Health-saving technologies in musical education
Music is an integral part of human life, and therefore it should be diverse, like the world that is around us. An innovative approach to the pedagogical process in kindergarten expands the possibilities of using a variety of musical genres. Music has a positive effect on preschoolers. Sometimes aggressive children, entering the music room, change, listen to the music and calm down.
During the stay of children in the kindergarten, it is necessary to create the most optimal conditions. This is the main task of the teaching staff, because Kindergarten for a child is his second home. In the morning, when receiving children, you can turn on recordings of classical and modern works with a major, sunny sound. At the moment, the music will correct the psychophysical state of the child.
Continuing the theme of the health-improving and preventive orientation of musical accompaniment, it is necessary to use the technique of musical reflex awakening of babies after sleep. Here you should consider the type of nervous system of the child. This takes 10 minutes. For badly sleeping children - 1-2 minutes and 6-8 minutes - for those who slept soundly. Such an individual awakening has a great corrective and preventive effect. To wake up children, it is necessary to use quiet, gentle, light music so that the awakening does not recognize negative emotions. It is necessary to use a constant musical composition, which will develop a kind of reflex in children. After a month, the musical composition can be replaced with another one.
During the awakening of children, attention should be paid to the text spoken by the teacher against the background of music. The teacher should pronounce the words gently and softly.
Speaking about non-traditional forms of using music, it should be remembered that music does not always have to sound constantly, from the first to the last minute of the session.
1. Not all classes need to be necessarily voiced by means of live accompaniment or phonograms.
2. Musical accompaniment can be partial:
To create an appropriate associative background at the beginning of the lesson;
To organize children, increase their attention, concentration;
Music can sound at the end of the lesson as a final final fragment and carry a certain attitude for the future;
Musical accompaniment can also be used during the "functional peak" to stimulate the emotional activity of children.
3. Musical accompaniment can be combined, combining both live accompaniment and independent playing of children on the simplest musical instruments, listening to records and audio recordings.
Characteristics of health-saving technologies in preschool educational institutions
Today, doctors are not able to cope with the problems of deteriorating health, so the question arises of preventive work, the formation of a conscious attitude to health and a healthy lifestyle (HLS). Propaedeutic work in this direction falls on the shoulders of teachers.
To what extent are modern teachers ready to implement the principles of health-saving technologies in the educational process?
How open are they to cooperation with doctors?
Are they able to conduct a dialogue with parents and take joint actions to preserve and improve the health of children?
An analysis of the current situation gives very sad answers to the questions posed.
Most teachers adhere to the definition of health, often referring to its physical component, forgetting about the socio-psychological and spiritual and moral. It is important to reverse this trend and be guided by the definition of health as a multifaceted concept that includes the physical, socio-psychological and spiritual and moral aspects.
The choice of health-saving pedagogical technologies depends on the program on which teachers work, the specific conditions of the preschool educational institution (DOE), the professional competence of teachers, as well as indications of the incidence of children.
Health-saving educational technologies are the most significant among all known technologies in terms of the degree of impact on children's health. Their main feature is the use of psychological and pedagogical techniques, methods, approaches to solving emerging problems. They can be divided into three subgroups:
Organizational and pedagogical technologies that determine the structure of the educational process, contributing to the prevention of states of overwork, physical inactivity and other maladaptive conditions;
Psychological and pedagogical technologies associated with the direct work of a teacher with children (this also includes psychological and pedagogical support for all elements of the educational process);
Teaching and educational technologies, which include programs to teach health care and the formation of a culture of student health.
Modern health-saving technologies
Types of health-saving pedagogical technologies. Time of the day. Features of the methodology. Responsible.
1. Technologies for maintaining and promoting health
Stretching not earlier than 30 min. after meals, 2 times a week for 30 minutes. from middle age in a gym or music room or in a group room, in a well-ventilated area Recommended for children with sluggish posture and flat feet. Be wary of disproportionate stress on the muscles Head of physical education.
Rhythmoplasty not earlier than 30 min. after meals, 2 times a week for 30 minutes. from middle age. Pay attention to the artistic value, the amount of physical activity and its proportionality to the age indicators of the child. Head of physical education, music director.
Dynamic pauses during classes, 2-5 min., as children get tired. Recommended for all children as a prevention of fatigue. May include elements of gymnastics for the eyes, breathing exercises and others, depending on the type of activity. Educators.
Mobile and sports games- as part of a physical education lesson, on a walk, in a group room - small with an average degree of mobility. Every day, for all age groups, the Games are selected according to the age of the child, the place and time of its holding. In the preschool educational institution we use only elements of sports games. Educators, head of physical education.
Relaxation. Any suitable location. Depending on the state of children and goals, the teacher determines the intensity of the technology. For all age groups You can use calm classical music (Tchaikovsky, Rachmaninov), sounds of nature Educators, head of physical education, psychologist.
Aesthetic technologies. They are implemented in the classes of the artistic and aesthetic cycle, when visiting museums, theaters, exhibitions, etc., decorating premises for holidays, etc. For all age groups. It is carried out in the classroom under the preschool educational program, as well as according to a specially planned schedule of events. Of particular importance is work with the family, instilling aesthetic taste in children. All preschool teachers.
Finger gymnastics - from a younger age individually or with a subgroup daily. Recommended for all children, especially those with speech problems. It is carried out at any convenient time interval (at any convenient time). Educators, speech therapist.
Gymnastics for the eyes. Daily for 3-5 minutes. at any free time; depending on the intensity of visual load from a young age. It is recommended to use visual material, showing the teacher. All teachers.
Breathing exercises. In various forms of physical culture and health work. Provide ventilation of the room, the teacher instructs the children on the mandatory hygiene of the nasal cavity before the procedure. All teachers.
Gymnastics is invigorating. Daily after daytime sleep, 5-10 min. The form of carrying out is different: exercises on beds, extensive washing; walking on ribbed boards; easy running from the bedroom to a group with a difference in temperature in the rooms and others, depending on the conditions of the preschool educational institution.
Corrective gymnastics. In various forms of physical culture and health-improving work The form of carrying out depends on the task and the contingent of children. Educators, head of physical education.
