CC BY
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20. Gorbunova I.B. & Zalivadny M.S. The Integrative Model for the Semantic Space of Music: Perspectives of Unifying Musicology and Musical Education. Music Scholarship. 2018; 3: 55 - 64. Available at: http://dx.doi.org/10.17674/1997-0854.2018A055-064
21. Gorbunova I.B., Pomazenkova M.S., Tovpich I.O. Tablet and Music Computer Technologies in the System of Professional Musical Education. Theory and Practice of Social Development. 2015; 8: 211 - 219.
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24. 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 MUSIQUESFORMELLES). 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
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26. Gorbunova 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: [email protected] 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: [email protected]
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: [email protected]
М.И. Карпец, канд. искусствоведения, старший научный сотрудник УМЛ «Музыкально-компьютерные технологии» РГПУ им. А.И. Герцена, г. Санкт-Петербург, E-mail: [email protected]
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
виртуальность может выступать новой онтологической гипотезой художественной реальности. Рассматривается процесс интеграции информационных и художественных средств обучения в системе профессионального образования с использованием современных музыкальных компьютерных технологий как одно из средств формирования информационно-образовательной среды.
Ключевые слова: музыкальный тембр, аудиальная эстетика, звуковой объект, художественное творчество, психоакустика, перцептивный анализ, музыкально-компьютерные технологии.
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 both directly and analytically and structurally. Research in the field of musicology, based on a number of interdisciplinary connections (philosophy, aesthetics, psychology, acoustics, neurology, semiotics, etc.) are directed today, on the one hand, to the study of culture, centuries formed in the history of mankind, on the other hand, to the study of the specifics of contemporary perception of music.
The authors see one of the main tasks of pedagogical research in revealing the didactic features of the use of music computer technologies (MCT), the possibility of their application in the musical education and education of the younger generation on the basis of classical music, traditional approaches to the methods of transmission the products centuries-old musical culture. It is important that the passion for external, new digital effects and opportunities not only contributed to the bright and colorful "hot" impressions in communication with the art of music, but also developed critical thinking, worked on the development of intellectual and cultural growth of students, including the use of MCT
Virtuality - is one example of the terminology of the new era thesaurus, such a fashionable definition, used nowadays everywhere with respect to a variety of phenomena, often of different nature. This term is considered by researchers and philosophers either as a metaphor or as a synonym for concepts: "imaginary reality" [1], "cyberspace". In this context, virtuality can act as a new ontological hypothesis of artistic reality. However, it is the metaphorical aspect of this phenomenon that is of special interest to us.
The process of transformation of cultural and social reality into an everchanging, unstable, sometimes imaginary, elusive form of existence, actualized the emergence of the role of various images of reality replacing the reality itself. And such processes have strengthening and growth in the artist's consciousness, as well as in the public consciousness. As a result, artistic processes in a wide range of creative directions began to acquire features whose definition of essence leads us to introduce the concept of virtual reality into creative practice. And this context presupposes interaction and operation of the artist not with specific semantic elements, for example, musical textology, but with simulations of the latter, a kind of virtual metaphors. Being fully aware of all the terminological fuzziness and the broadest range of interpretations of the definition of "virtuality", we will nevertheless allow ourselves, for the particular purposes of simplification, to apply such a generalizing term, since in the broad public consciousness, the latter has long been associated with the basic images of those phenomena of contemporary musical practice that or otherwise coming into contact with electronic audio technologies, use the latter as the main tool for their own implementation. This factor, being one of the fundamental aspects of the aesthetic symbols both in the field of organology and in the art of music in general, in essence, delineates the final point of the evolution of the creative model in the contemporary art process.
