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13. Gorbunova I.B., Zalivadny M.S. & Tovpich I.O. Mathematical Methods of Research in Musicology: an Attempt of Analyzing a Material from Contemporary Historical Heritage (Reflections on Xenakis' Book MUSIQUES FORMELLES). In Prof. Dr. B. Topcuoglu, Prof. Dr. M. Plaisent, Dr. Thaweesak Yingthawornsuk (Ed). 15th Int'l Conference on Education, Economics, Humanities and Interdisciplinary Studies. EEHIS-18 International Conference Proceedings. Paris, France. 2018: 97 - 102. Available at: https://doi.org/10.17758/ URUAE2.AE06184022
14. Gorbunova I.B. & Plotnikov K.Yu. The Position of Music Computer Technologies in Informatics Course for Secondary School. International Conference on Multidisciplinary Research & Practice (ICMRP). Proceedings of the ICMRP International Conference. Oxford, United Kingdom. 2018: 1 - 4.
15. Gorbunova I.B. & Voronov A.M. Music Computer Technologies in Computer Science and Music Studies at Schools for Children with Deep Visual Impairment. In Prof. Dr. Rahim Ahmadi, Prof. Kazuaki Maeda, Prof. Dr. M. Plaisent (Ed.), 16th International Conference on Literature, Languages, Humanities & Social Sciences (LLHSS-18). Int'l Conference Proceedings. Budapest, Hungary. 2018: 15 - 19. Available at: https://doi.org/10.17758/ URUAE4.UH10184021
16. Gorbunova I.B. & Hiner H. Interactive Network Technologies Music Learning: the Program 'Soft Way to Mozart'. Bulletin of Orel State University. Series: New Humanitarian Studies. 2014; 4 (39): 104 - 109.
17. Gorbunova I.B. & Hinner H. Music Computer Technologies and Interactive Network Systems of Learning Music. International Conference on Psychology, Language and Teaching. (ICPLT). Proceedings of the IIER International Conference. Oxford, United Kingdom. 2018: 16 - 21.
Статья поступила в редакцию 31.01.19
УДК 378
Gorbunova I.B., Doct. of Sciences (Pedagogy), Professor, Head of Educational and Methodical Laboratory "Music Computer Technologies",
Herzen State Pedagogical University of Russia (St. Petersburg, Russia), E-mail: gorbunovaib@herzen.spb.ru
Hellene Hiner, musicologist, Music Vision International LLC (Houston, USA), E-mail: admin@softmozart.com
MUSICAL COMPUTER TECHNOLOGIES: MUSICAL EDUCATION IN DIGITAL AGE SCHOOL. The number, the letter, the music note - this is the very foundation of the world of words, numbers and sounds.The development of music computer technologies in the late 20th - early 21st century has significantly expanded the ways to look at the music note as a unity of a pitch, a symbol and duration of both in real time. Uniting these elements and empowering the beginners with the essential opportunity to become musically literate, we form in them complete, creative minds. By seeing and perceiving the harmony and interrelations of all the elements of music, we give music notation a new meaning and new mission. The global applicability of the music computer technologies (MCT) provides new, in fact, limitless possibilities of self-realization, stimulates the rapid development of intelligence, raising training to a new level. Compatibility with traditional musical technology creates conditions for the continuity of musical eras and styles, their interpenetration and synthesis, reinforcing the interest in musical culture in general. The authors of the article analyze the problems concerning the current significance of contemporary musical notation, and, in particular, the ones being formed by the development of high-tech information environment, as well as the ways to solve some problems of learning music on the basis of computer technologies using the 'Soft Way to Mozart' system.
Key words: interactive network systems, keyboard electronic synthesizer, music computer technologies, musical education, music note, Grand Staff as a system.
