(from the experience of teaching at the Faculty of Music at the Russian State Pedagogical University named after A.I. Herzen)
Ovsyankina Galina Petrovna,
Doctor of Arts,
professor of the department of musical education and education
Russian state university them. A.I. Herzen
Abstracts of the speech
at the round table "Space outlook: origins, problems, development prospects",
1. There is no doubt about the connection between man and everything that exists with the Cosmos. This is evidenced by the ancient scientific knowledge not to mention mythology and sacred teachings. But a person tends to "forget" the previous experience. If we talk about music, then it is enough to recall the ideas about it in Ancient Assyria or in Ancient China (see works on musical culture ancient east K. Zaks, ancient world R.I. Gruber and others).
2. From the research of our days, the dissertation of Professor Russian Academy music to them. Gnesinykh E.V. Vyazkova “Processes of Musical Creation: Comparative Textual Analysis” (Moscow State Conservatory named after P.I. Tchaikovsky, 1999), articles by this author on the typology of the composer’s creative process, on the nature of intertextual echoes in artistic texts (see: Processes of Musical Creation: Collection of Proceedings of the Gnessin Russian Academy of Sciences / Edited by E. V. Vyazkova, Moscow: 1999, 2001, issue 3, 4), etc.
Until the 1990s the principles of classification of the composer's creative process were based on material sources (primarily autographs). The process of composer creativity was divided into two main types: “Mozartian” and “Beethovenian”, according to the terminology of the Russian musicologist N.L. Fishman. In foreign psychology, these terms correspond to analogues belonging to the German philologist and musicologist R. Westphal: “intuitive” (“Mozartian”) and “rational” (“Beethovenian”) types of creativity.
Classification of the types of the creative process of the composer E.V. Vyazkova is based on the recognition "information field" in Cosmos and proceeds from the answer to the question: Where and how do ideas come from? .
1) writing by inspiration,
2) rational creativity,
3) creativity-game,
4) creativity according to the model,
5) creativity as automatic writing,
6) creativity based on the self-development of ideas.
3. The urgency of the problem of communication between man and the Cosmos is enhanced by the fact that today pseudo-musical “garbage” dominates all over the world, which fills the radio and television air, the Internet, etc., forming the basis of the sound space of society. All this "information" rises to the heights and its action is tantamount to poisoning clean waters and air space. In this situation, the fate of children and youth is especially sad.
4. The indisputability of educating young people a conscious attitude to the connection of all human life with the geocosmos is beyond doubt. In pedagogical practice at the university level, the question arises: within the framework of which discipline to include this information, transforming it, among other things, into the field of student profiling.
A "lucky" case is presented when teaching the subject "Modern problems of science and education" (federal component, master's degree, 1st year). The practice of teaching this subject at the Faculty of Music of the Russian State Pedagogical University. A.I. Herzen shows that the topic "Geocosmic influence on man" should be one of the first in the curriculum and take at least 6 academic hours (three "pairs") of study time. Its effectiveness is enhanced in combination with watching the scientific documentary film "Consciousness on the Eve of the Revolution" (International Conference on Cosmism, ICR).
O.D. Volchek "Geocosmos and Man" (St. Petersburg, 2006).
5. Within the framework of the topic, we touch upon a group of such important issues as: the relationship between man and the Cosmos, the influence of space factors on man, gravitational forces, the role of environmental disturbances; modern ecological crisis, its impact on culture; formation of ecological psychology (R. Barket); the problem of future shock (A. Toffler); the formation of Universal History (D. Christian), its main provisions.
The concept of cosmization of sciences is given. The role of the ideas of V. Vernadsky, N. Timofeev-Resovsky, N. Roerich, K. Tsiolkovsky, A. Chizhevsky, P. Sorokin, L. Gumilyov, V. Bolgov, N. Moiseev is revealed. New theory of the planetary system G. Vasilyeva. Noosphere. The concept of the psychosphere (A. Krylov). The problem of sexual demorphism, the impact of geocosmic factors on it. electromagnetic fields and biomagnetism; their influence on human physiology and psyche; problems of heredity. The concept of critical periods of life, their role in human development. The problem of giftedness; modern "crisis of genius" (statistical data of E. Maksimov, researches of V. Efroimson, V. Rudnik, A. Dubrov, etc.). Theory of passionarity. Ideas of V. Vernadsky, L. Gumilyov.