Orthopedic gymnastics. In various forms of physical culture and health work. It is recommended for children with flat feet and as a prevention of diseases of the supporting arch of the foot.
CONSULTATION
"Health-saving technologies in musical education"
Prepared by: Music Director
MDOU No. 377
Emelyanova Tatyana Mikhailovna
Methodological development "The use of music and computer technologies in the activities of a music director"
A modern educational institution needs a teacher who owns all the capabilities of a modern computer sound “canvas”. A music director who is proficient in information technology in the same way as a piano keyboard is able to captivate children with various forms of working with the musical repertoire, not only thanks to their vocal abilities, academic knowledge, but also computer technology. Obviously, the technical principle should not suppress either the teacher or the pupil of the artist-creator with a delicate ear for music and uncontrollable imagination.
Not every teacher who uses ready-made multimedia tools in his practice is satisfied with their quality, construction, management, level of content, etc. The educational process is highly individual, requiring a differentiated approach, depending on a large number of variables.
Therefore, a preschool teacher, a music director, who thinks quite freely and creatively, should be able to independently prepare multimedia material for classes, holidays, etc.
Along with the traditional musical instruments that music education is focused on, music-computer technologies (MCT) with a wide range of possibilities are becoming more widespread. The musical computer is becoming indispensable in the activities of a composer, arranger, musical designer, music editor, and is increasingly being used in teaching. These technologies open up new opportunities for creative experimentation, expanding the musical horizons, the artistic thesaurus of students, and this makes learning to master them especially relevant.
New information technologies focused on modern music education create conditions for the training of a musical figure who, in addition to traditional musical disciplines, owns a musical computer as a new musical instrument.
The most important areas of application and development of ICT today are:
MCT in professional music education (as a means to expand creative possibilities);
ICT in general education (as one of the means of education);
ICT as a means of rehabilitation of people with disabilities;
ICT as a section of the discipline "Computer Science", "Information Technology";
MCT as a new direction in the education of technical specialists, associated, in particular, with the modeling of elements of musical creativity, sound-timbral programming, which leads to the emergence of new creative technical specialties.
The use of MCT in the music education of a preschool organization solves the following tasks:
1. Significantly intensify the development of musical ear and thinking, which is due to their intensive learning capabilities based on the integration of logical-perceptual forms of activity. Understanding the elements of the musical language occurs with the help of sensations and visual representations, which complements the possibilities of verbal communication. Non-creative forms of teacher's work are transferred to the computer, which makes it possible to demonstrate
2. expressive possibilities of harmony (primarily constructive logic), observe the patterns of musical morphology and syntax, simplifies the acquisition of orientation skills in the intonation-semantic plane, hearing and understanding the content-figurative plan, contributes to the convergence of educational material with artistic practice, and finally enriches the timbre the hearing of pupils, their ideas about the colorful and multidimensional quality of sound;
3. Musical training programs can be widely used in those cases when intensive restoration of skills is required after a long break in training or when it is necessary to quickly and firmly form special musical skills.
USE OF MULTIMEDIA PROGRAMS IN THE EDUCATIONAL PROCESS
When creating a multimedia program, it is necessary to clearly imagine for whom and for what it is being created. The content of information slides can be compiled on any topic of the curriculum of the subject, or be of a developmental nature for classroom and / or extracurricular activities.
A multimedia program is a combination of dynamics with reasonable amounts of transmitted information. This is a synthesis of computer technologies that combines sound, video clips, information, still and moving images. Unlike video films, they need a much smaller amount of information to be transmitted.
The creation of multimedia programs, telecommunications projects involves the development of a script, concept, directing, editing, editing, sound design (if necessary).
To create a multimedia program, first of all, a script is developed and the sequence of presentation of the material is determined, taking into account the percentage of use of the text, visual and sound range. It is quite obvious that it is not practical to create a multimedia program including only textual information. Such material can be prepared within the Microsoft Word program. When searching for information, you can use links to collections of educational sites, sites with a selection of images.
When selecting material for a multimedia program, it must be remembered that we are talking about creating such information that will flow and grow in dynamics as the student progresses in the proposed material. This is especially important for individual learning, when the user can stop, write down the main thing for him, go back to clarify concepts and move on (such options are provided).
It must be remembered that the presented material is a capacious presentation of the accumulated material, where the textual presentation is often replaced by symbols, tables, diagrams, drawings, photographs, reproductions.
Selected video and sound for your program.
All this provides the user with the most comfortable conditions for the perception of the material. Multimedia elements create additional psychological structures that contribute to the perception and memorization of the material.
Benefits of music lessons using multimedia presentations in the Power Point program:
- the use of animation and surprise moments makes the cognitive process interesting and expressive;
- children receive approval not only from the teacher, but also from the computer in the form of pictures-prizes, accompanied by sound design;
- a harmonious combination of traditional means with the use of presentations in the Power Point program can significantly increase the motivation of children to study.
Designing classes using multimedia technologies is a completely new direction in the activities of a teacher, and it is here that you can apply all the accumulated experience, knowledge and skills, and a creative approach. Classes held in schools using electronic educational publications will be remembered by children for a long time. At the same time, of course, the role of the teacher, which cannot be replaced by any computer, remains the most important in the education of musical taste.
Summarizing all of the above, we can conclude that the creation and use of multimedia lesson scenarios is one of the promising areas for the use of information and communication technologies in schools. However, it is necessary not to forget about the scientific nature, expediency, logic of presentation of multimedia information.
Educational interactive games with triggers
What is a trigger? A trigger is an animation tool that allows you to set an action on the selected element, the animation starts on click.
It is the use of triggers in educational presentation games that makes them interactive.
Consider the algorithm for recording animation time using a trigger.
1. We will select the necessary pictures and think over the questions, if any. It is better to rename the names of the pictures to convenient ones before placing them in the presentation. The object of animation and triggers can be both pictures and text objects with which, according to the plan, the action will take place.
