Requirements for materials submitted for publication in the magazine “Musical Director. Music journalism using the example of 'Rolling Stone' magazine The relevance of the music magazine editorial project

Project content "MUSICAL RAINBOW":

1. Organization of musical activities in the logic of the Federal State Educational Standard.

2. Features of organizing interaction with children. Personalization.

3. Organization of a developing subject-spatial educational environment.

4. Organization of work with family.

The topic of the thesis submitted for consideration is the relevance of music journalism in the Russian Federation. The very wording already contains the concept of updating information on this area of ​​journalism in our country. The study of the issue is all the more timely in the context of the rapidly changing global information space and, as a consequence, the entire music industry and related areas of public life. From the historical picture of the development of music journalism presented below, the fact of its heyday and subsequent decline in the second half of the 20th century becomes obvious.

Relevance This work is also due to the fact that it reflects the opinions of people for whom this topic was not indifferent, and who took the time to give their answers to the questions posed below.

Some of them showed interest in the full finished text of this work, which can also be regarded as an indirect sign of its relevance.

The respondents of this study were divided into two groups. The first includes musical artists of various ranks, band managers, music critics and editors-in-chief of music magazines and portals, and representatives of some labels. The second category includes ordinary listeners.

Novelty This study consists in the method of studying the stated topic - a qualitative analysis of respondents’ responses to a questionnaire created by the author in conjunction with other modern publications on this topic.

Object Our research can be called music journalism and information processes associated with it.

As subject research is a reflection of the musical process on the one hand and the satisfaction of public demand on the other.

Conditional chronological framework research – decade from 2005 to 2015.

Under purpose of the study We understand the opportunity to establish the social significance of contemporary music journalism.

Tasks posed before us, we see it as follows:

· Reveal the essence of the nature of today's music journalism;

· Analyze the processes occurring in it;

· Offer a vision of the prospects for this branch of journalism.

Theoretical significance This work consists of a set of authentic expert statements from representatives of the music and journalistic spheres that are relevant at the moment. In the future, these same statements, as well as excerpts from English-language articles translated by the author, and conclusions from the work can be used for subsequent studies that involve consideration of the dynamic development of music journalism.

In turn, the possibility of creating our own music media based on the information we received and conclusions drawn reflects practical significance work.

Music journalism did not appear yesterday. Already at the end of the 18th century there were such publications as “Allgemeine musikalische Zeitung” (German: “General Music Newspaper”) and “Neue Zeitschrift für Musik” (German: “New Musical Newspaper”, founded in Leipzig by Robert Schumann), “The Musical Times” existed in London from the mid-19th century. It is quite obvious that the focus of these publications was academic music. Journalists from general newspapers also wrote separate articles - for example, John Davidson from The Times. Composer Hector Berlioz also published a number of articles in Parisian publications between 1830 and 1840.

The popularization of this area of ​​journalism began precisely in the 1840s, when, under the general influence of the growing level of education, the influence of romanticism and the popularization of such composers and performers as Franz Liszt and Niccolò Paganini, not only specialized magazines became interested in music. Accordingly, the level of competence of journalists began to vary greatly even then.

The longest-running magazine in the UK is “BMG Magazine” (an acronym made up of the first letters of musical instruments - banjo, mandolin and guitar). “BMG” was founded in 1903 and is still published today. The materials in it are concentrated mainly around acoustic fretted instruments, are educational and allow you to improve your playing skills on them. The thick magazine is published quarterly.

The example of Western mass music media clearly shows that the peak of their popularity occurs at times of the most tangible social changes. The background for these shifts was the emergence of a post-war new morality, rock and roll culture, the fight against racial segregation (including the work of Dr. Martin Luther King), the hippie counterculture, the popularization of drugs, the sexual revolution (including the recognition of sexual minorities) .

Music journalist Ilya Smirnov characterizes this time as follows: “… anti-realism in behavior and art. Rejection of the surrounding reality, not provided with an alternative, took the form of ESCAPISM - escape into drug hallucinations of LSD, into psychedelic music, into the world of Maoist-style political dogma absolutely unrelated to real life”.