Considering the nature of virtuality in the context of audial art, we can identify two polar approaches. They are from a different angle, therefore, one - on formal, another - on essential degree, describe the given phenomenon. At the same time, both, in their binary nature, are based on the principle of contraposition. On the one hand, the ephemeralities of infinitely small, unstable quantities, having infinitesimal periods of their existence, both in structural and in qualitative units, have contrasted to the stability of the spatio-temporal properties and meanings of the semantic elements of the traditional auditory aesthetics. Another approach suggests the opposition to the practice of using computer simulations, to the illusory image of phonographic entities, - the objects created by means of computer synthesis, the "living" reality of "material" objects of traditional auditory practice. The abstractness of the symbolic levels of the semantic formulas of musical culture postulates the genesis of the audial artistic space as immanently a virtual sphere. Accordingly, the elements of the musical text, being the oldest forms of substitution of "real", "living" mental phenomena [2], are the main instrument for the virtualization of artistic space. This circumstance, at one time, gave grounds to Yu.M. Lothman to write about the virtuality, openness, incompleteness, non-incarnation of the creative image in the mind of an author dealing with some sort artistic text [3]. Nowadays, this context is expanding due to virtualization, specific forms of representation of immanent musical ideas in a particular timbre, pitch, dynamics, agogics, specific acoustic space properties, i.e. both in the structural and in the qualitative properties of the audial environment, with the help of the technique of replacing them with virtual symbolic abstractions. The macroalgorithm of the artistic process have been reproduces itself, its own forms of existence by recreating the archetypes already established in practice, but on fundamentally different - a virtual levels of their realization. Wherein, virtualization of the space of audiovisual art unfolds both in the form of electronic substitution of key components of text facture for their virtual counterparts, metaphors, and in the form of simulations of the artistic objects themselves, practices, styles [4]. The general idea for the phenomenon of replacing the semantics
of the reality of the auditory space with its virtual images allows one to look at the problem from a different "higher" perspective: not the computerization of the instrumental stuff virtualizes the fabric of the artistic space, but the virtualization of art itself in the phenomenological significance of the nature of this process gives rise to the ideology of computerization of creative techniques and means. In many respects, such processes taking place in the artistic space have been inspired by aspirations to compensate by means of computer simulations the process of stagnation, degradation of the structure of the social-artistic reality dualism. The virtual synthesis tools (VST and such), software acoustic signal processing, sequencing, are nowadays a comprehensive tool for modeling virtual values, the artistic paradigm of a new nature, which have might been called the "organum de poetica nova". In this case, the postulate of the artist individual autonomy in the circumstances of the "organum novum", the instrumental tools which are invade with a completely new origin to the basics of the art inner nature has been found to be very consistent reflection in the structure of the virtual values [5]. The very term virtual values are considered from the point of view of phenomenology of facts, which are not simply actualized by means of so-called "Virtual reality» but are the basic to the nature of its essential content, generated by interactions in a virtual environment, reflect the value structure of the artistic space of the contemporary media landscape as an immanently virtual category.
Information, being a semantic element of the virtual values phenomenon, has been a basic element of the new artistic paradigm as well, - an inalienable aspect of the new audial culture ontology, symbolizing a significant modulation of the value structure of contemporary art space [6]. The development of science and the arts largely influenced our understanding of the world around us, as well as formed a new, a virtual instrumentarium for its comprehension. Musical art, while evolving in its forms, has offered its own tools for its presentation. The impact and correlation of these paradigms in the formation of the artistic landscape of today, however, is not at all unprecedented, but has a profound history. From Pythagoras to contemporary theories and realities in the field of musical acoustics, psychoacoustics, musical analysis - all this was fueled by inspiration proceeding from the most immanent nature of musical art. The vital needs of musical art have largely inspired and outlined the forms of existence and progress in virtual reality technologies. Today, research in the field of digital technologies, inspired and driven by the potential of scientific, intellectual work, creates the foundation for the formulation of the thesaurus and syntax expansion in the artistic sphere on global scale. This process has already significantly changed the status of the phonography of today's media landscape, it led to the birth of fundamentally new forms and types of art [7]. As a result, the transformation of the so-called "Objective reality" aestheticization algorithm itself with the help of new virtual tools, led to a gradual departure from the postulate of the presuppositional unpreconditional givenness of artistic creativity act as a phenomenon, from the need in its "legalization" through extrapolar interpretation of the latter. It also led to the emergence as a scientific tool of ideas borrowed from the technological spheres to forming a system of interdisciplinary concepts, to the emergence and affirmation in the system of art the very instrument of interdisciplinarity, as a phenomenon claiming the status of a new fastening vektor of development, - those power that can present the mechanisms for overcoming entropy and retaining the linearity of the development of the entire system. However, only due to the powerful integration processes in art and science, due to social changes and requests in the public consciousness, it became possible for the emergence, formation and successful development by the artists of an electronic audio technologies, which are instruments of the highest intellectual level of complexity. The creative realization of artistic issues with their help became possible.
