SOCIAL AND MUSICAL COMMUNICATION: STAGES OF FORMATION IN RUSSIA

The article analyzes the process of social and musical communication formation in Russia from the historical perspective. In practical and theoretical aspects the first attempts to manage social and musical life of the country are considered. Since 30s–40s of the XIXth century, concert societies of a communicative orientation are created in Russia. The first years of the second half of the XIXth century, associated with the development of democratic principles, are marked by a surge in the attention of professional musicians to social and communication processes in music and art in general. The emergence of new trends in the concert life of Russian cities stimulated the renewal of forms of social and musical communication, which required the training of specialists in the field of music education and enlightenment. The opening of conservatories in Saint Petersburg and Moscow created the necessary prerequisites for the formation of a unified musical communication system in society. At the beginning of the XXth century Russian National Conservatories played their role in the overall process as one of the effective models of the educational movement and as an example of practical implementation of the tasks of purposeful socio-cultural design in the sphere of functioning of musical art of high spiritual tradition. In parallel with the empirical search for effective ways and methods of managing the musical life of society, the creation of its theoretical basis was intensively pursued. At the late 60s – early 70s musicology was enriched by the first fundamental works on this subject.

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MUSIC AND COMMUNICATION PROCESSES IN SOCIETY: MANAGEMENT THEORY

Arts education and science ◽

10.36871/hon.202103006 ◽

2021 ◽

Vol 1 (3) ◽

pp. 41-49

Author(s):

A. N. Yakoupov ◽

Keyword(s):

Social Life ◽

Modern Society ◽

Communication Management ◽

Musical Life ◽

Economic Changes ◽

Communication Processes ◽

Theoretical Statement ◽

The Social ◽

The Impact ◽

Musical Communication

Based on historical and theoretical analysis of the development of social functioning of musical communication, as well as some problems of its management, the author attempts to theoretically justify the ways and means of optimizing music and communication processes that contribute to enhance the social and cultural role of musical art. The article describes fundamental concepts, which should be taken as the basis for the organization of musical life in modern society. The author puts forward such a conceptual theoretical statement as the principle of multi-factor audience differentiation. Consequently, the paper considers important facets of the theory of musical communication management in society, namely the target programming, scientific forecasting and long-term planning. The ways and methods of implementing these principles aimed at the achievement of a certain level of control over the music communication processes in society are also considered. Special attention is paid to the analysis of the impact of current social and economic changes in Russia on the formation of marketing and management in the social life of musical art.

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MUSIC AND COMMUNICATION PROCESSES IN SOCIETY: MANAGEMENT THEORY

Arts education and science ◽

10.36871/hon.202101004 ◽

2021 ◽

Vol 1 (1) ◽

pp. 30-40

Author(s):

A. N. Yakoupov ◽

Keyword(s):

Social Life ◽

Modern Society ◽

Communication Management ◽

Musical Life ◽

Economic Changes ◽

Communication Processes ◽

Theoretical Statement ◽

The Social ◽

The Impact ◽

Musical Communication

Based on historical and theoretical analysis of the development of social functioning of musical communication, as well as some problems of its management, the author attempts to theoretically justify the ways and means of optimizing music and communication processes that contribute to enhance the social and cultural role of musical art. The article describes fundamental concepts, which should be taken as the basis for the organization of musical life in modern society. The author puts forward such a conceptual theoretical statement as the principle of multi-factor audience differentiation. Consequently, the paper considers important facets of the theory of musical communication management in society, namely the target programming, scientific forecasting and long-term planning. The ways and methods of implementing these principles aimed at the achievement of a certain level of control over the music communication processes in society are also considered. Special attention is paid to the analysis of the impact of current social and economic changes in Russia on the formation of marketing and management in the social life of musical art.