And further in the text: “ A direct consequence of this attitude to life was mysticism (especially eastern) and the sublime lyrics of the songs of that time. A striking example is the philosophical surrealism of the English group Pink Floyd; - pessimism, a sense of one’s own doom, again uniting hippies with the “militant” representatives of their generation. Antonioni conveyed this hopelessness with amazing accuracy in the film “Zabriskie Point.” The music for the film was written and performed, by the way, by the same PINK FLOYD”.

Since March 1952, the influential magazine “New Musical Express”, also known by the abbreviation NME (a homophone of the word “enemy” - “enemy”), has existed in London. Then it came out as a tabloid. On November 14 of the same year, NME, guided by the experience of the American Billboard, launched the first UK Top 20 singles chart.

Music journalism and criticism gained real popularity with the advent of pop and rock music to a wide audience after the breakthrough of “The Beatles”, “The Rolling Stones” and other representatives of the “British wave” in 1964. In the first half of that glorious year, New Musical Express's circulation reached its highest level in the publication's history - 306,881 copies.

The first wave of the “British Invasion” was replaced by the wave of the aforementioned psychedelics. His eternal rival, the British magazine Melody Maker, entered into a heated debate with the same “NME”, whose circulation remained firmly at around 200,000 copies per week. He was one of the first to support the rapid development of new forms of pop music in the late 1960s.

Melody Maker, founded in 1926, was one of the world's first music weeklies. Initially specializing in jazz and its main promoter Max Jones, MM did not have time to quickly respond to the emergence of rock and roll, thus giving the palm to NME. In 1958, Melody Maker launched their own Melody Maker LP charts, two years after the Record Mirror first published its UK Albums Chart. It was “Melody Maker” who in March 1965 proposed to the British government to award the members of The Beatles the titles of knights.

The magazine's audience was older than that of NME, which was aimed primarily at teenagers. There were more specialized advertisements aimed at musicians; entire pages devoted to unpopular musical genres - folk and jazz; one could read detailed reviews of musical instruments.

The third main rival to NME and Melody Maker was Sounds, a weekly newspaper published from October 1970 to April 1991. It was founded by Jack Hutton and Peter Wilkinson, who had both left Melody Maker. Hutton even emphasized that the newspaper was “a progressive Melody Maker.” Characteristic features of “Sounds” were the gatefold posters, designed to be torn out; focus on the New Wave of British Heavy Metal (Iron Maiden, Saxon, Def Leppard, etc.), Oi! (“Sham 69”, “Cock Sparrer”, etc.). Sounds was the first music newspaper to cover punk. John Robb, a member of the punk band Goldblade and the influential post-punk band The Membranes, collaborated with the newspaper. It was he who, in his description of the Manchester music scene, came to designate it with the term “Britpop”.

Among the notable materials of the newspaper are also articles by Keith Cameron about the group Nirvana and the first interview for them, taken by the same John Robb. Sounds was closed in 1991. However, the legacy of Sounds lives on in Kerrang!

Named to imitate the sound of a rock chord being played, “Kerrang!” Since its appearance on June 6, 1981, it has been a “Sounds” supplement dedicated to heavy music. At first published monthly, it gradually became published every two weeks, and since 1987, even weekly.

In the 2000s, the magazine became the most popular music publication. “Kerrang!” adhered to the course of heavy music, which has not changed in the entire history of the publication, which ensured their success. Starting with thrash and glam metal in the 80s and early 90s, continuing with grunge, journalists came to cover nu metal as a major genre in the 2000s, led by bands such as Slipknot and Limp Bizkit. Later, thanks to the staff of “Kerrang!” genres such as emo (imo) and metalcore became widely known.