2. On the slide, place the objects to which the animation and trigger will be applied. Think about the content of the use of animation, for example:
Selection: Rotate or Resize;
Travel paths: Direction of travel or Draw custom path. (Fig.1)
Important: Do not take animation Entrance
3. Bind the animation effect to the object so that it starts on the slide on click. We want the object to disappear when clicking on incorrect answers, for example, and when clicking on the correct answer, it will increase with a sound signal. To do this, select the object or “click” the arrow next to the effect in the task pane (circled rectangle) to open the drop-down menu and select the Time command (Fig. 2).
In the open window, activate the Switches button, it is responsible for the operation of the trigger. Select - Start effect on click. Attention! Select from the list on the right required an element from the proposed options for animation effects created by us. (Fig.3).
After this action, we will see the word “trigger” above the object in the Animation settings task area (Fig. 4). The trigger has been created.
When showing a presentation, the arrow cursor on the object with the trigger turns into a palm cursor.
4. Repeat all actions with the remaining objects.
5. You can check yourself in the Animation Settings: each object with the same name has an animation, a trigger and a music file (if any).
6. Now let's set up the objects for the appearance of sound. Attention! The sound file must be small! Insert a sound (applause, etc.) through the menu Insert - Sound - select the desired file (from a file, from the organizer of clips, own recording) and play the sound on click (Fig. 5).
Drag the sound to the desired object. We set the microphone icon to invisible mode (Fig. 2) (Effects parameters - Sounds parameters - Hide the icon during the show, set V).
7. Adjust the sound: select the "sound" object or "click" the arrow next to the sound in the animation area (circled rectangle) to open the drop-down menu, and select the Time command (Fig. 2).
8. Attention! (Fig.6)
Beginning - After the previous one.
Start effect on click - find the object with which the music will sound.
9. Add a button to go to the next slide. We select in the menu Insert - Shapes - Control buttons (Fig. 7). We draw below (the cursor became +) the selected figure. The Action Settings window opens.
10. Perform the Action settings (Fig. 8): On mouse click - Follow the hyperlink - Select the slide to go to in the window that opens - OK.
11. When the presentation is shown, the arrow cursor on the Control button turns into a palm cursor, just like on the object with a trigger.
Applying triggers is not always convenient, for example, to WordArt objects. In them, only the surface of the letters is active and it is difficult to get into it with the cursor. In such cases, the method of transparent triggers is used, when the trigger is assigned not to the object itself, but to a transparent figure superimposed on this object.
1. Insert menu - Shapes - select, for example, a rectangle and draw it on the WordArt object. Select it, right-click and select the "Shape Format" line: Fill - Color white, transparency 100%; Line color - No lines.
2. We apply animation to the WordArt object, and in it - a trigger to the object. The surface of the rectangle is active, which means it is easier to hit it with the cursor.
For some games, it is convenient to use moving triggers, for example, “shooting” at a moving target, “Bubble Pop”, etc.
- Objects start moving automatically when changing slides: Animation Paths of movement - Start of the first object On click, subsequent ones - With the previous one.
- Add animation to objects. The speed of the object movement in Animation is set (Fig.3) in the Time tab.
- To prevent unintended slide transitions when you accidentally click past during the game, uncheck the “On click” slide change and set a control button or an object with a hyperlink to the next slide.
A hyperlink is a highlighted object (text or picture) that is linked to another document or location within that document and responds to a mouse click.
First, we create the required number of slides: we recommend using themes or layouts "Title Only" or "Blank Slide".
To create one level of an interactive game, we need three slides (one - with a task; the second - with the value of an incorrect answer and returning to the slide with the task; the third - with the value of the correct answer and moving to the next level) (Fig. 9).
On the slide with the task we place objects that we will link with a hyperlink to another slide (place in the document)
Select the object, go to the "Insert" tab, select the "Hyperlink" command (Fig. 10)
In the window that appears (Fig. 11), in the "Link to" field, select "Place in the document". In the "Select a place in the document" field, click "Slide Title", find the slide that you want to use as the target of the hyperlink (you can see it in the "View Slide" window). Click "OK".
If there is a need to remove a hyperlink, in the same window (Fig. 11) there is a button "Delete hyperlink", click "OK".
We connect each object on the slide with the task with a hyperlink to the slide that is necessary in meaning.
In order to return to the slide with the task or go to the next level of the game, you can create a text hyperlink, as in Fig. 9, or you can use the Control buttons. Select the menu Insert - Shapes - Control buttons (Fig. 12).
We draw below (the cursor became +) the selected figure. The Action Settings window opens. We perform the Action Settings (Fig. 13): By clicking on the mouse - Go to the hyperlink - Select the slide to go to in the window that opens (we recommend SLIDE) - a window will open where you can see the slide you are going to - OK.
We can drag the control button to any place on the slide, reduce or increase its size, use the Drawing Tools to change the color, fill, write text, etc.
We create the number of game levels we need in a similar way and we can start the game. Additionally, you can attach sound files.
RECORDING AND CUTTING AUDIO
You can record and edit an audio file in a professional studio with special programs, or you can use improvised tools - standard programs and utilities of the Windows operating system. In addition to this, we need ready-made files with different resolutions, a microphone for voice recording and some skills.
sound recording
You can record a small sound file using the Sound Recorder program, which is a Windows system program designed for recording, mixing, playing and editing sound recordings. In addition, the Sound Recorder program allows you to link sounds to another document or insert them into it. Sound source - microphone, CD-ROM drive or external device.
Open the program: Start Menu - All Programs - Accessories - Entertainment - Sound Recorder. To record audio, select the New command from the File menu. To start recording, click the Record button. To stop recording, click the Stop button. We get a file with WAV resolution, the sound duration is no more than 60 seconds.
To mount several sound files into one or paste one file into another, choose File - Open. Find the file you want to edit, move the slider to the location where you want to paste the other file. On the Edit menu, choose Insert File and double-click the file you want to open. The duration of the sound can be increased in this way.
The file can be played in reverse order, for this we enter the Effects menu - Invert and click the Play button, in the Effects menu, change the file - the Add echo command.
You can overwrite a music file using a karaoke player. The KAR or midi file is adjusted at the desired tempo and key, then turn on Playback of the entire file or its fragment on the player and at the same time Record in the Sound Recorder program. We get the output and save the file with WAV resolution.