И.Б. Горбунова, д-р пед. наук, проф., главный научный сотрудник УМЛ «Музыкально-компьютерные технологии» РГПУ им. А.И. Герцена,
г. Санкт-Петербург, E-mail: gorbunovaib@herzen.spb.ru
Е. Хайнер, музыковед, директор LLC «Vision International», Хьюстон, США, E-mail: admin@softmozart.com
МУЗЫКАЛЬНЫЕ КОМПЬЮТЕРНЫЕ ТЕХНОЛОГИИ: МУЗЫКАЛЬНОЕ ОБРАЗОВАНИЕ В ШКОЛЕ ЦИФРОВОГО ВЕКА
Числа, буквы, ноты - это основа мира слов, цифр и звуков. Развитие музыкально-компьютерных технологий в конце ХХ - начале XXI века значительно расширило возможности взгляда на музыкальную ноту как на единство тона, символа и длительности в реальном времени. Объединяя эти элементы и наделяя начинающих учеников возможностью стать музыкально грамотными, мы формируем в них творческие способности. Видя и воспринимая гармонию и взаимосвязи всех элементов музыки, мы придаем нотной записи новый смысл и новую миссию. Глобальное применение музыкально-компьютерных технологий (МКТ) открывает новые, по сути, безграничные возможности самореализации, стимулирует стремительное развитие интеллекта, поднимая обучение на новый уровень. Совместимость с традиционными музыкальными технологиями создает условия для преемственности музыкальных эпох и стилей, их взаимопроникновения и синтеза, укрепляя интерес к музыкальной культуре в целом. В статье анализируются проблемы, связанные с современной системой нотной записи, которая обусловлена функционированием высокотехнологичной информационной образовательной среды и использованием системы «Soft Way to Mozart».
Ключевые слова: интерактивные сетевые технологии, клавишный электронный синтезатор, музыкально-компьютерные технологии, музыкальное образование, музыкальная нота, нотный стан как система
What are music computer technologies (MCT) [1; 2; 3; 4] from the educational point of view? They are an interactive way to communicate with a program or with a person by a code. Computer technologies today are a very powerful educational resource. Not long ago, it took a lot of labor to find any research about any piece of literature. Now such information can be retrieved with the click of a mouse. With the help of the Internet, we can easily exchange our ideas with people from any country and any part of our planet. Knowledge and skills begin to spread instantly - and this is outstanding. Today we can use all the potential of digital tools in music education as well; we can use more interactive learning, graphics, and audio capability for the creation, development and mastery of music skills that we can apply to our academic practice every day. Therefore, one of the main tasks of musicology today is to understand the functions of music both as an art and as a written language at a new level, to understand contemporary culture and cultural processes, and the influence of information technology on the formation of a creative personality capable of consciously perceiving various musical phenomena directly, analytically and structurally.
Bach, Mozart, Beethoven or Schubert had no the opportunity to play on a "real" piano. But that did not stop them from becoming great composers. Classical musical education was formed on 5-octave clavichords and harpsichords not the 88-key piano we're familiar with. In fact, many original instruments were much simpler, with a smaller number of octaves and significantly less impressive performance value than contemporary synthesizers [5; 6].
Musical hearing is an ability to distinguish sounds according to their pitch. Absolute pitch/musical hearing is the ability to identify the absolute pitch of every sound. It
is more true to say that aging acoustic instruments may damage the musical hearing of beginners (no such problem occurs with the use of digital keyboards). Each sound has its own pitch that depends on the frequency of sound waves. Musical hearing is damaged by listening to sounds that are off key, as they often are in older pianos. Keyboards from well-known brands will create sounds that are indistinguishable from the sound of an acoustic piano. These instruments are made in a way that allows guaranteed precision of the sound at all times. The condition of an acoustical instruments deteriorates with time: their core breaks down, and tuning pins, to which the strings are attached, gradually get loose and the instrument gets out of tune.
In 1984, 500 experts (musicians, sound directors, engineers and "just" listeners) evaluated the sound of a real piano by Steinway and an electronic piano by Kurzweil; the 500 experts were not able to distinguish the sound of the electronic piano from the acoustic one. https://en.wikipedia.org/wiki/Ray Kurzweil
Digital pianos are the universal, fundamental, and most accessible multi-octave instrument for learning the music literacy. The keys' layout presents an obvious representation of the Grand Staff, making it much easier for a beginner to understand music grammar. Being a melodic and percussive instrument at the same time, the digital instruments is the ideal training device for the development of hearing and rhythm. Playing doesn't require any special physical exertion, like stringed and wind instruments do. While playing, a child can simultaneously sing, developing his voice and mastering proper intonation.