Among the really big magazines, “Q” is also worth highlighting. Founded in the UK in October 1986, it differed from most music press in that it was a monthly publication and the high quality of its photography and printing overall. The original title was “Cue,” a word for launching a record. It was later changed due to confusion with a billiards magazine of the same name. As a result, publishers say, single-letter titles are much more visible on newsstands. The format of the magazine was distinguished by its focus on a more mature audience than that of “Melody Maker” and “NME” of those times.

The publication was also characterized by a voluminous review section: reviews of releases, music reissues, compilations, reviews of films and live concerts, radio and television programs. “Q” uses a five-star rating system. The magazine's ratings are often used in print and television advertising in the UK and Ireland.

The magazine's "best of" lists are also widely known, ranging from the "100 Greatest Albums" to the "100 Greatest" list of the 100 Greatest.

Among the interesting practices of “Q” promotion, they use, for example, the “Cash for Questions” section. In it, some artist answers questions sent by readers, the authors of those that will be published receive a reward of 25 pounds sterling.

In November 1993, the editors of the same magazine established another musical monthly magazine, “Mojo,” the emergence of which is associated with a sharply increased interest in classic rock. Despite criticism for its rather superficial coverage of some historically important musical figures, Mojo managed to discover some truly new and unusual artists. For example, Mojo became the first mainstream magazine in the UK to take on The White Stripes, and gave them as much space on its pages as famous artists.

In 1998, a magazine with a similar focus, “Classic Rock,” was launched. The September issue in 2010 had larger circulations than NME. “Classic Rock” has a sister publication “Metal Hammer” about heavy music.

Already in 1894, a publication appeared in Cincinnati, Ohio, which remains one of the flagships of music journalism to this day - Billboard magazine (literally “bulletin board”), initially published in the form of an industry newspaper for the billboard industry. Over time, news about all areas of the entertainment industry began to appear on the pages of the newspaper, and in the 1930s, with the popularization of jukeboxes, Billboard began regularly publishing charts of the most listened to songs. In the beginning, there were three genre charts: country and western music, pop music and rhythm and blues. In the 50s, television ratings appeared. However, “Billboard” became as we know it today in 1961 - then everything that did not relate to music was separated into a separate publication “Amusement Industry”, while the main platform was renamed “Billboard Music Week”, and then back to Billboard in 1963.

Then, in 1967, the well-known and still existing magazine “Rolling Stone” appeared in the United States. Its popularity is due largely to its combination of music criticism and political journalism, represented in its pages in the 1980s by the writings of Hunter S. Thompson. At first, “RS” came out as a tabloid.

At first, the work of Rolling Stone employees was directly associated with the hippie counterculture. However, the magazine distanced itself from other underground press publications by staying out of politics at the time and using higher traditional journalistic standards. In 1977, the editorial office moved from San Francisco to New York. Editor Jen Wenner felt that by then San Francisco had become a place of “cultural stagnation.”

It is Rolling Stone that is the most criticized of music magazines. This is due to the tendency towards a deliberate bias towards covering fashion trends instead of assessing the content of a particular phenomenon, which was established already in the 80s. Nevertheless, “RS” is one of the few magazines that is successfully published today.

An important page in the history of music journalism was the emergence music TV channels. Their appearance was preceded by the emergence of such type of information product as music video. Its inventor is considered to be Richard Lester, who in 1964 created a video for the song “Can’t Buy Me Love” by The Beatles as part of their musical film “A Hard Day’s Night”.

The most famous of the music channels is MTV, launched on August 1, 1981. The original format of the channel was the broadcast of music videos 24 hours 7 days a week, interrupted only by presenters' recaps, music news, interviews and concert announcements.

Over the past decades, the channel has been subject to widespread criticism on completely different grounds. Among the most important of them are:

· Homogenization and averaged vision of rock and roll (in particular, indicated in the song of the punk band “Dead Kennedys” “M.T.V. – Get Off the Air”, released in the wake of the growing authority of the channel in 1985);

· Censorship on the channel that does not allow references to drugs, violence, weapons, homophobia, advertising, devil worship and anti-religious themes.