Windows Movie Maker
Another option for recording and editing files (sound and video) using Windows Movie Maker.
Audio recorded with a microphone is saved as a Windows Media format audio file with a .wma extension. By default, the audio memo file is saved in the "Comment" folder located in the "My Videos" folder on your hard drive. The program allows you to add sound effects: the volume of the sound gradually increases to the final playback level or gradually decreases until the sound disappears completely.
To edit the sound, open the file through Record video - Import sound or music, a note will appear in the central field, which we drag to the timeline below.
On the right in the window, turn on Play, use the Split clip into parts button (Fig. 3) when listening. Unnecessary fragments remove Del on the keyboard, pull up the remaining fragments and end up with a potpourri, which we then save on the computer in the Windows Media Audio File format.
The same thing happens with a video file, only through Import Video.
Trim mp3 file online
Your attention is presented to the online cutting of music on the Internet. (http://mp3cut.foxcom.su/) . In the past, we have been looking for sophisticated audio file editing programs. With the free service of the site mp3cut.ru, cutting has become easier, faster and more convenient (Fig. 4).
Step 1. Click the "Download mp3" button, select the required file from your computer and wait for it to load. Once the file is editable, the track will turn pink and the play button will turn red.
Step 2.Now you can cut the mp3 file. Runners-scissors expose the desired segment of the composition.
Step 3. Click the "Crop" button, the download will start instantly.
Features of the on-line program for cutting music
Music cutter supports most audio formats: mp3, wav, wma, flac, ogg, aac, ac3, ra, gsm, al, ul, voc, vox, which allows you to use the online service as a converter of audio files to mp3: wav to mp3, wma to mp3, ogg to mp3, flac to mp3, etc.
The presence of the function of amplifying / attenuating the sound at the beginning and at the end of the selected segment. Thanks to this option, you can create a ringtone yourself that will not scare you with a sudden start or suddenly end at the end.
Double the cut volume. The function allows you to increase the volume of cutting, which is often necessary, especially when creating a ringtone.
The duration of cutting has no limit. And the segment is selected exactly to the milliseconds. Using the keyboard (left / right arrows), you can set very precisely the beginning and end of the musical segment.
Possibility of multiple trimming of one audio file without additional download. those. it is possible to create several ringtones from one song, melody, musical composition.
File size is almost unlimited
BIBLIOGRAPHY:
1. Altshuller, G.S. Creativity as an exact science: The theory of inventive problem solving / G.S. Altshuller. - M., 2008. - 84 p.
2. Gorbunova I.B. The Phenomenon of Music and Computer Technologies as a New Educational Creative Environment // Izvestiya RGPU im. A.I. Herzen. 2004. No. 4 (9). pp. 123–138.
3. Graphic editor Paint. PowerPoint Presentation Editor (+ CD) /under. ed. Zhitkova O.A. and Kudryavtseva E.K. - M.: Intellect-Center. 2003 - 80 p.
4. Ermolaeva-Tomina, L.B. The problem of development of children's creative abilities / L.B. Ermolaeva-Tomina // Questions of psychology. - 2009. - No. 5. - P.166-175.
5. Krasilnikov I.M. Electronic musical creativity in the system of art education / I.M. Krasilnikov. - Dubna, 2009. - 496 p.
6. Plotnikov K.Yu. Methodical system of teaching informatics using music-computer technologies: monograph. SPb., 2013. 268 p.
7. Tarasova K.V. Musicality and its constituent musical abilities // Musical director. - 2009. - No. 5.
8. Teplov B.M. "Psychology of musical abilities" - M., 1978.
9. Ulyanich, V.S. Notes on computer music / V.S. Ulyanich // Musical life. - 2008. No. 15.
10. Creating presentations in Power Point - [Electronic resource]
Federal Agency for Education
State educational institution of higher professional education
SAINT PETERSBURG STATE UNIVERSITY OF ECONOMICS AND FINANCE
General Economic Faculty
Abstract on the topic:
Information technology in music
St. Petersburg 2009
Introduction
1. New technologies and music
2. Sound recording
3. Prospects for the development of information technologies in music
Bibliography
Introduction
One of the main characteristics of the post-industrial period should be considered the rapid development of electronic technologies that contributed to the automation of the storage and processing of information using computers.
The emergence of sufficiently powerful computers and new computer technologies has had a huge impact on the formation of modern musical culture. The capabilities of modern computers are increasing every day in parallel with advances in the scientific and technical field and developments in the field of programming.
The time has come for a mature constructive relationship, a time for the construction of a common building, where both parties will feel an increasing need for mutually enriching projects. So different and once seemingly distant spheres of human intellectual activity over the last decades of the past century have not only been imbued with mutual respect, but one can already safely predict the brilliant fruitful development of their cooperation.
The obviousness of the fundamentally new opportunities provided by the musical computer in the development of the professional thinking of a musician in all areas of musical creativity will inevitably lead to the increasing introduction of music and computer technologies, which will significantly supplement and even change the very nature of the work of a composer, musicologist, performer and teacher.
Numerous experiments with electronic (and not only) machines capable of producing sound have led to the emergence of various ways of writing music, and hence to the emergence of various styles and directions. The new sound, unusual and unaccustomed to the ear, became an innovation in music. Many well-known modern composers, for example, K. Stockhausen, O. Messiaen, A. Schnittke, despite the complexity of working with technology, created works using new electronic instruments or only on them.
The development of electronic computing itself already at an early stage led her to "invasion" of music. Already in the 50s, using the very first computers, scientists made attempts to synthesize music: to compose a melody or arrange it with artificial timbres. This is how algorithmic music appeared, the principle of which was proposed back in 1206 by Guido Marzano, and later applied by V.A. Mozart to automate the composition of minuets - writing music according to the loss of random numbers. Algorithmic compositions were created by K. Shannon, R. Zaripov, J. Xenakis and others. In the 80s, composers had the opportunity to use computers equipped with special programs that could memorize, play and edit music, and also made it possible to create new timbres, print scores of their own creations. It became possible to use a computer in concert practice.