The relevance of the theory of sociodynamics of P. Sorokin is touched upon. Characteristics of art in the context of the doctrine of the three main cultural epochs. Current state. Synergistic approach and principles of self-organization. Environment and heredity, a modern view of the problem in scientific and educational contexts. Adaptation to external environment, types of adaptation. The concept of an archetype (K. Jung). Sociocultural adaptation as the highest type of adaptation. The purpose of science, religion, art in the process of adaptation. The problem of Westernization of culture today.
Communication of art with geocosmic factors. Conjugation of the evolution of music, musical thinking in the aspect of geocosmic influence. Content analysis data regarding the tonal development of music. Prospects for musicological research in this scientific area.
6. Given the fact that teaching is conducted at a pedagogical university, we also included in the curriculum the topic “ Children of the New Consciousness: Discussing the Problem”, which seems to be interconnected with the cosmic worldview. Within the framework of this topic, questions such as the nature of this phenomenon are raised: sociological, pedagogical, psychological aspects. Characterization of different points of view. Questions of the terminological apparatus, analysis of terminological differences in foreign and Russian science. Generalization of theoretical experience in studying the problem in Russia and foreign science: Sh.A. Amonashvili, E.N. Chernozemova, A.A. Likhanova, L. Carroll, D. Touber and others. The role of journalism, the media in the distortion and commercialization of the problem. Psychological characteristics of children of the new consciousness. Differences and commonality with the phenomenon of "prodigy". Specificity of hyperactivity in children of the new consciousness. Moral criterion as a basis psychological characteristics children of the new consciousness. Their adaptation in society.
The problem of pedagogical approach. Organization educational institutions and educational process in "traditional" educational institutions for children of the new consciousness: primary, secondary, higher levels. Creation curricula, curricula, teaching aids etc. for all levels of education. The current state of society in relation to the children of the new consciousness. The harmful effects of drug intervention in the "treatment" of the psyche. Analysis of Internet resources.
7. The study of these topics involves definite purpose and corresponding pedagogical tasks. The goal is to highlight the main set of problems on geocosmic influence, which is classified into two components: 1) professional, 2) general humanitarian. The latter is associated with the development of norms of behavior in society, which each of the graduates must translate into their domestic and work environment.
Pedagogical tasks:
1) posing the problem of man's connection with the Cosmos as the most important component of consciousness;
2) identification of moral guidelines that determine the individual's understanding of himself in unity with the universe;
3) attitude towards music as a carrier of sacred information;
4) awareness of one's mission as a musician and teacher;
5) carrying this knowledge into all structures of education.
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Publishing house "Union of Artists", 2007. - 240 p.
"Musical Psychology" is a concentrated presentation of the main material in this discipline. The publication is addressed primarily to students of music faculties pedagogical universities, performing and theoretical-composing faculties of conservatories, as well as representatives of other humanitarian specialties, students of music, music and pedagogical schools, colleges and lyceums, students of universities for improving pedagogical qualifications.
All topics of the course are classified into five parts, reflecting various aspects of musical psychology. The publication includes an extensive bibliography. It summarizes the results of many years of practical experience in teaching this discipline at the Faculty of Music of the Russian State Pedagogical University. A. I. Herzen.
Content.
Musical psychology: history and key concepts.
Musical ability is a cornerstone problem of musical psychology.
The concept of musical abilities and musicality.
Sensory musical ability.
Intellectual musical ability.
Problems of private musical abilities.
The concept and structure of musical talent.
The inheritance of musical talent.
h. Musical perception.
What is musical perception. Common features.
Psychological mechanisms of musical perception.
The role of musical perception in intellectual and emotional development person.
Musical perception and age.
Some contemporary issues musical perception.
h. The creative process of the composer.
The creative process of the composer in the historical aspect.
Psychological features of the composer's creative process.
Variety of concepts of the composer's creative process.
About individual methods composer's work.
Material for studying the creative process of the composer.
The problem of educating a young composer.
h. The psychological aspect of musical performance.
Historical and psychological aspect of performing arts
Psychological problems of interpretation.
Artistry and variety exposure.
Psychology of preparation for public speaking.
h. Problems of musical psychology in musical upbringing and education.
The problem of defining and developing musical abilities.