Both of these factors had a negative impact on the image of music journalism at a time when MTV was truly a music channel. Subsequently, in the 90s, with an increase in the share of reality shows and other non-music programs, as well as an increase in the number of sister TV channels (for example, “VH1” - Video Hits 1), the TV channel actually ceased to be a music media.

Music journalism in Russia truly flourished during the period of perestroika, although, just like in the West, academic publications had already existed since 1774, when the monthly “Musical Amusements” began to be published, a little later “Musical Amusement Store” and “St. Petersburg Musical Store”.

Seva Novgorodtsev made a significant contribution to paving the way for Russian music journalism at the dawn of its heyday. In his book “Time for Bells. The Life and Death of Russian Rock” Ilya Smirnov characterizes Seva and his activities as follows:

“The same age as Lennon, a long-distance sailor, jazzman and member of the ancient ensemble GOOD WELL DONE, Seva Novgorodtsev took a combat post at the microphone of the BBC Russian service in 1977 - the year of the Brezhnev constitution. He was probably the only one who took the freedom of speech she granted seriously.”.

“…Seva introduces the live voice of the presenter into the program. He doesn't just comment on albums - he talks about the hard life of musicians in England, about the horrors of capitalism... About religion, about politics, about human dignity (matter little familiar to us). He just talks “for life”, witty and “untethered” like Lenny in the Bob Fosse film.
It is more convenient for us to stupidly and gloomily sentence people to quartering than to simply laugh at what is stupid and funny. And here is Novgorodtsev’s second discovery: a style that is unusual for Soviet taste, like sausages made from meat. Later, the independent rock press in the Union - Seva’s students - will speak human language. And a cheerful voice from London will, year after year, introduce us, without differences in class or registration, to world civilization, which since the time of the Great Geographical Discoveries is still one”.

In the period before, during and slightly after perestroika, the most interesting publications were “Zerkalo”, which turned into the samizdat “Ear” (by Ilya Smirnov and Artyom Troitsky), “Urlight”, “Counter Cult of Ur” (Sergei actively collaborated in the last two Guryev). Of course, a much larger number of samizdat presses were published, but often these were exclusively small-circulation (down to a single copy) publications, represented by one or two issues.

Among the publications of the post-perestroika new Russia, the publications “Fuzz”, “Ptyuch”, “OM”, “MuzOboz”, “Stas”, “Play” were notable. For the music media there was even a professional award “Mark of Quality”, established by Andrei Wulf and the Wulf-Group holding, but it has sunk into oblivion.

“Ptyuch”, which appeared in September 1994, became the first glossy analogue of the foreign “The Face” and “Wired” and at the same time the flagship of the propaganda of Russian club rave culture with all its specific attributes. “Ptyuch” also stood out for its language. Igor Shulinsky, editor-in-chief: “ Now you read it and think: “... how could you write this! How could you read this!” Many articles in Ptyuch give this feeling. But we tried to speak a living language, we tried to formulate this language”.

“OM” differed favorably from “Ptyuch” both in its layout, through which materials could be read (“less schizophrenic”), and in a greater degree of responsibility to the reader. On its pages, unlike “Ptyuch,” domestic show business stars also appeared. The famous rock and jazz musician Sergei Kuryokhin also wrote his own column in “Om”.

It was these two magazines that became the fashionable founders of the genre in Russia. They were created for that same generation of regulars of the Titanic club and listeners of the Maximum radio launched in 1994.

However, today most of the publications that were significant in the nineties and zero years are closed. The reasons for this are formally different, but it all comes down to approximately the same thing – lack of funding.

For example, according to the former editor-in-chief of the licensed Russian publication “NME” Ruslan Shebukov, the reason for the decline was the lack of money invested by advertisers in placing advertisements on the pages of music magazines. Most advertisers, he said, consider the audience of these publications to be insolvent.

At the same time, Ilya Buts, former editor-in-chief of the Russian publication Billboard, believes that the crisis is due to the lack of such an expense item among our existing labels as “marketing budgets for promotion in the press.”