So, today the computer is a multi-timbral instrument and an integral part of any recording studio. Undoubtedly, the very word "studio" for many people is associated with the concept of "mass culture" or "third layer", that is, with manifestations of pop culture and modern show business. Perhaps this is one of the main factors that attracts applicants when entering sound engineering or any other faculties, one way or another related to music and computer technologies. The question arises: what role does the introduction of computers play in the education of future music teachers?
It is quite possible that a certain timbre-rhythmic code of computer music will help to cure some diseases. The availability of computer technology and the convenience of software will create unprecedented conditions for musical creativity (musical “needlework”), comparable in part to the current avalanche-like spread of amateur music-making in pop and rock styles. The expressions: “my music”, “my home studio”, “my CDs”, “my video clips”, “my music site” (everywhere “my” means “created by me”) will also become familiar mass concepts. Everyone will be able to try himself as a composer, arranger, sound engineer, composer of new timbres, sound effects.
1. New technologies and music
The influence of new technologies on music can be traced from ancient times. Music has evolved along with the development of the means of its performance, that is, musical instruments. It is impossible to imagine, for example, Mozart's fortieth symphony played, say, on a branch sticking out of a stump. And that's where the music comes from. Some kind of troglodyte there in the Mesozoic era sat and pulled a branch from nothing to do. Another troglodyte walked by, heard sounds, caught some harmony in them and decided to try too. The third, the most intelligent troglodyte, guessed that it was better to pull not a branch, but some kind of fiber, for example, horsehair, made a frame for him from wood and pulled this same hair across it. This is approximately the story of the birth of the first stringed plucked musical instrument. I note that if the third troglodyte had not known the technology of wood processing, then nothing would have come of it.
In the future, with the development of mainly woodworking and metallurgical technologies, people began to notice the dependence of sound on the type of wood from which the frame is made. Also, the fragile horse hair gave way to a metal string. And somewhere in the two thousand years before our era, such instruments as the lyre or harp appear.
Over the entire period of human history from the invention of the lyre to the present day, a huge number of musical instruments have been created. But three groups have been most influenced by new technologies over the past one hundred and fifty years - keyboards, drums and strings (mainly guitar).
When electricity was discovered, people began to try to apply it in almost all areas of their activity. The classical piano was no exception. People tried to make string vibrations undamped, that is, they wanted the volume of the sound not to decrease over time, like wind instruments. As a result, the following design was invented: a contact was established under the key, which turned on the electromagnet. At the same time, as in an ordinary piano, the hammer hit the string, it began to vibrate, and when it reached the magnet, it was turned off by pressing the string on another contact. When the string, under the action of elastic forces, deviated back, the contact opened, and the magnet again began to work and attract the string to itself. Due to the fact that the string periodically touched the contact on the electromagnet, this instrument had a very sharp sound and therefore was not widely used.
Another keyboard instrument - the organ - suffered from another problem: its high cost and size. After all, each frequency needed its own pipe there, so classical organs occupied entire halls. Yes, and the furs for him had to be pumped continuously. With the invention of the electric generator, the question arose about its use in musical instruments - after all, if you rotate it at different angular speeds, then when you connect it to a speaker, you can hear sounds of different frequencies. The first instrument using this principle was invented in Chicago in the late eighties of the last century. It was named Telharmonium. Since there was a separate generator for each frequency, it occupied a whole basement. In this cellar, a musician, usually an experienced organist, sat and played. At the same time, the telephone was invented, and the first speakers.
And so, to listen to music, Chicagoans called a certain number and connected to the Telharmonium. Due to its bulkiness and complexity of manufacture and adjustment, telharmonium has not received a sufficiently wide distribution. However, later, on the basis of telharmonium, in the thirties of the last century, an American engineer Hammond created an instrument that very much resembled the sound of an organ. They called it the Hammond organ. It has become very popular due to its low cost and good sound. Also, the Hammond organ began to be used not only in classical music, but also in rock music, which was gaining momentum at that time.
Modern keyboard instruments - synthesizers - originated, in principle, from the Hammond organ. With the development of electronics, people tried to somehow improve its sound. Gradually, mechanical oscillators were replaced first by multivibrators and then by integrated circuits.
Also, with the further development of microelectronics, it became possible to obtain almost any timbre. In modern popular music, the synthesizer is king and god today. Because of its ease of use, it is now used by anyone who can play the piano even a little bit. Three classes of an ordinary music school are enough to play it more or less tolerably.
In the last decade, the synthesizer has gained a powerful ally - the computer. Modern computers, as you know, allow you to do whatever your heart desires. With the invention of sound cards for a computer, it became possible to insert chips with a bank of instruments from any modern synthesizer onto them. With the help of special sequencer programs, you can drive any melody into your computer and play it. It looks like a synthesizer. More recently, so-called software samplers have appeared. A sampler is a device that allows you to record a sound sample (in English sample, where the name comes from), indicate which note it corresponds to and, by connecting it to a synthesizer, play this timbre. Hardware samplers were expensive and difficult to handle, so writing a software sampler created a sensation among musicians. Now, in general, it was possible to get by only with a computer, knowing a little musical literacy and not being able to play on anything. The price-to-sound ratio of synthesizer and computer made them indispensable instruments for rock and pop musicians.
2. Sound recording
Since ancient times, people have tried to somehow perpetuate musical works.
After all, for a composer to play some of his compositions every time is the same as for an artist to re-paint his picture every time. Therefore, the musicians somehow thought about perpetuating their own works. The most technically simple, and therefore the most ancient method is musical notation.
It does not require any technical devices, except for a pen with ink and a piece of parchment, and then paper. Musical notation consists in the conventional designation of musical sounds on a sheet. An experienced musician, seeing these signs, immediately plays a melody in his head, and he can reproduce it almost the same as the original.
The invention of musical notation, of course, greatly contributed to the development of music as an art, but at first it was naturally different in different countries. In the process of spreading a civilized people over the earth, musical writing came to a certain standard. However, the writing that we now use is suitable for recording music, the roots of which lie entirely in classical European music. It is difficult for them to record, for example, Chinese, Indian or African music.