The digital instruments can't be played out of tune; when a key is pressed, a clean, even note is sounded, allowing the hearing to develop without obstacle. While
playing, the student receives the melody, harmony, and rhythm all at once. Reproduction of both the melody and accompaniment develops the melodic and harmonious ear. When we teach our fingers to 'walk' smoothly (legato) or stomp (staccato), we are developing everything at once - the depth of hearing, control of the voice, and the subtle nuances of motor movement. Such instruments are very important at an elementary stage of music development. In this, the piano has no competitors. Moreover, the Electric Pianos is even more effective than ordinary since they can deliver interactive learning.
Interactive computer technologies help us to understand the essential aspects of traditional music notation on a different level. According to traditional musicology the Grand Staff is defined as a "set" of lines and spaces: MCT unites all spatial music elements into one Grand Staff system: music note, it's symbol and duration become one in real time [7; 8; 9; 10]. The fact that music notation and sounding of it are bifurcated during the teaching process has stunted the growth of most all music students for a very long time.
Today we see more accurate way to describe the Grand Staff is as follows: The Grand Staff is one part of an integrated system for recording and reproducing musical sounds. The system consists of two interrelated components: symbols (notes placed within lines and spaces) and sounds (from keys on a piano). The integrated system can be clearly understood when the Grand Staff is turned sideways and shown in relationship to a piano keyboard.
Duration of music notation is not static. The general feature of the process is that every sound has a beginning, a development and an end. In this regard, the graphic representation of each note's duration is a more specific element. Only MCT is capable of adequately communicating the beginning, the development and the end of the physical music sound in real time. For example, the touch of a key and a sound can be presented as an animated flower (for the beginning and the development) and a butterfly (the end that marks the necessity to move on)
With this in mind the authors see one of the main tasks of pedagogical research in revealing the didactic features of the use of MCT, the possibility of their application in the musical education and education of the younger generation based on classical music, modified traditional approaches to the methods of broadcasting the products of centuries-old musical culture. It is important that the passion for external, new digital effects and opportunities should not only contribute to the bright and colorful "hot" impressions in communication with the art of music [11; 12; 13], but also develop critical thinking, intellectual and cultural growth of students and their practical abilities communicate with music notation 1 on 1.The authors see one of the main tasks of pedagogical research in revealing the didactic features of the use of MCT, the possibility of their application in the musical education and education of the younger generation based on classical music, traditional approaches to the methods of broadcasting the products of centuries-old musical culture.
Leopold Mozart, while was teaching his own children music, interacted with them, and was available, knowledgeable, and capable of correcting mistakes. He could show them where to look, what to press, estimating all the errors made and helping fix each and every one of them. Today, all this basic valuable feedback can be delivered by MCT. Music helps develop human brains, and piano playing especially contributes to such development. We also always need talented listeners with well-developed minds for music. Nothing develops musical aptitude better than the personal hands-on experience of playing musical instrument. Considering that cognitive necessities are the basic ones for a student as well as the fact that the exchange rate of information has increased greatly, we face an urgent need to reassess our kids' education. Old methods barely work nowadays, and when we ignore technology, we teachers quickly lose our credibility among children and youth.
Today, it is clear that the use of the MCT has great potential for writing, performing, researching music and music education and education; that this process should not be feared for, but rather should be supported and actively participated in. So, to the often sounding question: "What is the reason for substituting the gifted musicians by 'machines', and thus lowering the aesthetic value of music art?", composer and musicologist, teacher and scientist Yu.N. Rags, who worked in various fields of music science (problems of music aesthetics, music acoustics, research in the field of music psychology, the interaction of composer and performing arts, the study of the role and place of information technology in music and music education, the role of electronic and computer music in the contemporary musical and artistic space, etc.), replied, "But in this regard, no one sets the task. It is known that the computer and electronic sound fills the now advertising, music videos, television and radio broadcasts, films etc. Their quality is not always satisfying. Therefore, there is a need to prepare in this area real professionals who could really raise the artistic level of art. And schools should not give up the case, and, if possible, to lead them" [14, p. 202]. Calling for the unification of musicians, musicology theories, knowledge about music, Rags says about the need to
Библиографический список / References
unite the musicians themselves: "To unite the interests of musicians working in secondary schools and in special music schools in all specialties and at all levels of education (in the children's musical school, comprehensive schools or colleges, Universities)" and "to use the rich opportunities of new IT and in the methodological development of the system of music education" [14, p. 203], to establish mutual understanding between representatives of various areas of musical research.