Igor Shulinsky, editor-in-chief of the first of them, believes that the reason for the decline of the magazine “Ptyuch”, as well as ‘OM’ and ‘Matadora’, is the very format of these publications. He considers it “generational”, capable of “existing only at a certain time.” All of them were part of the Russian “show-off gloss” that appeared against the background of those very “dashing nineties”. According to Alt. Ussery, they “flowed with cheerfulness and arrogance, and in a cultural sense they represented a Babylonian pandemonium.”

Today, a negligible number of printed music publications are published. These are, first of all, Russian versions of “Rolling Stone”, “Classic Rock”, small-circulation, but originally domestic “InRock”, “Rockcor”, “Dark City”, “Bunker”. There are also highly specialized ones, such as the quarterly “Questions of Ethnomusicology”. As before, academic “Music and Time”, “MusicuM” and others.

Despite a considerable number of articles on the topic, the current situation in the world of domestic music journalism seems to us absolutely unclear.

The theoretical basis of a music journalist is represented by only one relatively relevant textbook - the book by Tatyana Aleksandrovna Kurysheva “Music journalism and music criticism. Textbook,” which is also extremely small, as well as a large amount of “populist” literature that does not give a clear idea of ​​the modern process of music journalism.

A tabloid is a newspaper characterized by half the size of the printed page, the volume of articles and a large number of illustrations. Often a cheap, low-quality publication.

A single is initially a 7-inch record containing one or two compositions. As a rule, if there were two, then the main one was placed on side A, the other on B - which later entered the terminology as the concept of “B-side” (B-side).

The British Wave (or British Invasion) is the period of musical hegemony of British rock bands in the world charts 1963-1967.

Elena Ezerskaya

Editor-in-Chief of the Music Magazine. Music and theater critic, journalist, playwright, librettist, writer, poet. Member of the Union of Theater Workers of Russia. She graduated from postgraduate studies at the State Institute of Art Studies of the Ministry of Culture of the Russian Federation (theater sector) and the Institute of Philology and History of the Russian State Humanitarian University (department of theater and cinema). From 1997 to 2012 she worked in the magazine “Musical Life”, from 2010 to 2012 - editor-in-chief. Creator and first editor-in-chief of the Music Magazine (from 2013 to 2014, and since 2017). Member of the musical theater commission of the STR RF for operetta/musical (since 2013). Over the years, she was a member of the Golden Mask expert council on musical theater (Moscow, 2002); member of the artistic expert council under the Ministry of Culture of the Moscow Region (2008 – 2010); member of the jury of the festivals “Kuban Spring” (Krasnodar, 2010), “Theatrical Olympus” (Sochi, 2011), “Theater Spring” (Krasnoyarsk, 2012); member of the jury of the IV International Competition of Young Operetta and Musical Artists named after N. A. USSR V. A. Kurochkina (Ekaterinburg, 2012); member of the jury of the VI and VII All-Russian festival-competition “Crystal Stars” (Moscow, 2013, 2014); member of the Organizing Committee and jury of the VIII All-Russian festival-competition “Crystal Stars” (Moscow, 2015); member of the Organizing Committee of the I International Competition of Young Artists and Directors of Musical Theater named after P. I. Slovtsov (Krasnoyarsk, 2015); Chairman of the jury of the V All-Russian festival of classical and contemporary music for children and youth “Musical Snowdrop” (Penza, 2017); and also - Executive Director of the XXV International Vocal Competition named after M. I. Glinka (Moscow, 2014); Executive, director, member of the Organizing Committee and Directorate of the I International Festival-Competition “Music of Friendship”: festival of master classes and competition in Russian classical vocal music (Moscow, 2015-2016); Executive Director of the IV, V and VI Music Festival named after Irina Arkhipova (Moscow, 2014, 2015, 2016). Currently, he is the General Director of the Autonomous Non-Profit Organization “Socio-cultural Creative Center “Musical Journal” (ANO “Musical Journal”). As a music and theater critic, she has been published in such Russian publications as Musical Journal. “Music Academy”, “Musical Life”, “Theater Life”, “Screen and Stage”, “Culture”, “Theater Business”, “Strostnoy Boulevard, 10”, “Planet Beauty”, “Musical Klondike”, “Evening Moscow” "and others. Performances based on the libretto by E. Yezerskaya were staged in various musical theaters: “Only Love!”, “Give me an operetta!”, “Trouble in the Forest”, “How the Nightingale the Robber Helped Ivan the Soldier” (Moscow State Musical Theater under the direction of Gennady Chikhachev) , “Thumbelina” (Seversky Musical Theatre, Musical Theater of Kuzbass named after A. A. Bobrov, Ural Operetta Theater - Drama and Comedy Music Theater, Stavropol Operetta Theater), “Bayadera”, “The Waltz King” (Karaganda Operetta Theater, Kazakhstan). E. Yezerskaya is the author of several book bestsellers. Including original books based on the television series “Poor Nastya” (in 4 volumes) and “NEXT-3” (in 4 volumes under the pseudonym Viktor Bagrov), original novels “Poor Nastya. Ten years later" (in 4 volumes) and the literary series "Secrets of the Noble Nest": "The Curse of the Old Moneylender", "Protracted Reckoning" "The Last Duel", as well as the novel "Under the Sign of the Sun" and memoirs and biographical books - " Moscow Art Theater A look from behind the scenes" and "Vladimir Basov: director and person."