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MUSIC AND COMMUNICATION PROCESSES IN SOCIETY: MANAGEMENT THEORY

Arts education and science ◽

10.36871/hon.202104003 ◽

2021 ◽

Vol 1 (4) ◽

pp. 27-33

Author(s):

A. N. Yakoupov ◽

Keyword(s):

Social Life ◽

Modern Society ◽

Communication Management ◽

Musical Life ◽

Economic Changes ◽

Communication Processes ◽

Theoretical Statement ◽

The Social ◽

The Impact ◽

Musical Communication

Based on historical and theoretical analysis of the development of social functioning of musical communication, as well as some problems of its management, the author attempts to theoretically justify the ways and means of optimizing music and communication processes that contribute to enhance the social and cultural role of musical art. The article describes fundamental concepts, which should be taken as the basis for the organization of musical life in modern society. The author puts forward such a conceptual theoretical statement as the principle of multi-factor audience differentiation. Consequently, the paper considers important facets of the theory of musical communication management in society, namely the target programming, scientific forecasting and long-term planning. The ways and methods of implementing these principles aimed at the achievement of a certain level of control over the music communication processes in society are also considered. Special attention is paid to the analysis of the impact of current social and economic changes in Russia on the formation of marketing and management in the social life of musical art.

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MUSIC AND COMMUNICATION PROCESSES IN SOCIETY: MANAGEMENT THEORY

Arts education and science ◽

10.36871/hon.202102003 ◽

2021 ◽

Vol 1 (2) ◽

pp. 26-32

Author(s):

A. N. Yakoupov ◽

Keyword(s):

Social Life ◽

Modern Society ◽

Communication Management ◽

Musical Life ◽

Economic Changes ◽

Communication Processes ◽

Theoretical Statement ◽

The Social ◽

The Impact ◽

Musical Communication

Based on historical and theoretical analysis of the development of social functioning of musical communication, as well as some problems of its management, the author attempts to theoretically justify the ways and means of optimizing music and communication processes that contribute to enhanced social and cultural role of musical art. The article describes fundamental concepts, which should be taken as the basis for the organization of musical life in modern society. The author puts forward such a conceptual theoretical statement as the principle of multi-factor audience differentiation. Consequently, the paper considers important facets of the theory of musical communication management in society, namely the target programming, scientific forecasting and long-term planning. Ways and methods of implementing these principles aimed at achieving a certain level of control over the processes of music communication in society, are also considered. Special attention is paid to the analysis of the impact of current social and economic changes in Russia on the formation of marketing and management in the social life of musical art.

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ENTORNO PERSONAL DE APRENDIZAJE BASE, UN SISTEMA DE ACTIVIDADES PARA LA EVALUACIÓN DEL APRENDIZAJE AUTÓNOMO DE IDIOMAS.

REVISTA CIENCIAS PEDAGÓGICAS E INNOVACIÓN ◽

10.26423/rcpi.v4i2.138 ◽

2016 ◽

Vol 4 (2) ◽

Author(s):

Yoan Martínez Márquez ◽

Yalice Gámez Batista ◽

Norberto Valcárcel Izquierdo

Keyword(s):

Learning Styles ◽

Language Learning ◽

Self Regulation ◽

Personal Characteristics ◽

Positive Influence ◽

General Terms ◽

Communication Processes ◽

Weakly Coupled ◽

The One ◽

Meaningful Connections

Las TIC median las interacciones y la comunicación de los estudiantes a diario. Se conciben como mediado-ras de la reflexión y la autorregulación de la actividad del estudiante, resultante de la interacción consciente de la percepción que tiene el estudiante sobre si con la que negocia con el resto de los estudiantes, los ase-sores y la sociedad en general. En este contexto el aprovechamiento de las TIC debe promover una influen-cia formativa en los espacios formales y no formales. Las condicionantes de complementariedad de espa-cios y de unidad en la diversidad de recursos tecnológicos y didácticos deben guiar la actividad que tenga al estudiante como centro de la misma.Ya no se trata de integrar las TIC en el proceso de formación, haciéndolo formal y estandarizado. El reto está en que sean las características personales de los estudiantes, sus estilos de aprendizaje, sus conoci-mientos y experiencias previas, y sus esquemas afectivos los que marquen el aprovechamiento de las TIC en la evaluación del aprendizaje autónomo de inglés.En el presente trabajo se estructura el aprovechamiento de las TIC mediante un EPA base para la evalua-ción del aprendizaje autónomo de inglés. El EPA base constituye un andamiaje de personas, procedimien-tos, espacios de interacción, y de recursos tecnológicos y didácticos. Los componentes que lo conforman se encuentran débilmente acoplados por la tecnología y altamente cohesionados por la significatividad de las conexiones que el estudiante establece entre ellos. Palabras Clave: Aprendizaje, Autonomía, Entorno, Evaluación, Personal. ABSTRACT There is no doubt about the key role of ICT in the interaction and communication processes among students. ICT are thought as a mean for the reflection and self-regulation of students´ activity, which is in a permanent conscientious comparison between the perception a student has about him/herself and the one he/she nego-tiates with the rest of students, advisors and society in general terms. In this context, ICT should promote a positive influence on student formation in formal and non-formal spaces. The conditionals related to spaces combined support and union in the diversity of technological and didactical resources should guide every activity having students at the center of its conception.It is no longer about integrating ICT to the formation process making it formal and standardized. The chal-lenge on autonomous language learning evaluation with ICT has to do with making the differences through personal characteristics of students, their learning styles, previous experiences and affective schemas.In this paper the use of ICT is structured by means of a PLE frame for the evaluation of English autonomous language learning. It is a scaffolding of people, procedures, interaction spaces, and technological and didac-tical resources. Its components are weakly coupled by technologies and highly cohesive by the meaningful connections students establish among them. Keywords: Learning, Autonomy, Evaluation, Environment, Personal. Recibido: septiembre de 2016Aprobado: noviembre de 2016