We present the results of our pedagogical research aimed at studying the possibility of using both auditory and visual features of students' perception of the musical text in the field of general music education by the example of an interactive learning system "Soft Way to Mozart", developed by H. Hiner in 2002 and tested in music schools and studios in 52 countries. The program "Soft Way to Mozart' also uses a wide range of media features, putting at the forefront the fundamental principles and scientific achievements of the Russian School of Music.
A feature of the "Soft Way to Mozart" system is the fact that it is actively implemented in the music-text field (individual skills, especially with musical text), allowing us to integrate direct audio experience with the possibility of "detached" analysis of musical notation. This allows us to enrich the art education and education of students, it promotes their spiritual and moral development [15; 16; 17]. It allows us to actively introduce health-saving educational technologies in conjunction with the principles of the highest educational standards.
The central part of the "Soft Way to Mozart" system is specialized software, the necessary condition for the functioning of which is the connection with a digital keyboard musical instrument, carried out by means of a MIDI interface.
In musical practice, the big distribution has acquired a new class of musical instruments that includes keyboards, synthesizers, workstations, multimedia computers, etc. The choice of a keyboard instrument such as a clavier, a synthesizer, a MIDI-controller or a piano (in the "Soft Way to Mozart" system, we use digital keyboard instruments) was due to the crystallized traditions of classical music education. It is the keyboard that is able to convey the multi-voice palette of the musical fabric most accurately. Keyboard instruments have been the sound equivalent of a multi-voice sounding space for the last few centuries [18; 19; 20]. Many genres of musical culture are based on the use of scores; they are translated into the format of the clavier for wider use in the study of musical material and teaching IT.
The most important feature of the MCT is the possibility of direct and simultaneous interaction of not only all multimedia structures, but also the algorithm of interaction of these structures with human perception. Digital media technologies have raised the process of visual and auditory perception of the music stream to a new level: the level of a high degree of interaction. The integration of "hot", direct experience with "cold" analytical have become possible due to the fact that "live" time and experience in "live time" have become a unit managed, not spontaneous, as it was before. In the "Soft Way to Mozart" system, a person can be in the "live time" field and outside it by pressing the synthesizer key. This allowed us to enrich the experience of the auditory perception with the possibilities of visual analysis, as well as rethink the studied material and evaluate it with the help of the built-in statistical analysis.
The possibilities of pedagogy, crystallized in everyday musical pedagogical practice-registration of sound and rhythmic errors, metric and coordination stability, speed of visual, tactile and classroom reaction when communicating with musical text, were initially taken into account in the development of the "Soft Way to Mozart" system. The tested media means inherent in MCT (computer graphics, sound and graphic cards, animation, interactive ways of communication, etc.) have also found their place in this computer-didactic system. The selection of the keyboard as part of a single system of MCT is also due to the visual identity existing between the keyboard and the music space (see also works: [21; 22; 23]).
The diversity, the global applicability of the MCT, provide new, in fact, limitless possibilities of self-realization, stimulate the rapid development of intelligence, raising training to a new level [24; 25]. Compatibility with traditional musical technology creates conditions for the continuity of musical eras and styles, their interpenetration and synthesis, reinforcing the interest in musical culture in general.
Music develops human brain, and nothing contributes to the development of creative abilities, as the desire to sing, perform music and direct the ability to play a musical instrument. The authors believe that now, when the world is experiencing another economic and political crisis, musical culture, musical education, based on high spirituality, tolerance, intercultural communication, can affect the level of public consciousness, support and develop contacts between experts in various fields of knowledge and the classical music art, including inclusive musical education [26].
The results of using the system in a relatively short period of time showed that the media use of MCT in the field of audio and visual material in conjunction with the possibility of direct interaction with the musical text on the tactile level is the way to integrate "hot" - direct and "cold" - analytical experience of the man.
