Bologna process music education
The complex wave method as an effective means of teaching students in the Children's Music School system
Bologna process and music education
The importance of this topic lies in the fact that there is an urgent need to change the very system of educating children and adolescents. It is impossible to assess a child’s abilities only by the entrance exam to a music school, it is impossible to teach only specialties, without connection with solfeggio, musical literature, and in a choir lesson everything is almost completely forgotten, despite the apparent proximity of the subjects. Such a broken school has simply exhausted itself and cannot exist today. The volume of information doubles every 3 years, and the pace at which it needs to be absorbed increases. It is impossible today to imagine a teacher learning everything, because only the Internet knows everything, the level of information of which is very, very varied.
In addition, in recent years, the Bologna process is getting closer and closer to a system of music education, which is individually oriented in its essence. Speech by the rector of the Moscow State Conservatory at the IV International Conference: “Modernization of higher music education and implementation of the principles of the Bologna process in Russia, the CIS countries and Europe.” St. Petersburg State Conservatory (Academy) named after N.A. Rimsky-Korsakov. September 26, 2010. The time has come to develop your attitude towards its introduction or abandonment, as not meeting the sufficiently unified subject specifics of music education and upbringing.
In preparing this article, I relied on sources from the Moscow State Conservatory, in particular on the report of the rector of the Moscow State Conservatory A. Sokolov at the IV International Conference: “Modernization of higher music education and implementation of the principles of the Bologna process in Russia, the CIS countries and Europe” (St. Petersburg State Conservatory (Academy) named after N.A. Rimsky-Korsakov. September 26, 2010), report by the vice-rector for scientific and creative work of the Moscow State Conservatory K. Zenkin “Traditions, prospects and problems of conservatory education in Russia in the light of the draft Federal Law on Education 2013 ", articles and master classes by the professor of the Drama Institute in Stockholm, violinist M. Kazinik, as well as a number of other sources (mainly audio transcripts of reports posted by the Moscow Conservatory on the Internet).
The rector of the Moscow State Conservatory, A. Sokolov, having been associated with the controversy surrounding the Bologna system for quite a long time (at one time he was the Minister of Culture and Mass Communications of the Russian Federation), dwells in detail on all the painful points of using the Bologna system in the context of music education.
Music education is three-level (children's music school, college, conservatory). As the rector of the Moscow State Conservatory A.S. Sokolov notes, two-level higher education, being directly projected onto the traditions and needs of universities of non-musical education, gave rise to serious problems that were understandable to real professionals. Many took a defensive position under the slogan: “Do no harm!”
The Bologna system is designed to ensure freedom and mobility of the educational process, choice of specialty, place of study and educational disciplines. It is designed for the average student in an average situation in the context of the European-American cultural tradition. (K. Zenkin)
The use of this system is difficult in conditions noticeably different from the established norm, specifically in the field of professional music education. The task of music education is different than in other areas. In the system of musical upbringing and education, there is a clear focus on the formation of a holistic creative personality, a special creative unity of practical, artistic, creative, scientific and theoretical components, the importance of personal characteristics in the educational process - the sustainable formation of performing schools.
In recent years, performing musicians are required, in addition to their main work, to write a scientific musicological abstract. In fact, they are only mastering the skills of compiling materials hastily pulled from the Internet, or shifting this forced labor onto the shoulders of their scientific supervisors, attracted from the Faculty of History and Theory. Profanity is the saddest result of thoughtless administration.
Perhaps the only thing we can take from the Bologna system is an innovative approach to teaching technologies, and, consequently, the introduction of new technical means of teaching pupils and students. We need an institute of electronic music, scientific and educational centers on the problems of acoustics, sound engineering, information technology, psychology of perception and creativity, and much more. The Moscow Conservatory already has much of this. (K. Zenkin). It is high time for conservatories to realize their university potential. The Moscow Conservatory has the status of a specialized university, which in no way changed its essence in training musical personnel of the highest level of professional musical excellence. Specialized universities are necessary. In addition, it is necessary to consolidate the scientific organization in the structure of conservatories.
Musicologists should receive postgraduate education from their own scientific supervisors, and not from an academy for retraining scientific and pedagogical personnel, whose importance in musical professionalism is negligible.
For those who wish to get acquainted in more detail with the reports of the rector of the Moscow State Conservatory A. Sokolov and the vice-rector for scientific work of the Moscow State Conservatory K. Zenkin, I can refer to the portal youtube.com, the page of the Moscow Conservatory, MoscowConservatory, where all the presented reports are posted.
The beginning of understanding the complex wave method of teaching children was associated with the preparation of a report on the topic “Methodological and pedagogical principles of teaching children in children's music schools. The Bologna process and its projection on music education”, which I completed in April 2013. In it, I partially showed the possibility of such an approach to teaching children, but the scope of the topic did not allow me to fully reveal this thesis. This method was proposed by the violinist, concert expert of the Nobel Committee M. Kazinik. Complex wave lessons are already being held in different parts of the CIS: Russia, Lithuania, Latvia. A similar school has been started in Bulgaria; Summer master schools are being held on the possibilities of introducing such a method.
Once upon a time, school was conceived as a system for educating a harmonious personality. Today this is not the case. Often it forms fragmentary, clip-like thinking in students. We constantly separate one knowledge from another. And the child sees the world not as a single system, but in some scraps.
As a result, the information received will not stay in the students’ heads for long. We do not teach, but torture our children!