In the process of the formation of music as an art, a need arose for a more perfect method of sound recording than notes. After all, not everyone who loved music knew how to play something. Of course, rich people could afford to keep a court musician, or go to the theater to the concerts of some famous musician. And what about the poor, who can not afford either one or the other? It was they who invented the first devices that made it possible to play music without being able to play anything. These were hurdy-gurdies. In fact, in order to play the barrel organ, no musical knowledge and skills are required, just turn the handle.
The mechanical method of sound recording has been used over the past few centuries. They could, for example, record a piece for organ. Slits were made on a roll of paper in certain places, then this roll was scrolled between the organ pipes and bellows. Where there were slots, air passed into the pipes and sound was made. However, this method of sound recording had a number of disadvantages, in particular, the complexity of manufacturing such a roll, the unevenness of its movement caused an uneven sound. This method is not widely used.
At the end of the nineteenth century, the American Thomas Edison invented the phonograph. This invention is considered a turning point in the history of sound recording. A new method of recording sounds was applied - wave, that is, due to the fact that sound is a mechanical wave, it causes vibrations of the membrane, which are recorded on any medium. During playback, the recorded vibrations from the carrier are transmitted to the membrane, which oscillates and vibrates the air in which the waves arise.
The invention of wave sound recording made it possible to record any instrument, but what is there an instrument, in general, now any sound could be recorded. However, a lot of time passed from the invention of the phonograph to the invention of high-quality players and tape recorders. At first, the phonograph did not find recognition because of the terrible sound quality. But the further improvement of this method of sound recording and the invention of high-quality electric players and tape recorders dotted the i. They appeared in the forties and fifties of the last century.
It was in these conditions that rock music arose - the first truly mass music. It became massive precisely thanks to the invention of simple, high-quality and cheap sound recording devices. Do not confuse rock music and pop. Pops, also a product of new technologies, I devoted a separate chapter. Rock music is first and foremost an art. To create a quality work in this genre requires no less skill and talent, as well as for another art form.
The development of rock music is most closely associated with the introduction of new technologies in instruments and sound recording. One vivid example I have already given is the improvement of the lead guitar to the level of the Fender Stratocaster or Gibson Les Paul. Another impressive example is the invention of stereo players and stereo tape recorders. Monophonic players did not allow to achieve such sound quality, even if a rock band created something truly grandiose, it could not be conveyed to the masses, much was lost.
Approximately immediately after the invention of the stereo player, such masterpieces of rock appeared, The Beatles' album “Sgt. Pepper’s Lonely Hearts Club Band”, the rock opera Jesus Christ Superstar is the first and so far the only successful project to merge rock with the classics. Also at that time (the end of the sixties) the so-called "gadgets" for electric guitars appeared, which made their sound truly fantastic for that time, and to some extent contributed to the emergence of new styles, such as heavy metal. In principle, heavy metal is the same rock, only very loud and faster.
Sometimes rock is unfairly called the music of the sixties-seventies generation, evil tongues say that it is already dead. Actually it is not. With truly great works of rock, approximately the same thing will happen as with Mozart's Fortieth Symphony, Beethoven's Moonlight Sonata or Tchaikovsky's Swan Lake - they will never be forgotten. Due to the fact that the heyday of rock did not last long, new technologies are again partly to blame. Approximately in the mid-seventies, a new generation of musical instruments began: microprocessor - basically these were all sorts of different synthesizers, and a little later, computers. The next generation of youth has changed, and, as you know, youth is the mover of everything new and denies everything old. Rock became the music of the fathers, and therefore unfashionable. However, that new generation did not offer anything new, but stubbornly asserted that “rock and roll is dead, but I am not yet” (B.B. Grebenshchikov). The ease of use of synthesizers and computers has made them accessible to every fool, and now, perhaps, if in about fifty years to look at today's music, then maybe some masterpieces will be found that are now tightly clogged with pop.
3. Prospects for the development of information technologies in music
Nevertheless, we will try to "foresee" the directions that seem to be the most promising from the point of view of the future application of a musical computer. The most realistic for us is to assume that the technology of distance music education will be widely used. This means that, first of all, the history and theory of music, but, in part, practical advice, will become available at any geographical point remote from reputable educational institutions. Consequently, we can count on the fact that a much larger number of people who are passionate about music, this beautiful and powerful art, will possess scientifically reliable and practical musical knowledge. The computer is already ready today to offer a lot of things that will finally make it possible to realize the historically and socially mature slogan "Music for everyone!".
Easily and excitingly, all people will master musical literacy, as if learning their native language, as if adopting the tunes of her favorite songs from their mother, and the music computer will become a reliable guide for every inquisitive traveler to the World of Sounds. Thanks to a computer equipped with musical training programs based on medical and pedagogical methods, the deaf and dumb, for example, will hear music and, in the end, even speak (there are already methodological developments in this direction today).
Thanks to a computer equipped with musical training programs based on medical and pedagogical methods, the deaf and dumb, for example, will hear music and, in the end, even speak (there are already methodological developments in this direction today). It is quite possible that a certain timbre-rhythmic code of computer music will help to cure some diseases.
The availability of computer technology and the convenience of software will create unprecedented conditions for musical creativity (musical “needlework”), comparable in part to the current avalanche-like spread of amateur music-making in pop and rock styles. The expressions: “my music”, “my home studio”, “my CDs”, “my video clips”, “my music site” (everywhere “my” means “created by me”) will also become familiar mass concepts. Everyone will be able to try himself as a composer, arranger, sound engineer, composer of new timbres, sound effects.
Against the background of such a mass enthusiasm, the prestige and quality of music education will increase many times over, the content of which, thanks to the computer, will change significantly, become more high-tech and intensive, flexibly customizable for any specific tasks. Each music teacher in a special lyceum or a general school (it doesn't matter) will be fluent in music and computer technologies. Of course, he will be able to lead his subject in an interesting and exciting way, it will not be difficult for him to compose a song or dance, make full-sounding arrangements, form a bright school concert, record it on a digital disc with high quality and then give his pupils such a record as a memory of the wonderful time of childhood and youth .
