya v podgotovke pedagoga-muzykanta

    Gorbunova I. B. Musical and computer technologies: laboratory // ENG "Mediamusic". No. 1 (2012)..html

Olympiad “Innovative Technologies in Music Education”

Areas of training:

44.04.01 Pedagogical education, focus “Musical art in education” (master’s level);

51.04.03 Social and cultural activities, focus “Musical and pedagogical technologies in social and cultural activities” (master’s level);

04/51/01 Culturology, direction "Management in the field of culture and art" (master's level);

Conditions for participation in the Olympics

• A student or graduate of bachelor's and specialty programs corresponding to the areas of preparation for the Olympiad
• Not older than 25 years

5 steps to become a participant in the Olympics

1. Fill out an application
2. Fill out consent to the processing of personal data
3. Fill out a portfolio (a detailed creative resume of the applicant with scanned copies of documents confirming the points of the resume attached. The applicant can provide additional information at his own discretion
4. Attach your photo in an official business style (separate file up to 500 KB, .jpg format)
5. Send documents by email with the subject “Innovative technologies in music education”