What if we don’t try to push information into a child, but teach him to think, to connect events and phenomena with each other. The violinist M. Kazinik repeatedly draws our attention to the possibility of such an approach.
An example of such a lesson would be a lesson in a specialty, in which the student learns that a violin is similar to a person in structure, the string sounds and a sound is born (sound is vibration, a wave is physics), in order for the string to sound, you need to draw a bow across it, first covering the hair rosin (specially treated spruce or pine resin - chemistry). The violin is an instrument into which the master, during manufacturing, sets the tuning, aligning the soundboards to certain notes. The quality of the sound depends on how accurately we line up the violin, and the sound of the string will resonate with the vibration of a certain structural part of the instrument (acoustics). All this can be communicated to the student in a couple of lessons, or even in one. He will understand this easily.
Children will remember the lessons of paradoxical thinking better than traditional ones. It would be nice to give up the belief that school should teach everyone everything. This is impossible to do, if only because every three years the amount of information in the world doubles.
The purpose of the article is to demonstrate the complex wave method as an effective means of teaching children at the Children's Music School (is it only there?), as well as to comprehend the Bologna method as a dictated system for training young specialists, and the possibility of its application in the system of musical education and training.
We must set ourselves the goal of creating thinking people! For the first time in history, we will create a school of creative thinking. In this way we will introduce children into a thinking, creative world. Those who go through such a school will be different people. Even if they study the exact sciences, they will know that the theory of relativity is born through music, through Bach and Mozart.
Man differs from the beast in only one thing - his consciousness determines being. And the crisis is born first in the heads, souls, hearts, and then it hits the pocket. Brain lotion is Mozart, Shakespeare, Pushkin.
We are the heirs of the greatest, millennia-old culture, an idea that rose, grew, lived and was formed. If we forget this, that’s where we’ll go. If we don't do our best to make culture a priority, they are doomed. Until culture is above ideology, above politics and above religion, nothing will happen. In art there is no movement from simple to complex, from bottom to top. Art is evidence of the Universe, of higher intelligence, but not in institutions where they are talked about, but in the spirit of civilization, of the man of Antiquity. It makes no difference to us what houses, for example, the Greeks lived in; little has survived to this day, but their contribution to world culture is truly enormous.
In the 1980s, the film “Scarecrow” was released, in which director Rolan Bykov showed a model of the future into which Lena Bessoltseva finds herself with her ringleader, the Iron Button. We risk arriving at just such a future if we let everything take its course. The process can only be stopped by decisive measures - putting everything on culture. Throw all your strength there. Because culture is the cultivation of the soul! And if you try to save on culture during a crisis, then everything will end in disaster. Cultivation of crops is a struggle for life. The sleep of reason creates a monster. A monster is born when the mind is asleep.
In 2005, M. Kazinik, opening the Nobel Prize concert, said: “Dear fathers and mothers, grandparents, if you want your child to take the first step towards the Nobel Prize, start not with chemistry or physics, but with music, in it all formulas are hidden, all the secrets of science, all the secrets of existence, the world is comprehended through music.” Einstein was asked how to perceive the world. He said it was like a layer cake. It is very similar to a fugue - each layer has its own world, its own consistency, its own time, tonality, etc.
The theory of relativity is the formula of a musical fugue created 200 years before Einstein. And who knows that Einstein himself carefully studied the works of Bach in order to learn the laws of their structure. The pinnacle of musical polyphony is the fugue. Each layer has its own time and its own tonality.
If we move on to the Bologna system, it is clear that its application in the system of musical education is extremely difficult. We have a different specificity of training - individual interaction between a student and a teacher in a class in a specialty or with a group of students of 12-14 people in theoretical lessons.
At the top level, after lengthy disputes, the specialty was retained - the basic level of education in cultural universities. This was not an easy victory, since under the pressure of the Ministry of Education and Science at the decisive moment only the two oldest conservatories - St. Petersburg and Moscow - survived. The rectors of other music universities submitted to fate, agreeing to uncontested bachelor's and master's degrees.
While maintaining the specialty, the bachelor's degree began to be understood as a zone of experiment, determined by the university itself. Without splashing out revenge on its child, the university continued to follow the path of natural evolution, and not a prescribed revolution. This tendency has always been characteristic of our most authoritative specialists, who devoted themselves to introducing new generations to the profession.
It is important to coordinately take the lead, proposing ideas that will make it possible to forestall a legislative error; this is much easier than then spending colossal efforts on correcting it.
In this regard, it is necessary to take a look at our traditional system of continuous music education, assessing its future prospects.
Let's start with the foundation - primary education:
The critical situation that has developed with Children's music schools is known, as a result of their classification into the category of additional education, i.e., the actual equalization of children's music schools with interest clubs and home-grown one-day circles.
