Olympics using music and computer technologies. Olympiad “Innovative Technologies in Music Education”

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

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

Secondly, its versatility, fantastic limitlessness in improvement, and global applicability of electronic music raise learning to a new level, stimulate the rapid development of intelligence, and make music lessons in demand among a wide circle of art and creativity lovers.

Thirdly, the compatibility of electronic music with traditional music technologies creates conditions for the continuity of musical eras and styles, their interpenetration and synthesis, thus promoting the development of students’ creative potential and strengthening interest in musical culture as a whole.

Anyone who cares about what will happen in our country with music education in the coming decades will agree that one of the directions along which modern music education is already moving, not only theoretical, but also performing, is computer training and computer communications. In recent years, computer and communication technologies have increasingly affected the sphere of culture and especially music.

Only about a decade has passed since the computer appeared in our lives, and today it is no longer possible to imagine how we can solve many professional and everyday problems without it. Digital technologies have also affected the sphere of musical activity, both professional and amateur, and the transformations taking place in it are striking in their scale and radicality.

A professional composer today does not need either a symphony orchestra or solo performers to score his music - be it an experimental work or a work of the song and dance genre, accompaniment to a play, film, television and radio program or computer game. A musician of any level, including an elementary level of training, today can create detailed, diverse sounding electronic compositions, and the spread of such activities among teenagers and young people has no historical precedent in its mass scale.

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

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

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

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

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

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

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

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

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

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

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

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

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

Finally, in professional music education, if we keep in mind the difficulty of introducing a talented musician to the intricacies of modern computer technologies, then it is probably necessary to begin this introduction at an earlier stage, in a music school or college. But here it is important for the teacher to show a sense of proportion so that the technical element does not suppress the artist-creator in the young musician with a subtle and well-trained ear for music.

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

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

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

Firstly, for the professional training of composers and performers;

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

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

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

Computer programs are applicable in learning to play instruments, in developing an ear for music, in listening to musical works, in selecting melodies, in arranging, improvising, typing and editing music text.

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

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

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.

Synthesizer, 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 directions 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.

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

Fill out an application
Fill out consent to the processing of personal data
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
Attach your photo in an official business style (separate file up to 500 KB, .jpg format)
Send documents by email with the subject “Innovative technologies in music education”

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:

Didactic (educational materials for the lesson, specific training program and equipment);
Methodological (determining methods of using a computer in teaching a topic, analyzing the results of the lesson and setting the next educational goal);
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) :

according to methodmusic demonstrations:

listening to digital audio recordings of musical works;

in accordance with video teaching method:

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

in accordance with visual illustration method:

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

according to method working with the book:

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

2) :

according to methodprogrammed learning:

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

in accordance with game method:

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

according to method projects:

in accordance withresearch method:

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

3) :

according to method working with a book

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:

according to methodmusic demonstrations:

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

in accordance with video teaching method:

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

in accordance with visual illustration method:

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);

according to method working with the book:

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

2) using educational music programs:

according to methodprogrammed learning:

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

in accordance with game method:

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

according to method projects:

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

in accordance withresearch method:

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

3) using reference music programs:

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

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.

MDG "Mega-Talent" presents to your attention the Olympiads in music. Students in grades 5-9 are invited to participate. All music lovers have a chance to prove themselves, take a prize and receive a diploma as a winner of I-III degrees. The rest of the participants will not be left without attention. Anyone who doesn't take a prize? waiting for a certificate of participation, and teachers will be able to diversify their portfolio with a certificate from the organizer of the Olympiad and gratitude from the MDG “Mega-Talent”

Facts about the MDG “Mega-Talent” Olympiads:

Over the past year, more than 400 Olympiads have been held in 47 disciplines;
More than 4,000 schoolchildren from 12 countries were able to show their talent in music Olympiads;
More than 2.5 million rubles were paid in compensation for organizational expenses;
98% of teachers become organizers of new seasons of Olympiads;

5 steps towards success

Our main priority is teachers. We want you, dear teachers, to find it pleasant and convenient to cooperate with us. This goal is served by 5 steps that ensure successful interaction.

Full access to sets of tasks for all classes, after confirmation of the application for participation.
Regular updates to the design of award materials.
Compensation for organizational expenses.
Valuable prizes for the most active organizers.
Responsive and prompt support service.

Distance Olympiads in music from MDG “Mega-Talent”

There are many reasons why we and our partners love distance Olympics. This format allows you to hold a serious educational event in full compliance with the school curriculum and the requirements of the Federal State Educational Standard in an easy and relaxed atmosphere. It has been noticed that schoolchildren show high results in distance competitions, while the classical format often causes severe stress and anxiety.

The set of tasks for each category of participants consists of 15 test questions of various types:

Questions with one or more correct answers.
Questions on analytical and chronological sequence.
Test tasks for working with illustrative sources.
Test tasks for solving a sheet music example.
Test tasks for analysis of text, biography, document.

How much does it cost to participate in the Music Olympiad?

On the page with information about the Olympiad, you can see the amount of the registration fee that the participant must pay. However, in reality, you pay less, because up to 30% of this amount is reimbursed to the organizer for printing assignment kits and reward materials, as well as for other organizational expenses.

The amount of compensation depends on the number of participants in the application. You can find out more about how the percentage of compensation is calculated and what it will be in your case after registration .

The most active teachers take part in our specialteacher ratings , following which we reward the most active organizers with valuable gifts.

How often do music Olympiads take place?

You can take part in the Olympiad right now or at any time convenient for you throughout the academic year. The thing is that during the year we hold as many as 7 Olympiads with completely different sets of tasks. There are 3 All-Russian Olympiads waiting for you, which take place once a season: in autumn, winter and spring, as well as 3 more international ones and one final Olympiad.

How are participants' work assessed?

The system automatically checks the work after the organizer enters the participants’ answers into a special table in his personal account. After verification, the results are published on the website, and during the summing up period you will have all the award materials at your complete disposal.

How to organize a music Olympiad at your school?

Register on the website of the MDG "Mega-Talent".
Apply to participate in the Music Olympiad.
Confirm your application by paying the registration fee
Download sets of tasks and teaching materials to conduct the Olympiad
Enter the participants' answers into a special table in your personal account.
Receive personalized award materials for yourself and your students on the day of summing up.

How to pay for participation in the Music Olympiad?

You can pay the registration fee in one of the following ways:

Payment by bank card (online);
Payment by receipt, at the Russian Post office;
Payment using electronic payment systems (online).

I'm not from the Russian Federation. Is it possible to take part in the Music Olympiad?

We are open to everyone, just like the music itself. But if in order to read music you need to know notes, then in order to read the tasks of the Olympiad you need to know Russian. There are no other restrictions. Anyone from any country in the world can take part in all music Olympiads. Still have questions? There is an answer .