Galina Skorobogatova

Member of the Public Council of the National Fund for Support of Social Programs of the Russian Federation. Professional journalist. Higher education. Graduated from the Faculty of Journalism of Moscow State University named after M.V. Lomonosov (1972). She worked at Central TV (“1st”) for more than twenty years: from editor to columnist, producer. Programs: “Kinopanorama”, “Cinema Travelers Club”, “Visiting a Fairy Tale”, “Mark Zakharov’s Serpentine”. As an author and co-director she made documentaries for television films “Gerard Philippe”, “Vs. Pudovkin”, “Nikolai Cherkasov”, “Lyubov Orlova”, “Mayakovsky’s Moscow” (with Galina Shergova) and others. Based on the scripts of G. Skorobogatova in the late 1970s - early 1980s, films and plays were made: “The History of the Chevalier des Grieux and Manon Lescaut” (director Roman Viktyuk), “I Can’t Find Peace from Love” based on the plays of W. Shakespeare (director Roman Viktyuk). In 1991, she created and for two years hosted the “Maxima” program, which was based on conversations with prominent cultural figures from the CIS countries. (D. Banionis, S. Chaureli, R. Sturua, Y. Ilyenko, R. Balayan, J. Budraitis, V. Zhalakyavichus, V. Naumov and others). As an author and producer, she participated in the creation of television versions of plays for Central Television: “La Divina” (Alla Sigalova’s Independent Troupe), “Quartet” (Alla Demidova’s “A” Theater), “Maids” (Roman Viktyuk Theater), “Lolita” ( Roman Viktyuk Theater), “Crazy Day, or The Marriage of Figaro” (“Lenkom”) and others. From 1996 to 2005, she worked at Author’s Television (ATV) as an editor, author and producer (Program “Vremechko”, “We” with Vladimir Pozner, “Eh, Semyonovna” with M. Golub). As an author and producer, she participated in the creation of the television series “Readings. Russian Lessons" (more than 400 episodes), where great works of Russian literature were read by great Russian actors - Mikhail Ulyanov, Oleg Efremov, Alla Demidova, Lyudmila Chursina, Kirill Lavrov, Boris Plotnikov, Sergei Makovetsky, and others. For more than a year she was the first editor-in-chief of the “Country Duty” program with Mikhail Zhvanetsky and Andrei Maksimov. In the period from 2005 to 2009, she was the press secretary of the international festival “Cherry Forest”, the international art project “Cow Parade”, producer and author of the art magazine “Deillusionist”, collaborated with many magazines (“Brownie”, “Atmosphere”, “ Peasant", "Vogue" and others), and newspapers ("Evening Moscow", "Evening Club", "Komsomolskaya Pravda" and others) as a correspondent and interviewer. From 2011 to 2013 – press secretary of the Interstate Fund for Humanitarian Cooperation of the CIS Member States. From 2010 to 2014 – chief editor of the magazine “Forum Plus”: publisher – MFGS. In 2015, as editor-in-chief, she published two issues of the magazine “New Eurasia” - published by the Moscow Foundation for International Cooperation named after Yuri Dolgoruky, grant from the President of the Russian Federation. 2015, 2016 – editor-in-chief of the Music Magazine. Since 1917, editor for special projects of the same magazine.