Having fallen under the knife of educational reform, children's music schools no longer guarantee the fulfillment of the most important dual task assigned to them:
1.General musical education of schoolchildren, at least partially compensating for the actual lack of musical training in secondary schools and gymnasiums, in other words, the education of our future listening audience in philharmonic halls. 2.Professional selection among students, identification of especially gifted children and an individual approach to their education with a focus on further continuation of their studies at a music school. Today, the most difficult task is to defend the status of children's music schools, ensuring their normal functioning, both in large cities and in the provinces. A. Sokolov dwells on the middle level in more detail. The combination of primary and secondary music education is typical for ten-year or 11-year music schools, which, as a rule, are nurseries of higher educational institutions. Their main task is to prepare university applicants. On the way to the matriculation certificate, a very strict selection is carried out according to professional criteria. These are competitive classes with the elimination of unsuccessful students. Coordination of methods and training programs at the middle and higher levels, interaction between teaching staff of schools and universities is very important. An example is the Central Music School at the Moscow State Conservatory, which recently celebrated its 75th anniversary, the director of which is traditionally included in the academic council of the conservatory. So far this is a relatively stable link in the system of continuous music education. It’s more difficult with schools, some of which are also nurseries of the university, these are schools at conservatories, and some work autonomously. There is actual inequality among schools in terms of the level of training provided, in terms of teaching staff, and material support for the educational process. Over the past quarter century, quite a few new schools have emerged in small towns. They still have to prove their professional qualifications and worth, which has already been achieved by a number of old provincial schools: such as Kolomenskoye, Elektrostal, Voronezh and others. Musicians trained in colleges and ten-year schools are often distinguished by the highest level of skill. This is obvious evidence of the actual level of training in our middle management, which has no analogues abroad. The problems of postgraduate education also remain unresolved. Disputes about assistantship-internship, as a form of postgraduate study specific to creative universities, took place between the Ministry of Culture and the Ministry of Education back in the 90s. Things are still there today. The situation only got worse. In recent years, performing musicians are required, in addition to their main work, to write a scientific musicological abstract. In fact, they are only mastering the skills of compiling materials hastily pulled from the Internet, or shifting this forced labor onto the shoulders of their scientific supervisors, attracted from the Faculty of History and Theory. Profanity is the saddest result of thoughtless administration. They will spend a lot of effort on developing a new regulation on postgraduate studies in the arts, which has long been submitted for consideration to higher authorities. Until the voice of one crying in the wilderness is heard. Naturally, in the future both the Bologna system and the wave technique will be interpreted. Today I constantly communicate with the author of the complex wave method M. Kazinik, watch the programs and films he has shot, constantly watch videos of reports and master classes of Russian higher educational institutions: the Moscow and St. Petersburg conservatories (the oldest music universities with a stable accumulated many years of technical, methodological and scientific base), the Gnessin Russian Academy of Music, master classes at the Central Music School at the Moscow State Conservatory, Moscow State University. (K.V. Zenkin on the problems of conservatory education, professor, vice-rector for scientific and creative work of the Moscow State Conservatory). “Traditions, prospects and problems of conservatory education in Russia in the light of the draft Federal Law on Education of 2013.” Speech at the IV International Conference: “Modernization of higher music education and implementation of the principles of the Bologna process in Russia, the CIS countries and Europe.” St. Petersburg State Conservatory (Academy) named after N.A. Rimsky-Korsakov. September 26, 2010.) Speech by the rector of the Moscow State Conservatory at the IV International Conference: “Modernization of higher music education and implementation of the principles of the Bologna process in Russia, the CIS countries and Europe.” St. Petersburg State Conservatory (Academy) named after N.A. Rimsky-Korsakov. September 26, 2010. A school where they are looking for eternity, in physics class they talk about Bach’s fugues, they study geometry with the help of Kandinsky’s paintings, they justify lateness with fantastic stories and they laugh a lot, rejoice, and have fun - this is the “Seven Keys” school. A successful, world-famous Russian school. The conversation with Mikhail Semyonovich Kazinik, the founder and inspirer of the Seven Keys school, was led by Alexey Semyonichev, president of the Association for the Development of Family Education - ARSO, organizer of the Forum “Open Your Dream! Children's projects from idea to success", speaker, blogger. Alexey Semyonichev:
Let's talk about your school "Seven Keys"? To what extent does your school embody what you want to see in education? Mikhail Kazinik:
The whole is hidden in the details. For example, I come to Chelyabinsk, where there is a school in which I took a great part, and I cannot say that this is entirely my school. My methodology works there, my lessons on associative complex wave thinking. And so I come, they say to me: “Mikhail Semenovich, first visit to 2nd “A”. They waited for you for so long, they said that they wanted to see Mikhail Kazinik in their class!” So, first we’ll go to 2nd “A”. We are entering this class. And I see children inventing something, fiddling around, sniffling, doing something, all the time in some kind of work... One child jumps up, runs towards me, hugs me by the leg, cuddles up and stands. I feel his heart beating. I'm standing there and don't know what to do. On the one hand, I don’t want to push him away either, but on the other hand, I came to all the children, and he “captured” me and that’s it. And suddenly I see these little monkeys lined up and saying: “Maxim, don’t be selfish. Everyone wants to hug Mikhail Semenovich,” and the ritual began when everyone comes up and hugs me, presses me. Do you understand why? Because they know that this gray-haired uncle came up with the idea of their school, in which they are happy. They know that their neighbors, peers who go to other schools, envy them and say: “You’re lucky. What was your lesson? “And we searched for eternity.” AC:
Is this first class? MK
: First second. “What did you have in class?” “And we made appliqués like Andersen, and then came up with fairy tales. It was about Denmark." You see, that is, Denmark arises in the context of a genius, and not on its own. You will need it in itself if you are a businessman - you will go and get the necessary information on business in Denmark. If you are a tourist, you will read, make all the necessary inquiries and draw up a route - you will need Denmark as geography, as history. But if you want to know the spirit of Denmark, then the spirit of Denmark is Andersen. He is the soul of Denmark. Why did he appear in this country? This is the most important question that needs to be answered. It’s not that Andersen was in Denmark, but why exactly he appeared in Denmark. Why did Dostoevsky appear in Russia? Why didn't he appear in France? It is very interesting. That's why my school is complex wave. Every phenomenon gives rays: you can imagine a concept, a form, an idea, a word - something that gives rays to all sciences, to all spheres. If you take grain, then this grain is like seed, like the Bible, like thought... The grain is a thought... Let's learn to formulate laconic thoughts. Now I’ll try to express my thought at a very long time, and you try to change it in a few words. It's hard. We are working on rhetoric. Why? Because children must be able to verbally distinguish lies, see the actor who is playing them, and distinguish him from a person who is truly human. That's why we come up with all kinds of shapes. Nobody here counts “1, 2, 3, 4, 5, 6, 7, 8, 9, 10” - it’s boring. I give one child the task: “Say “one”, since you are the most important person in the class, so that no one dares to open their mouth. Try". He collects and tries: “One!” I say to the girl next to me: “Now you have to say two.” Do you see how strong he is? Do you see how authoritarian he is? He killed everyone, right? But you are beautiful, gentle, and in general he is not indifferent to you. Come on, say “two” so that he doesn’t beat you or argue with you.” She's getting ready. I say: “You see, your fate is being decided now. You should say so.” She: “Two.” And the third boy sees that there is already a different opinion, he is more timid in the class, he so timidly says: “Three.” And there’s another one there, he’s trading, he says: “Four, five.” You know, and so on. That is, even the score is images, it is parallel theater. And when school starts, the teachers I trained have a completely different voice, do you understand? Because there is nothing worse than what we call a lecture - the monotonous pronunciation of words. That's horrible. It takes a genius to understand what the lecturer was saying for an hour and a half or two hours. And for this there are techniques, there is a principle of defamiliarization - a strange beginning of a lesson, a principle of paradox - a paradoxical beginning of a lesson - everything that I developed for teachers. After we have worked with them for a week, the school can be started. AC:
Can every teacher really master this technique? MK
: Almost everyone, because this technique is much more natural than the technique of clip consciousness. In the old, pre-computer, pre-Internet times, how did a geography teacher differ from a teacher, for example, of history? Because the geography teacher has a shelf at home and it is written “Methods of teaching geography in the 6th grade.” The history teacher has the same shelf - “Methods of teaching history in the 6th grade.” Then there was no other choice. This is how they differed: one had a method of history, the other had a method of geography. Today, if you tell a normal geography teacher that the history teacher is sick, and ask a geographer to come and talk about the French Revolution, then a normal geographer will literally pull out all the information from the Internet within 40-45 minutes. If necessary, he will go to the Washington library, if necessary, to the Paris library, download the works of great French composers, and he’s done! He will make it more interesting than a history teacher, because he is free from a methodical, complex, sick consciousness. I had this happen once back in the Soviet Union. I come to the restaurant: pea soup, which I really love, for the second course - carrot cutlets, for the third - compote. It's called Complex No. 1. The second set contains milk soup, which I hate, but the second course is delicious meat cutlets, not carrot ones. I say: “I’d like some pea soup from the first one, please.” - “It’s impossible, because it’s in our complex.” I say: “Complexes are for you, but not for me. I came to you". You see, in the Soviet years it was sometimes difficult to say simple things. These complexes remained in the school. But it's all about the technique itself. Its meaning is that the clip consciousness must end, because the history teacher, coming to class, did not even ask the children: “What did you have in front of me, what lesson?” and “What did you talk about in geography?” But, in principle, they should work together, a history teacher and a geography teacher. Why? Because history is time, geography is place, and art and science, culture and science are the filling of place and time. Everything is very simple. Moreover, associative thinking, the essence of Nobel thinking, scientific thinking, cultural thinking - associations, connections of phenomena, one with another. This is what the Finns have now realized - an approach to the same phenomenon from the point of view of history, from the point of view of mathematics, from the point of view of physics, from the point of view of logic, from the point of view of culture. Even their subject now appears like this: “Working in a cafe,” in English. They go through the principles of communication in a cafe, how you should communicate with a client - they put on a real theater. I made such a theater at my school 1000 times, when both the children are actors and the teachers are actors, because the school is the most colossal, joyful theater in the world, shimmering with all the colors. Real theater! “All the world is a stage,” remember what Shakespeare said, “and all the men, women, and children are actors in it.” I agree with this. This is also the school's formula. School is not a boring cramming lesson on clip geography and clip physics. At my school, teachers work together. They can teach one lesson all day, which is what they actually do with me - the “Denmark” lesson. AC:
How long does it take to teach someone your technique? MK:
I meet with them anywhere from three full days to a week. At the end we create the first complex wave lessons. Moreover, even if the school for some reason cannot create a schedule where 3 or 4 teachers teach a one-day lesson together, then the teachers themselves begin to understand the main method. The physics teacher comes and starts with the twin paradox, starts with a story about Bach's fugue, because Einstein said that if there were no Bach fugues, he would not have understood that E = mc2. And I offer every teacher these kinds of thought forms, these lines of connections and concepts, an infinite number of connections. But the only thing I will say is that my school is not denominational, not religious. It's antique. It is not politicized, political issues are not discussed in it, there is no state ideology, because the state cannot follow its leaders and change its ideology all the time. Therefore, there is a completely different, much deeper phenomenon, which is associated with a sense of humor and a panoramic vision of the world. At my school they laugh a lot, have fun, and are happy. The great thing is to ask a smart question. The best thing is to get a witty answer. Music and art play a very important, colossal role in it, and I immediately teach children not that this is classicism, but that this is avant-garde. Why don't people understand the avant-garde? Because there is no continuity. I write about this in my book “Gimlet”: Vasnetsov, “The Frog Princess”. I say: “Come on, tell me.” They begin to tell a fairy tale about Vasilisa the Beautiful, this whole story with Vasilisa, and so on. I say: “So, guys, you are retelling me a fairy tale, but Vasnetsov’s is not a picture in a book, it’s a separate picture that hangs in a museum. Come on, look carefully. The plot of the fairy tale does not play a role in this case. What is the main line in the picture? The children look and say: “Wavy.” I say: “Exactly! A wave in the sleeves, a wave on the table, a wave in patterns, a wave in the upper room, a wave in swan necks. Look, there's a wave all around. Even the boots have wave folds - Russian chrome, red, morocco.” And so on. That is, everything is a wave, see? Look. Look for the waves, look for them. Everything is built on the wave, because illustrating a fairy tale is one thing, but painting a picture, a great work of art, is another. Vasnetsov coded everything. Now let's turn it over. Next is Kandinsky. “What’s here? Attentively". The children watch carefully. I say: “Carefully, carefully, carefully.” They look: “Ah! Here all the lines intersect all the objects.” Exactly. This is what is called the “Secant Line”. Now look, what is this? - “This is a secant, this is a bisector, this is...”, and it begins. That's what Kandinsky did. He laid out all the geometry here, all the stereometry. In the first picture the lines were wavy, but here they are cutting, intersecting, sticking, entering, and so on. Now look, where is Vasnetsov’s golden ratio? " - "Here". - “What’s here? The most important figure, the most important line. And look at Kandinsky. So, Vasnetsov came to an agreement with Kandinsky?” - "No". - "And why?". - “And because the golden ratio is an action, it is a law, it is a divine proportion.” After that, I put on a painting by Malevich, an 11-year-old boy comes out and gives such a phenomenal analysis of this painting that adults are lost, because famous art critics cannot see what the boy saw. I told them: —Have you ever timed how long it takes a person to pass by a painting in a museum? 3-4 seconds. Imagine, the master thought, created deeply, primed the canvas, then created a drawing, proceeded from some main points, then the color went, mastery of oil... This picture is his soul, his secret, his meaning. He wants to convey something more important to people than just an image. Because we see the image ourselves. There are many components here: kindness, love, play, theatrical acting, and so on. I offer another moment to the children, I say: - Well, one boy was late for class. Is it good or bad to be late? You can’t imagine - you can write a volume! There is so much humor, so much joy, so much fun! For example, one girl says: “The alarm clock rang so loudly, unexpectedly, that I jumped up and hit my head against the wall. My hair stood on end. I had to spend time getting my hair in order, so I was late.” Another girl says: “It was such a moonlit night, I woke up in the middle of a clearing far outside the city.” The boy says: “Do you know what phones are like these days? They, like people, demand money all the time. And I ran out of money and my phone didn’t ring. I didn’t give it to him, I spent all the money on text messages.” AND or another girl, 15-16 years old, says: “You know, God knows, I was in a hurry to go to school, but I met Anna Karenina, and she began to tell me such horrors about her fate. I tried to help her somehow so that she wouldn’t throw herself under the train. So I was delayed.” You can’t imagine how children’s imagination begins to work! The adults are sitting in the hall, and my children are on the stage. Adults think that this is all a set-up, because an 11-12-13 year old child cannot immediately create a fantasy. How can it! At my school, maybe, because we know from the very beginning: genius is a friend of paradoxes. We identify what paradoxes are, how they work, and try to speak paradoxical language practically in the classroom. And you know, it turns out The conversation with Mikhail Semyonovich Kazinik, founder and inspirer of the Seven Keys school, was conducted by Alexey Semyonichev, president Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you. Posted on http://www.allbest.ru/ Bologna process music education The complex wave method as an effective means of teaching students in the Children's Music School system Bologna process and music education The importance of this topic lies in the fact that there is an urgent need to change the very system of educating children and adolescents. It is impossible to assess a child’s abilities only by the entrance exam to a music school, it is impossible to teach only specialties, without connection with solfeggio, musical literature, and in a choir lesson everything is almost completely forgotten, despite the apparent proximity of the subjects. Such a broken school has simply exhausted itself and cannot exist today. The volume of information doubles every 3 years, and the pace at which it needs to be absorbed increases. It is impossible today to imagine a teacher learning everything, because only the Internet knows everything, the level of information of which is very, very varied. In addition, in recent years, the Bologna process is getting closer and closer to a system of music education, which is individually oriented in its essence. Speech by the rector of the Moscow State Conservatory at the IV International Conference: “Modernization of higher music education and implementation of the principles of the Bologna process in Russia, the CIS countries and Europe.” St. Petersburg State Conservatory (Academy) named after N.A. Rimsky-Korsakov. September 26, 2010. The time has come to develop your attitude towards its introduction or abandonment, as not meeting the sufficiently unified subject specifics of music education and upbringing. In preparing this article, I relied on sources from the Moscow State Conservatory, in particular on the report of the rector of the Moscow State Conservatory A. Sokolov at the IV International Conference: “Modernization of higher music education and implementation of the principles of the Bologna process in Russia, the CIS countries and Europe” (St. Petersburg State Conservatory (Academy) named after N.A. Rimsky-Korsakov. September 26, 2010), report by the vice-rector for scientific and creative work of the Moscow State Conservatory K. Zenkin “Traditions, prospects and problems of conservatory education in Russia in the light of the draft Federal Law on Education 2013 ", articles and master classes by the professor of the Drama Institute in Stockholm, violinist M. Kazinik, as well as a number of other sources (mainly audio transcripts of reports posted by the Moscow Conservatory on the Internet). The rector of the Moscow State Conservatory, A. Sokolov, having been associated with the controversy surrounding the Bologna system for quite a long time (at one time he was the Minister of Culture and Mass Communications of the Russian Federation), dwells in detail on all the painful points of using the Bologna system in the context of music education. Music education is three-level (children's music school, college, conservatory). As the rector of the Moscow State Conservatory A.S. Sokolov notes, two-level higher education, being directly projected onto the traditions and needs of universities of non-musical education, gave rise to serious problems that were understandable to real professionals. Many took a defensive position under the slogan: “Do no harm!” The Bologna system is designed to ensure freedom and mobility of the educational process, choice of specialty, place of study and educational disciplines. It is designed for the average student in an average situation in the context of the European-American cultural tradition. (K. Zenkin) The use of this system is difficult in conditions noticeably different from the established norm, specifically in the field of professional music education. The task of music education is different than in other areas. In the system of musical upbringing and education, there is a clear focus on the formation of a holistic creative personality, a special creative unity of practical, artistic, creative, scientific and theoretical components, the importance of personal characteristics in the educational process - the sustainable formation of performing schools. In recent years, performing musicians are required, in addition to their main work, to write a scientific musicological abstract. In fact, they are only mastering the skills of compiling materials hastily pulled from the Internet, or shifting this forced labor onto the shoulders of their scientific supervisors, attracted from the Faculty of History and Theory. Profanity is the saddest result of thoughtless administration. Perhaps the only thing we can take from the Bologna system is an innovative approach to teaching technologies, and, consequently, the introduction of new technical means of teaching pupils and students. We need an institute of electronic music, scientific and educational centers on the problems of acoustics, sound engineering, information technology, psychology of perception and creativity, and much more. The Moscow Conservatory already has much of this. (K. Zenkin). It is high time for conservatories to realize their university potential. The Moscow Conservatory has the status of a specialized university, which in no way changed its essence in training musical personnel of the highest level of professional musical excellence. Specialized universities are necessary. In addition, it is necessary to consolidate the scientific organization in the structure of conservatories. Musicologists should receive postgraduate education from their own scientific supervisors, and not from an academy for retraining scientific and pedagogical personnel, whose importance in musical professionalism is negligible. For those who wish to get acquainted in more detail with the reports of the rector of the Moscow State Conservatory A. Sokolov and the vice-rector for scientific work of the Moscow State Conservatory K. Zenkin, I can refer to the portal youtube.com, the page of the Moscow Conservatory, MoscowConservatory, where all the presented reports are posted. The beginning of understanding the complex wave method of teaching children was associated with the preparation of a report on the topic “Methodological and pedagogical principles of teaching children in children's music schools. The Bologna process and its projection on music education”, which I completed in April 2013. In it, I partially showed the possibility of such an approach to teaching children, but the scope of the topic did not allow me to fully reveal this thesis. This method was proposed by the violinist, concert expert of the Nobel Committee M. Kazinik. Complex wave lessons are already being held in different parts of the CIS: Russia, Lithuania, Latvia. A similar school has been started in Bulgaria; Summer master schools are being held on the possibilities of introducing such a method. Once upon a time, school was conceived as a system for educating a harmonious personality. Today this is not the case. Often it forms fragmentary, clip-like thinking in students. We constantly separate one knowledge from another. And the child sees the world not as a single system, but in some scraps. As a result, the information received will not stay in the students’ heads for long. We do not teach, but torture our children! What if we don’t try to push information into a child, but teach him to think, to connect events and phenomena with each other. The violinist M. Kazinik repeatedly draws our attention to the possibility of such an approach. An example of such a lesson would be a lesson in a specialty, in which the student learns that a violin is similar to a person in structure, the string sounds and a sound is born (sound is vibration, a wave is physics), in order for the string to sound, you need to draw a bow across it, first covering the hair rosin (specially treated spruce or pine resin - chemistry). The violin is an instrument into which the master, during manufacturing, sets the tuning, aligning the soundboards to certain notes. The quality of the sound depends on how accurately we line up the violin, and the sound of the string will resonate with the vibration of a certain structural part of the instrument (acoustics). All this can be communicated to the student in a couple of lessons, or even in one. He will understand this easily. Children will remember the lessons of paradoxical thinking better than traditional ones. It would be nice to give up the belief that school should teach everyone everything. This is impossible to do, if only because every three years the amount of information in the world doubles. The school should teach the child to think and enjoy the process of thinking. All history, all culture, all humanity always moves along a single line, there is a cause-and-effect relationship, without which the school is dead. We must create a precedent of thinking in the lesson in order to form a wave perception in children. School is a theater. The teacher is also a director, a screenwriter, and an actor. The purpose of the article is to demonstrate the complex wave method as an effective means of teaching children at the Children's Music School (is it only there?), as well as