It is possible that music-computer technologies will even more squeeze the labor-intensive musical professions, due to which, under the coercion of parents, not too diligent boys and girls are often deprived of their childhood happiness for 10-15 years in a row. The joy of momentary direct music-making will be brought to them by even more ingeniously designed synthesizers and musical computers. And only truly talented, enthusiastic and patient musicians will become virtuosos (violinists, pianists, clarinetists, trumpeters).
Bibliography
1. Informatics and computer intelligence / A.V. Timofeev. - M. Pedagogy, 1991.
2. Information technology. Yu.A. Shafrin. - M. Lab. basic knowledge, 1998.
3. Informatics: textbook. for students of tech. directions and specialties of universities / V.A. Ostreikovskiy. - Ed. 2nd, sr. - M.: Higher. school, 2004.
4. Continuous course of informatics / S.A. Beshenkov. - M. BINOM. Lab. knowledge, 2008.
5. S. Kastalsky. Rock Encyclopedia / M. Peer, 1997.
A modern music lesson is a lesson during which modern pedagogical technologies, computer technologies are used, electronic musical instruments are used. The music lesson is characterized by the creation of a creative environment, since the content of music lessons is made up of emotions and their subjective experience. Such specific content determines the choice of various methods, types of work and new multimedia tools.
The computer provides ample opportunities in the creative process of learning music, both at the professional level and at the level of amateur creativity.
Musical computer technologies have opened up a fundamentally new stage in the technical reproduction of musical products: in musical notation, in the genres of applied music, in recording media, in the quality capabilities of sound reproducing equipment, in theatrical and concert activities, in sound design and music broadcasting (including broadcasting over the Internet) .
One of the leading directions in the field of musical pedagogy of the XXI century is the acquaintance of students with information and computer technologies. The development of information and computer technologies is objectively 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 reproducing, etc.).
In some universities in Russia, electronic technologies related to musical creativity are studied as a subject of the curriculum. In such educational institutions, on the basis of computer systems, sound "dictionaries" are developed, musical compositions are created using light and color special effects, film and video sequences, actor's pantomime.
Computer programs are also used in teaching to play instruments, in developing an ear for music, in conducting listening to musical works, in selecting melodies, in arranging, improvising, typing and editing musical text. Computer programs allow you to determine the range of the instrument, the fluency of the performer in passages, the performance of strokes and dynamic shades, articulation, etc. In addition, the computer allows you to learn pieces with an "orchestra". It can also act as a "simulator" for conducting (using TV equipment). Computer programs make it possible to carry out musical and auditory analysis of melodies (themes) of works in the course of music history. For many musical disciplines, the computer is a valuable source of bibliographic and encyclopedic information.
Widespread design tasks with computer presentations that allow you to more visually present or illustrative material.
It should be noted that the use of computer technology is aimed at the individual nature of the work, which generally corresponds to the specifics of music lessons. A personal computer allows you to vary the individual mode of work of a musician in accordance with his tempo-rhythm, as well as with the amount of work performed.
It would seem that not so many years have passed since the time when the first computers, which occupied entire rooms and at the same time were absolutely not intended for writing music, turned into small personal computers, combining the capabilities of working not only with calculations, but also with graphics, video, sound and more. In the context of growth in all areas of activity, it seems absolutely logical to introduce a computer into the educational process, not only as such, but also as an aid to learning.
Let's take a brief digression into the history of the first attempts to combine soulless machines with art.
A long time ago, since the time of Pythagoras, and perhaps even earlier, mathematicians paid attention to the formal side of the organization of music - the time and frequency scales. However, the mechanisms that play music according to the program appeared before the calculator mechanisms, so we would venture to call the musicians the very first programmers. However, in the written heritage of ancient cultures, perhaps, musical notations as a description of a temporary process are closest to the texts of programs. There are blocks, conditions, loops and labels in both forms, but not all programmers and musicians are aware of these parallels. But if you remember them, you can no longer be surprised that, creating the very first computers, engineers forced them to play melodies. True, the musicians could not attribute machine music to real music, perhaps because there was nothing in it but "dead" sounds or a plan. And the machine sound itself, which at the first steps was a simple meander, was extremely far from the sound of acoustic instruments. However, numerous experiments with electronic machines capable of producing sound have led to the emergence of various ways of writing music, and hence to the emergence of various styles and directions. The new sound, unusual and unaccustomed to the ear, became an innovation in music. Many well-known modern composers, for example, K. Stockhausen, O. Messiaen, A. Schnittke, despite the complexity of working with technology, created works using new electronic instruments or only on them.
The next stage in the development of musical computer technologies was the research and development of sound synthesis methods.
Engineers turned to the analysis of the spectra of acoustic instruments and to algorithms for the synthesis of electronic timbres. At first, the calculation of sound vibrations was performed by the central processor, but, as a rule, not in real time. Therefore, on the first computers, the creation of a musical work was a very tedious process. It was necessary to encode notes and assign timbres, then run the program to calculate the sound wave and wait a few hours to listen to the result. If a musician, or rather, a programmer-operator, made some change to the score-program, he again had to wait several hours before listening. It is clear that such a musical practice could not be mass, but the researchers of the phenomenon of music wanted to go further than simply using the machine as an electronic music box. Thus, another - quite natural - direction in the musical use of computers arose: the generation, generation of the musical text itself.
Already in the 50s, using the very first computers, scientists made attempts to synthesize music: to compose a melody or arrange it with artificial timbres. This is how algorithmic music appeared, the principle of which was proposed back in 1206 by Guido Marzano, and later applied by W. Mozart to automate the composition of minuets - writing music according to the loss of random numbers.
Algorithmic compositions were created by P. Boulez, J. Xenakis, K. Shannon and others. The author of the famous "Illiac Suite" (1957) was, first of all, a computer, and the co-authors were the composer Leyaren Hiller and the programmer Leonard Isaacson. Three parts are close to strict music, and the fourth uses mathematical formulas that have nothing to do with musical styles. P. Boulez and J. Xenakis created special programs for their works, each for a specific composition. The first work by J. Xenakis, demonstrating the stochastic (or algorithmic) method of musical composition, was "Metastasis" (1954) - a work in which J. Xenakis calculated the algorithm, which he then applied to implement Corbusier's architectural project in the form of the Philips Pavilion at the World's Fair in 1958.