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Perception and learning of relative pitch by musicians using the vibrotactile mode

Musicae Scientiae ◽

10.1177/10298649211015278 ◽

2021 ◽

pp. 102986492110152

Author(s):

Carl Hopkins ◽

Saúl Maté-Cid ◽

Robert Fulford ◽

Gary Seiffert ◽

Jane Ginsborg

Keyword(s):

Hearing Loss ◽

Music Education ◽

Success Rate ◽

Normal Hearing ◽

Pitch Discrimination ◽

Professional Musicians ◽

Profound Hearing Loss ◽

Relative Pitch ◽

Significant Difference ◽

Schools For The Deaf

This study investigated the perception and learning of relative pitch using vibrotactile stimuli by musicians with and without a hearing impairment. Notes from C3 to B4 were presented to the fingertip and forefoot. Pre- and post-training tests in which 420 pairs of notes were presented randomly were carried out without any feedback to participants. After the pre-training test, 16 short training sessions were carried out over six weeks with 72 pairs of notes per session and participants told whether their answers were correct. For amateur and professional musicians with normal hearing and professional musicians with a severe or profound hearing loss, larger pitch intervals were easier to identify correctly than smaller intervals. Musicians with normal hearing had a high success rate for relative pitch discrimination as shown by pre- and post-training tests, and when using the fingertips, there was no significant difference between amateur and professional musicians. After training, median scores on the tests in which stimuli were presented to the fingertip and forefoot were >70% for intervals of 3–12 semitones. Training sessions reduced the variability in the responses of amateur and professional musicians with normal hearing and improved their overall ability. There was no significant difference between the relative pitch discrimination abilities between one and 11 semitones, as shown by the pre-training test, of professional musicians with and without a severe/profound hearing loss. These findings indicate that there is potential for vibration to be used to facilitate group musical performance and music education in schools for the deaf.

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Analysis of gender, age and disability representation in music education textbooks: A research update

International Journal of Music Education ◽

10.1177/0255761418763900 ◽

2018 ◽

Vol 36 (4) ◽

pp. 494-508 ◽

Cited By ~ 2

Author(s):

Mª del Mar Bernabé-Villodre ◽

Vladimir E. Martínez-Bello

Keyword(s):

Music Education ◽

Research Team ◽

European Law ◽

Female Characters ◽

Professional Musicians ◽

Virtual Absence ◽

Coding Scheme ◽

Women And Girls ◽

Time Periods ◽

Curricular Materials

According to International and European Law, teachers are encouraged to analyse, challenge and to help to eliminate sexist stereotypes and distortions in curricular materials. We aimed to characterize and compare the efficacy of implementation of the gender equality-based approach in the Spanish educational system, through a content analysis of the illustrations in music education (ME) textbooks following a coding scheme constructed by the research team according to guidelines from previous studies about the depiction of women and girls in ME textbooks during two periods of Spanish democracy: before (1992–2005); and after (2006–2015). Our major findings were: (a) female characters were under-represented in both time periods studied; (b); the stereotype of women as amateur but not professional musicians is not perpetuated in the current primary ME textbooks; (c) both children and adults independently of gender were portrayed interacting with others; (d) despite the fact that women teachers are actively participating in schools, ME textbooks do not faithfully reflect that reality; and (e) the virtual absence of females and males with disabilities suggests that this aspect of inclusion is still pending. Notwithstanding, ME textbooks printed after 2006 tended to challenge some traditional stereotypes pertaining to how females and males think, play and act within the musical world.