Project on the topic

"Creation of a children's music magazine."

PROJECT PASSPORT

Subject: Creation of the magazine: "Children's Music Magazine"

Academic subject: music

Participants : students of grade 4 “b” 2014 – 2015 academic year

Supervisor : Rogacheva V.V.

Project type : practice-oriented, short-term

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Project on the topic

"Creation of a children's music magazine."

PROJECT PASSPORT

Subject: Creation of the magazine: "Children's Music Magazine"

Academic subject: music

Participants : students of grade 4 “b” 2014 – 2015 academic year

Head: Rogacheva V.V.

Project type : practice-oriented, short-term

Intended product of the project: The project is intended for students to individually create their own page for the magazine “Children's Music Magazine” in the process of research and creative activity. The product is predetermined and can be used in the life of the class and school.

Brief summary of the project

Children are invited to take part in the creation of a children's creative magazine. When creating their own page, children select riddles about music, musical instruments, create crosswords, puzzles, and find interesting facts about music. Children will not only have to study literature, but also write and creatively design their work.

Each project participant creates their own “product”, and it is different for everyone. This approach makes it possible to show creative imagination and individual style, makes the presentation stage more interesting for students, and makes the assessment process less formal.

The result that children should receive: « Children's music magazine", where there will be an opportunity to puzzle over interesting tasks invented by classmates.

Project objectives:

Expected results

After completing the project, students will acquire the following skills:

personal:

Formation of personal meaning of learning and an active learning position;

Development of independence and personal responsibility for the completed creative product;

meta-subject:

Find the required information;

Select selected material;

Think over the logic of presentation of the selected material;

Plan, gradually monitor and evaluate your activities;

Be able to ask for help, listen and hear your interlocutor, conduct a dialogue, express your point of view and argue for it;

subject results:

Be able to

Questions guiding the project

Fundamental question:

Can we become publishers of an educational, entertaining and creative magazine?

Problematic issues:

How to create your own magazine?

Can we create a magazine ourselves?

What do we need to know to be able to create a magazine?

What do you like when you read magazines?

How will our magazine differ from ordinary magazines for children?

What should we name our magazine?

For whom will we publish the magazine?

Study questions

Ability to select and create musical riddles.

Rules and aesthetics of designing magazine pages.

Ability to select information and illustrations.

Ability to present your magazine page.

Stages of work on the project:

Stage 1: preparatory

Goal: inclusion of students in the technology of activities, motivation to participate in the project.

Final product: introducing students to the necessary literature.

Stage 2: collection and systematization of information

Goal: developing interest in research activities, becoming familiar with different ways of collecting and systematizing information.

Final product: material selected by students

Reflection: What did you find? What else needs to be done? What does it do well?

Stage 3: project activities

Goal: to enable students to design their own project using selected material.

The final product: a magazine page.

Reflection: What did you have to think about while doing the work? What did you like most?

What were the difficulties? Did you often ask for help? How much of the work could you do yourself? What would you like to fix? What are you proud of?

Stage 4: presentation of projects

Goal: to provide an opportunity to present your page, show what you have achieved, to interest classmates in the tasks of your page, to receive support and praise.

Reflection: What did your classmates like? What helped you perform? What prevented you from presenting the project? Would you like to participate in the creation of pages of other thematic magazines?

Final product: Children's Music Magazine.

Project Matrix