The history of the development of musical computer technologies is largely associated with Russian scientists and researchers. L. Theremin, E. Murzin, A. Volodin created unique means of sound synthesis not “after”, but “before” their Western colleagues. A. Tangyan worked on the problems of recognition and autonotation. R. Zaripov, who “composed” musical pieces on the Ural machine, devoted his research to the analysis and generation of musical texts, the creation of algorithmic compositions. The basis of such algorithms was a detailed process for various elements of musical texture (shape, rhythm, pitch, etc.). Zaripov deduced a whole set of mathematical rules for composing such melodies. "Ural tunes", as he called these melodies, were monophonic and were either a waltz or a march.
Moreover, these are only the names of those researchers whose work is recognized outside of Russia. However, there were many other, local developments. Not the only one, but one of the notable ones is the first domestic sound card and MIDI interface for the Agat-7 PC (analogous to Apple II) with its own music software. All this was back in the mid-80s. XX century, when IBM-XT was still far from all technical universities, and the average user had no idea about the Sound Blaster trademarks (Creative Labs, http://www.creat.com) and Voyetra (Voyetra Technologies, http://www.voyetra.com).
As in other areas (for example, in graphics and animation), two fundamentally different approaches were developed in music computer technology. The first is connected with the control of the parametric model of sound, part, work, the second - with the operation of an analogue of a real object. Both approaches have both advantages and disadvantages and are constantly evolving. While some engineers were trying to achieve maximum plausibility in the synthesis of acoustic timbres, others were developing methods for operating with real sound. If the former solved the problems of optimizing the parameters of synthesis and performance control, then the latter worked on data compression and decompression, i.e., on the problems of sound waves. But parametric models of objects are always more attractive for an engineer, they are much better suited for operation and transformation. The whole question is how accurately the models describe the real object, if the goal is to achieve plausibility. From research in the field of psychology of perception, it is known that thresholds of reliability and mechanisms for restoring images play a special role in the process of pattern recognition. A non-professional will no longer be able to distinguish the synthesized timbre of the piano from the real one, precisely because it does not have a high threshold of reliability. And it is quite possible that the future of musical computer technologies lies with parametric modeling.
A huge number of programs / environments that exist today are based on three basic methods: stochastic, some fixed algorithm and systems with artificial intelligence.
The stochastic method is based on the generation of arbitrary series of sounds or musical passages and can be presented both with and without a computer, as, for example, in the work of Stockhausen.
The algorithmic method itself is a set of certain algorithms that implement the composer's intention. The algorithm can be presented as a compositional technique or as a sound-generating model. It is also possible to combine these two functions. A unique sound programming system is the CSound program, which is the main instrument of electroacoustic musicians. The program uses almost any type of synthesis, including FM, AM, subtractive and additive, physical modeling, resynthesis, granular, as well as any other digital method. Many other systems have been created based on CSound (AC Toolbox, CYBIL, Silence, etc.). For a musician, creating compositions in such an environment is somewhat difficult, as it requires skills and knowledge of programming (although the developers claim otherwise). The composer writes commands to two text files, one of which is responsible for the description of the timbre/instrument itself, the second should contain the actual score. There are countless operators in the program, those building blocks that make up the sound space we program.
No less popular environment for programming virtual instruments and creating algorithms for interactive performance is the MAX / MSP program developed by the Paris Institute of Electronic Music (IRCAM). It is implemented as a software application with an object-oriented user interface. The possibilities of such an environment include, first of all, the creation of interactive music (during a performance, a pre-written software module interacts with the music being played via a MIDI interface). It is a pleasure to work in such an environment, as it gives complete freedom of action, both to the composer and the performer. This program is widely used during live concerts - the sound of the same piece at different concerts will be different, only the algorithm of interaction between the computer and the performer remains unchanged. The program is used by many major composers such as Richard Boulanger and Dror Feiler.
Finally, it is possible to use systems that use artificial intelligence. These are also rule-based systems, but their main feature is the ability to learn. The goal is to create compositions that have feeling, subtlety and intellectual appeal. The algorithm created as a result can be either an autonomous, but artificially created, musical system, or based on the analysis of the work of a composer. Analyzing this or that composition, a certain set of compositional rules, instructions for thematic development, timbre, texture is derived. And here a paradoxical case arises, on the one hand, we have a machine capable of producing a product that is more or less close to the human standard, but, on the other hand, bearing the stamp of the composer's technique. The same can be said about the composers who created their own algorithmic programs. In such compositions, the functions of the composer and the actual “composing process” of the program are clearly separated.
Today, the machine is not yet capable of surpassing human intelligence and turning its product into art. This or that system is not capable of independently generating thoughts, feelings. With any degree of perfection, she will never become not only a "brilliant", but also a "talented" composer. Even an ideal machine will not be able to acquire that elusive thing that will always distinguish between animate and inanimate nature (albeit brought to an ideal degree of perfection). However, it became a good help in the hands of the master, the composer, saving him from wasting a huge amount of time on technological calculations and constructions, which become more and more complicated as the sphere of expressive means of music expands.
Thus, today for musicians, the computer opens up wide opportunities for creative search. In such a specific activity as the art of music, the computer is not only an excellent assistant, but, in some cases, an adviser and teacher. It is possible to enumerate only some of the possibilities of the musical computer: recording, editing and printing of scores; recording, editing and further performance of scores using computer sound cards or external synthesizers connected via MIDI interface; digitization of sounds, noises of a different nature, and their further processing and transformation using sequencer programs; harmonization and arrangement of the finished melody using selected musical styles and the possibility of editing them up to the invention of your own (styles); composing melodies on a random basis by sequential selection of musical sounds; control the sound of electronic instruments by entering certain parameters before the start of the performance; recording parts of acoustic instruments and voice accompaniment in digital format with their subsequent storage and processing in sound editor programs; software synthesis of new sounds using mathematical algorithms; recording audio CDs.
All these diverse capabilities of the computer make it possible to use it both in the field of music education and in the field of professional creativity of composers, sound engineers, and arrangers.