MCT as a part of this process. The development of computer technology in the late 20s - early 21st centuries has significantly expanded the ways of obtaining information. High-tech information educational environment requires the search for new approaches and fundamentally new systems of education in the School of the Digital Age.
MCT as New Creative Educational Medium. The authors were guided by the general principles that had been developed at the Educational and Methodical Laboratory 'Music Computer Technologies', the Herzen State Pedagogical University of Russia (Saint Petersburg). Sphere of interests of its members includes the problems of interrelation of natural and technical sciences and humanities, as well as the possibilities of applying the results of such interrelation for the purposes of music education and upbringing. Scientific group of the Laboratory also take part in working out the specialized software for computer music devices and in application of this software in pedagogical processes.
Research activities of the members of Laboratory including such directions as:
- MCT in professional musical education (as a means to expand creative opportunities),
- MCT in general musical education (as one of the means of education),
- MCT as a means of rehabilitation of people with disabilities,
- MCT as the new direction in preparation of specialists of humanitarian and techno-logical profile,
- MCT in the field of digital arts,
- MCT in information technology, psychoacoustics and musical acoustics (see: [8; 9; 10; 11; 12; 13]).
Developments and researches in the field of musical pedagogics and musicology, music computer science (musical informatics), computer modeling of processes of musical creativity, timbre programming, art of performing skill and
Библиографический список / References
arrangement on electronic musical instruments, creative work in the field of computer music, mathematical methods in musicology, etc. (see, for example: [14; 15; 16; 17]). All these directions in its totality allow to work up the methodological principles and pedagogical approaches to the use of MCT in inclusive education (as part of eInclusion) for children with profound visual impairment (see: [18; 19]).
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Статья поступила в редакцию 31.01.19
УДК 371
Gadzhieva P.D., Cand. of Sciences (Pedagogy), Department of Theory and Methods of Teaching Law, Dagestan State Pedagogical University
(Makhachkala, Russia), E-mail: [email protected]
Kurbanov M.A., Cand. of Sciences (Economics), Senior Lecturer, Department of Jurisprudence and Human Rights, Dagestan State Pedagogical University
(Makhachkala, Russia), E-mail: [email protected]
LEGAL EDUCATION AND LEGAL EDUCATION AS A NECESSARY CONDITION FOR THE FORMATION OF LEGAL CONSCIOUSNESS OF THE YOUNGER GENERATION. Modern trends in the development of civil society and the rule of law define new stereotypes of personality formation in the conditions of secondary school. The research substantiates the relevance of a problem of development of legal competence and the formation of legal culture among young people through the implementation of the ideas of legal education and legal education of students. The article highlights a content of the program for students "Your Rights", which is based on the existing life experience of the student in the legal sphere, through games, discussions. Control of assimilation of the material is carried out in the form of a game, in the form of crosswords, puzzles. The curricula developed, like the course "Your Rights", are based on the characteristics of the age of the students and use the following materials available for perception at this age - the Universal declaration of human rights, Declaration of the rights of the child, Convention on the rights of the child.
Key words: legal education, legal consciousness, legal education, legal values, legal beliefs, legal ideology.
П.Д. Гаджиева, канд. пед. наук, доц. каф. теории и методики обучения праву ФГБОУ ВО «Дагестанский государственный педагогический
университет», E-mail: [email protected]
М.А. Курбанов, канд. экон. наук, ст. преп. каф. правоведения и прав человека, ФГБОУ ВО «Дагестанский государственный педагогический
университет», E-mail: [email protected]
ПРАВОВОЕ ПРОСВЕЩЕНИЕ И ПРАВОВОЕ ВОСПИТАНИЕ
КАК НЕОБХОДИМОЕ УСЛОВИЕ ФОРМИРОВАНИЯ ПРАВОСОЗНАНИЯ
У ПОДРАСТАЮЩЕГО ПОКОЛЕНИЯ
Современные тенденции развития гражданского общества и правового государства определяют новые стереотипы формирования личности в условиях общеобразовательной школы. В данной статье обосновывается актуальность проблемы развития правовой компетентности и формирования правовой культуры у молодёжи посредством реализации идей правового просвещения и правого воспитания школьников. В статье освящается содержание програм-