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MUSIC COMMUNICATION: WAYS OF REPRODUCTION AND CHANNELS OF PERCEPTION OF MUSIC (historical and analytical view)

Arts education and science ◽

10.36871/hon.202002006 ◽

2020 ◽

Vol 1 (2) ◽

pp. 53-61

Author(s):

A. N. Yakoupov ◽

Keyword(s):

Oral Communication ◽

Recording Equipment ◽

Professional Musicians ◽

Stage Design ◽

New Era ◽

Musical Notation ◽

Theatrical Performance ◽

Musical Thinking ◽

Oral Method ◽

Musical Communication

In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generations. Other examples of oral communication are cult music, improvisation and musical meditation. It is stated that musical writing, in particular, musical notation, and later printing tools have created conditions for overcoming spatial and temporal barriers to the spread of music. The next step is the invention of technical sound recording, which opened a new era in the development of communications. Magnetic recording of the visual series made it possible to create concert films and opera films. Even greater involvement of people in the process of musical communication was facilitated by the appearance of electronic and mechanical means of recording music. The emergence of new opportunities in the field of sound dynamics control, its timbre, influenced the development of musical thinking. A new industry of "production" has emerged with the involvement of professional musicians who own modern recording equipment and specialize in the production of "artificial" musical products. This process was accompanied by the formation of a new audience of listeners who preferred recording to live sound.

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FEATURES OF FORMATION OF THE MUSICAL INFRASTRUCTURE OF KEMEROVO REGION (20–40-TH YEARS OF XX CENTURY)

Vestnik Tomskogo gosudarstvennogo universiteta Kul turologiya i iskusstvovedenie ◽

10.17223/22220836/41/14 ◽

2021 ◽

pp. 179-184

Author(s):

Nina V. Pomorceva ◽

◽

Tatyana I. Moroz ◽

Keyword(s):

Industrial Structure ◽

Educational Institution ◽

Music Performance ◽

Culture Industry ◽

Professional Musicians ◽

Musical Life ◽

Music Schools ◽

Industrial Region ◽

Cultural Traditions ◽

Kemerovo Oblast

Describes a stage of formation and development of music in the Kemerovo region's infrastructure as a young industrial region of Russia. Due to interaction between socio-cultural and socio-economic aspects of development of the region, the musical life of the Kemerovo region was prepared in the pre-industrial period (until 1920), featuring the development of music performance within folk, Church, amateur music-making and unable to exit professional level due to lack of expertise in the region. After the October revolution in the conditions of intensive formation of the industrial structure in young cities region and the initial installation on massification of amateur (amateur) creativity, gradually formed the basis for the establishment of a fully fledged musical infrastructure. This phase was marked by the emergence and intensive development of musical performance mainly in the form of amateur music: choral and instrumental groups in constructed folk houses and clubs, performing cultural and educational functions among the working population. Parallel to the process of formation of the educational basis of musical infrastructure: opening of children's music schools, music schools, offices, children's creativity centres at clubs and houses of culture industry enterprises. During the great patriotic war, resulting in the evacuation and the arrival in the region of creative collectives and professional musicians going on formation of academic performance. Creating a pop concert Bureau (1943), subsequently converted in Kemerovo Oblast Philharmonic, translation of theatre of musical comedy (1945 g.) led to revitalize and strengthen the processes of professional music art items in Kemerovo oblast. With the opening of vocational educational institution-Kemerovo musical College (1944)-lay the Foundation for training new personnel in the sphere of musical culture of the region. With the advent of the professional segment in the cultural traditions of stabilization activities are envisaged with the totality of the prevailing musical infrastructure functioning in the context of the musical life of the region. Consequently, the period under review is an important link in the panorama of music art development in the industrial region, and determines subsequent lush flowering in 1970–1990.

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