Musical prodigies: questions and answers.
Education of musical perception as the basis of musical culture.
Psychology various kinds activities in music lessons.
The role of associativity in music education.
Psychological perspective of the leading foreign musical and pedagogical systems of the 20th century.
The psychological perspective of the leading domestic musical and pedagogical
systems of the 20th century.
Within the framework of the Federal Target Program
"Culture of Russia"
admitted educational- methodical association
on directions pedagogical education
in quality textbook for students higher training establishments,
students on direction 050600 (540700)
artistic education
Reviewers:
doctor of art history, member of the Union of Composers of Russia, professor H. BUT. Solomon (St. Petersburg Humanitarian University of Trade Unions),
Candidate of Art History, Associate Professor And. H. Naletova (Russian State Pedagogical University named after A. I. Herzen).
OvsyankinaG. P.
Musicalpsychology. Publishing house "Union of Artists", 2007. - 240 p.
"Musical Psychology" is a concentrated presentation of the main material in this discipline. The publication is addressed primarily to students of music faculties of pedagogical universities, performing and theoretical-composing faculties of conservatories, as well as representatives of other humanitarian specialties, students of music, music and pedagogical schools, colleges and lyceums, students of universities for improving pedagogical qualifications.
All topics of the course are classified into five parts, reflecting various aspects of musical psychology. The publication includes an extensive bibliography. It summarizes the results of many years of practical experience in teaching this discipline at the Faculty of Music of the Russian State Pedagogical University. A. I. Herzen.
18YU 978-5-8128-0075-8 BBK 88.4 Ovs34
© Publishing House "Union of Artists". 2007
© G. Ovsyankina, 2007
© E. Grosman, design, 2007
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Ovsyankina G. P. Musical psychology. Publishing house "Union of Artists", 2007. ... Rozhdestvensky - Paganini with a baton" [Ovsyankina G., 1999.
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The proposed lectures on musical psychology are intended for students of various specialties, primarily for future teachers. The lectures arose as a result of summarizing fifteen years of experience in teaching musical psychology and related disciplines at the Russian State Pedagogical University. A. I. Herzen. The purpose of this publication is to outline the main provisions of musical psychology and consider them in the context of pedagogical and creative activity. We have set the task to acquaint future music teachers (general and special music education), musicologists, composers, performing musicians, sound engineers, etc. with key theoretical material on the history and theory of musical psychology from the standpoint of modern science, to trace the connection between the categories of musical psychology and musical creativity . It is impossible to cover all the variety of concepts related to musical psychology in one lecture publication, especially since this science is rapidly developing and there is still no consensus on a number of issues in it today.
The principle of selection, content and organization of the material presupposes, firstly, a connection with the future profession of students, and secondly, an orientation towards the main categories of musical psychology. As a result, the lecture course consists of five parts devoted to the general provisions on musical abilities, musical perception, the psychology of the composer's creative process, musical performance, musical upbringing and education.
Lectures are based on classical and latest works on various issues of musical psychology: B. M. Teplov, E. V. Nazaykinsky, M. G. Aranozsky, V. V. Medushevsky, K. V. Tarasova, A. N. Gotsdiner , A. I. Mucha, V. M. Blok, L. L. Bochkareva, E. V. Vyazkova, A. I. Klimovitsky, A. S. Sokolov, N. P. Korykhalova, L. Mackinon, M. S. Starcheus, D. K. Kirnarskaya, collections of the Moscow State Conservatory. P. I. Tchaikovsky "Nail ti51kiz" (ed. M. S. Starcheus), Russian Academy of Sciences. Gnessins “Processes of musical creativity” (ed. E. V. Vyazkova), “Perception of music” (ed. V. Maksimov), etc. The lectures reflect material from our programs - short lecture notes - on the psychology of musical creativity and the psychology of musical education at school, published in 1995 by the Astrakhan Regional Institute for the Improvement of Teachers. In preparing the lectures for publication, the few textbooks on musical psychology that have been published in our country, primarily the textbooks of A. L. Gotsdiner and V. I. Petrushin, were taken into account.
We hope that acquaintance with these lectures will help students to freely navigate the problems of musical psychology, independently study literature and apply the acquired knowledge in pedagogical, creative activities, as well as in scientific work.
Introduction
Musical psychology: history and key concepts