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25. Gorbunova I.B. & Plotnikov K.Yu. The Position of Music Computer Technologies in Informatics Course for Secondary School. International Conference on Multidisciplinary Research & Practice (ICMRP). Proceedings of the ICMRP International Conference. Oxford, UK. 2018: 1 - 4.
26. Gorbunovа I., Govorova A. Music Computer Technologies in Informatics and Music Studies at Schools for Children with Deep Visual Impairments: From the Experience". In: Pozdniakov S., Dagiene V. (eds) Informatics in Schools. Fundamentals of Computer Science and Software Engineering. Lecture Notes in Computer Science. Springer, Cham, 2018; Vol. 11169. Available at: https://doi.org/10.1007/978-3-030-02750-6_29
Статья поступила в редакцию 31.01.19
УДК 378
Gorbunova I.B., Doct. of Sciences (Pedagogy), Professor, Head of Educational and Methodical Laboratory "Music Computer Technologies", Herzen State Pedagogical University of Russia (St. Petersburg, Russia), E-mail: gorbunovaib@herzen.spb.ru Karpets M.I., Cand. of Sciences (Art History), senior researcher, Educational and Methodical Laboratory "Music Computer Technologies", Herzen State Pedagogical University of Russia (St. Petersburg, Russia), E-mail: mcarpets@mail.ru
MUSIC COMPUTER TECHNOLOGIES: THE "ORGANUM DE POETICA NOVA" FOR FORMATION OF VIRTUAL VALUES IN CREATIVE WORK AND MUSIC EDUCATION. The progression of science and the arts nowadays has been largely influenced by our understanding of the universum around us, and been formed a novel instrumentarium, including a virtual "organum" for its comprehension. In this context, virtuality could act as a new ontological hypothesis of artistic reality. The tendencies of virtualization of artistic phonographic contexture can be considered as a specific characteristic of an aesthetical landscape, which in its evolution, gradually departing from such original basic values inherent in it as the orderliness of the whole system, the immanence of the means and mechanisms for its functioning, the idea of the presuppositional unpreconditional givenness of artistic creativity as a phenomenon itself. The work looks upon the process of integration of information and artistic means of education in the system of professional education with the use of contemporary music computer technologies as one of the tools in the formation of information educational environment.
Keywords: musical timbre, audial aesthetics, sound object, artistic creativity, psychoacoustics, perceptual analysis, music computer technologies.
И.Б. Горбунова, д-р пед. наук, проф., главный научный сотрудник УМЛ «Музыкально-компьютерные технологии» РГПУ им. А.И. Герцена, г. Санкт-Петербург, E-mail: gorbunovaib@herzen.spb.ru
М.И. Карпец, канд. искусствоведения, старший научный сотрудник УМЛ «Музыкально-компьютерные технологии» РГПУ им. А.И. Герцена, г. Санкт-Петербург, E-mail: mcarpets@mail.ru
МУЗЫКАЛЬНЫЕ КОМПЬЮТЕРНЫЕ ТЕХНОЛОГИИ:
«ORGANUM DE POETICA NOVA» В ФОРМИРОВАНИИ ВИРТУАЛЬНЫХ ЦЕННОСТЕЙ В ТВОРЧЕСТВЕ И В МУЗЫКАЛЬНОМ ОБРАЗОВАНИИ
Начиная с середины XX века, музыкально-компьютерные и электронные аудиотехнологии стали постепенно завоёвывать пространство не только академических кругов, но и сферу популярной музыки, музыки для театра и кино, составив мощный фундамент в арсенале средств выразительности индустрии прикладной музыки. Генезис виртуальности в рассматриваемой перспективе постулируется абстрактностью символических уровней музыкальной культуры как имманентной виртуальной сферы. Соответственно, элементы музыкального текста, являясь древнейшей формой замещения «реальных» психических феноменов, переживаний выступают в роли главного инструмента виртуализации музыкальной культуры. Сегодня этот контекст расширяется также за счёт виртуализации конкретных форм представления имманентных музыкальных идей в конкретном тембре, свойствах конкретного акустического пространства с помощью техники замещения их виртуальными символическими, условными абстракциями. Прогресс науки и искусства в настоящее время в значительной степени повлиял на понимание творческого универсума. Был сформирован новый инструментарий для его понимания этого прогресса. В этом контексте
