Olympics using music and computer technologies. The use of information and computer technologies in modern music education - pros and cons

February 21, 2016 at the Children's Art School named after. G. Kukuevitsky held the IV city Olympiad for students of children's art schools in musical literature using computer technology.

4 teams of students from 2 to 4 years of study in musical literature from children's art schools in the city took part in the Olympiad. The teams competed in competitive tests: “Greetings”, “Defense of the presentation “Creativity and Biography of the Composer” and “Test Task”.

The first stage of the “Greeting” Olympiad was especially bright and spectacular, in which the teams presented creative homework done in the form of theatrical performances.

Students of our school showed the musical “Tale of the Tsar, Musical Instruments and Orchestra” (script by Dmitryuk Yu.V. and Barteneva T.N.). The role of the king was played by Nasibullin Renat, the role of the trumpeter was played by Vartik Mikhail (Rev. Pasternak S.V.), and Pagoni Marina did an excellent job as the presenter. The chamber orchestra “Inspiration” (director: Tushkova M.A., conductor: Loik T.N.) took part in the production of the fairy tale with great joy.

In the second competitive test, a multimedia presentation was presented on the topic: “The creative path of S.V. Rachmaninov”, which was commented by Sophia Kornilova (teacher T.N. Barteneva, N.N. Lopatskaya). The music of Rachmaninov himself, performed by Ekaterina Borisenko (teacher L.B. Rostovskaya), sounded as a beautiful background.

The third stage of the Olympiad was testing. Students answered 80 questions on musical literature. Students of the 5th grade took part in this competitive test: Kolev Pavel (teacher Dmitryuk Yu.V.), Oleinik Marina, Ovsyanik Ekaterina (teacher Barteneva T.N.), students of the 6th grade Gordeeva Anastasia, Starodumova Maria (teacher Pritupova E .A.) and 7th grade student Sofia Kornilova (teacher T.N. Barteneva).

Congratulations to all students and teachers who took part in the Olympiad on their victory!

We wish you further creative success!

Head of the city methodological association of teachers of theoretical disciplines, teacher of MBUDO “DSHI No. 3” Yu.V. Dmitryuk

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 .

Annotation: The article discusses 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 instrument studies", "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 dedicated 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

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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”

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.

1. Full access to sets of tasks for all classes, after confirmation of the application for participation.
2. Regular updates to the design of award materials.
3. Compensation for organizational expenses.
4. Valuable prizes for the most active organizers.
5. 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?

1. Register on the website of the MDG "Mega-Talent".
2. Apply to participate in the Music Olympiad.
3. Confirm your application by paying the registration fee
4. Download sets of tasks and teaching materials to conduct the Olympiad
5. Enter the participants' answers into a special table in your personal account.
6. 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 .