to comprehend the Bologna method as a dictated system for training young specialists, and the possibility of its application in the system of musical education and training. We must set ourselves the goal of creating thinking people! For the first time in history, we will create a school of creative thinking. In this way we will introduce children into a thinking, creative world. Those who go through such a school will be different people. Even if they study the exact sciences, they will know that the theory of relativity is born through music, through Bach and Mozart. Man differs from the beast in only one thing - his consciousness determines being. And the crisis is born first in the heads, souls, hearts, and then it hits the pocket. Brain lotion is Mozart, Shakespeare, Pushkin. We are the heirs of the greatest, millennia-old culture, an idea that rose, grew, lived and was formed. If we forget this, that’s where we’ll go. If we don't do our best to make culture a priority, they are doomed. Until culture is above ideology, above politics and above religion, nothing will happen. In art there is no movement from simple to complex, from bottom to top. Art is evidence of the Universe, of higher intelligence, but not in institutions where they are talked about, but in the spirit of civilization, of the man of Antiquity. It makes no difference to us what houses, for example, the Greeks lived in; little has survived to this day, but their contribution to world culture is truly enormous. In the 1980s, the film “Scarecrow” was released, in which director Rolan Bykov showed a model of the future into which Lena Bessoltseva finds herself with her ringleader, the Iron Button. We risk arriving at just such a future if we let everything take its course. The process can only be stopped by decisive measures - putting everything on culture. Throw all your strength there. Because culture is the cultivation of the soul! And if you try to save on culture during a crisis, then everything will end in disaster. Cultivation of crops is a struggle for life. The sleep of reason creates a monster. A monster is born when the mind is asleep. In 2005, M. Kazinik, opening the Nobel Prize concert, said: “Dear fathers and mothers, grandparents, if you want your child to take the first step towards the Nobel Prize, start not with chemistry or physics, but with music, in it all formulas are hidden, all the secrets of science, all the secrets of existence, the world is comprehended through music.” Einstein was asked how to perceive the world. He said it was like a layer cake. It is very similar to a fugue - each layer has its own world, its own consistency, its own time, tonality, etc. The theory of relativity is the formula of a musical fugue created 200 years before Einstein. And who knows that Einstein himself carefully studied the works of Bach in order to learn the laws of their structure. The pinnacle of musical polyphony is the fugue. Each layer has its own time and its own tonality. If we move on to the Bologna system, it is clear that its application in the system of musical education is extremely difficult. We have a different specificity of training - individual interaction between a student and a teacher in a class in a specialty or with a group of students of 12-14 people in theoretical lessons. At the top level, after lengthy disputes, the specialty was retained - the basic level of education in cultural universities. This was not an easy victory, since under the pressure of the Ministry of Education and Science at the decisive moment only the two oldest conservatories - St. Petersburg and Moscow - survived. The rectors of other music universities submitted to fate, agreeing to uncontested bachelor's and master's degrees. While maintaining the specialty, the bachelor's degree began to be understood as a zone of experiment, determined by the university itself. Without splashing out revenge on its child, the university continued to follow the path of natural evolution, and not a prescribed revolution. This tendency has always been characteristic of our most authoritative specialists, who devoted themselves to introducing new generations to the profession. It is important to coordinately take the lead, proposing ideas that will make it possible to forestall a legislative error; this is much easier than then spending colossal efforts on correcting it. In this regard, it is necessary to take a look at our traditional system of continuous music education, assessing its future prospects. Let's start with the foundation - primary education: The critical situation that has developed with Children's music schools is known, as a result of their classification into the category of additional education, i.e., the actual equalization of children's music schools with interest clubs and home-grown one-day circles. Having fallen under the knife of educational reform, children's music schools no longer guarantee the fulfillment of the most important dual task assigned to them: 1. General musical education of schoolchildren, at least partially compensating for the actual lack of musical training in secondary schools and gymnasiums, in other words, the education of our future listening audience in philharmonic halls. 2. Professional selection among students, identification of especially gifted children and an individual approach to their education with a focus on further continuation of their studies at a music school. Today, the most difficult task is to defend the status of children's music schools, ensuring their normal functioning, both in large cities and in the provinces. A. Sokolov dwells on the middle level in more detail. The combination of primary and secondary music education is typical for ten-year or 11-year music schools, which, as a rule, are nurseries of higher educational institutions. Their main task is to prepare university applicants. On the way to the matriculation certificate, a very strict selection is carried out according to professional criteria. These are competitive classes with the elimination of unsuccessful students. Coordination of methods and training programs at the middle and higher levels, interaction between teaching staff of schools and universities is very important. An example is the Central Music School at the Moscow State Conservatory, which recently celebrated its 75th anniversary, the director of which is traditionally included in the academic council of the conservatory. So far this is a relatively stable link in the system of continuous music education. It’s more difficult with schools, some of which are also nurseries of the university, these are schools at conservatories, and some work autonomously. There is actual inequality among schools in terms of the level of training provided, in terms of teaching staff, and material support for the educational process. Over the past quarter century, quite a few new schools have emerged in small towns. They still have to prove their professional qualifications and worth, which has already been achieved by a number of old provincial schools: such as Kolomenskoye, Elektrostal, Voronezh and others. The privilege of a school or college, as they are now called, is the graduation of a certified specialist who has the right to work as a teacher in a children's music school, as well as to be a concert performer, or to continue his education at higher echelons. Musicians trained in colleges and ten-year schools are often distinguished by the highest level of skill. This is obvious evidence of the actual level of training in our middle management, which has no analogues abroad. The problems of postgraduate education also remain unresolved. Disputes about assistantship-internship, as a form of postgraduate study specific to creative universities, took place between the Ministry of Culture and the Ministry of Education back in the 90s. Things are still there today. The situation only got worse. In recent years, performing musicians are required, in addition to their main work, to write a scientific musicological abstract. In fact, they are only mastering the skills of compiling materials hastily pulled from the Internet, or shifting this forced labor onto the shoulders of their scientific supervisors, attracted from the Faculty of History and Theory. Profanity is the saddest result of thoughtless administration. They will spend a lot of effort on developing a new regulation on postgraduate studies in the arts, which has long been submitted for consideration to higher authorities. Until the voice of one crying in the wilderness is heard. Naturally, in the future both the Bologna system and the wave technique will be interpreted. Today I constantly communicate with the author of the complex wave method M. Kazinik, watch the programs and films he has shot, constantly watch videos of reports and master classes of Russian higher educational institutions: the Moscow and St. Petersburg conservatories (the oldest music universities with a stable accumulated many years of technical, methodological and scientific base), the Gnessin Russian Academy of Music, master classes at the Central Music School at the Moscow State Conservatory, Moscow State University. (K.V. Zenkin on the problems of conservatory education, professor, vice-rector for scientific and creative work of the Moscow State Conservatory). “Traditions, prospects and problems of conservatory education in Russia in the light of the draft Federal Law on Education of 2013.” Speech at the IV International Conference: “Modernization of higher music education and implementation of the principles of the Bologna process in Russia, the CIS countries and Europe.” St. Petersburg State Conservatory (Academy) named after N.A. Rimsky-Korsakov. September 26, 2010.) Speech by the rector of the Moscow State Conservatory at the IV International Conference: “Modernization of higher music education and implementation of the principles of the Bologna process in Russia, the CIS countries and Europe.” St. Petersburg State Conservatory (Academy) named after N.A. Rimsky-Korsakov. September 26, 2010. Posted on Allbest.ru The formation of the first institutes of music education in the 18th-19th centuries. History of the creation of the St. Petersburg and Moscow Conservatoires. The role of the Free Music School in the system of this education. Outstanding representatives of Russian music schools. presentation, added 12/25/2014 Music education in psychological and pedagogical literature, its manifestation as one of the directions of aesthetic development of the individual. The origin and specific features of music education on the Don. The structure of motivation for musical activity. course work, added 04/08/2009 Characteristics of the main types of musical activity of a child and the study of the theoretical foundations of music education in kindergarten. Conducting a pedagogical experiment on the formation of pedagogical conditions for music education in kindergarten. course work, added 06/06/2014 Analysis of the possibilities of using new tools and methods in traditional education in order to increase children's interest in learning. Implementing probability education and using thinking skills training. Inquiry and value-based teaching methods. course work, added 06/23/2011 Creation of a single European educational and scientific space. Reforms of the Bologna process. Higher education in Ukraine. Introduction of a credit system. Prospects for students. Diversification of teaching methods in the Ukrainian education system. abstract, added 12/13/2010 History of the Bologna process of creating a single European higher education space. Provisions of the Bologna Declaration. The need to solve the social problem of modernizing the national institute of education. The economic problem of modernization. abstract, added 02/02/2009 The Bologna process as an example of the globalization of education. Bologna Declaration, its purpose and main provisions. Characteristics of the influence of globalization on education in the modern world. Analysis of problems of integration of the Russian education system into the Bologna process. course work, added 03/02/2013 The problem of musical thinking as a psychological phenomenon. The origin of musical thinking in ontogenesis. Comprehension of a musical work by a person in the process of musical thinking. Conceptual component in the structure of musical thinking. course work, added 06/26/2015 Creation of a single European space of higher education in Russia, stages and directions of this process in connection with the introduction of the Bologna education system. Master as the highest academic degree and qualification, program and stages of obtaining it. abstract, added 10/04/2014 Modern trends in education reform. Main directions of modernization of Russian education. Bologna process in higher education. Unified State Exam. Problems of reforming teacher education in higher education and ways to solve them. Mikhail Kazinik has developed an original methodology for a complex wave lesson, which is designed to compensate for the shortcomings of existing domestic methods that exist outside of connection with the treasures of world culture and outside of spatio-temporal contextual connections. The methodology was born out of necessity - today, in the era of the Internet, when the amount of information around us doubles every 2-3 years, the school can no longer exist at the level of the 50s of the last century. The old school was created to provide knowledge and prepare future workers for industrial production. Today this is no longer necessary. Knowledge is easy to find on the Internet; the percentage of people employed in production itself is constantly decreasing due to technological development. In the near future, a predominant number of people in liberal professions will appear. It is they who will determine the spiritual potential of the country, the degree of its creative significance, and the atmosphere of life. Therefore, today the main goal of the teacher is not so much to inform as to structure the lesson in such a way as to evoke in the student a burning need to learn and explore. The purpose of the teacher is to use all the accumulated cultural values to lay in the student the foundations of spirituality, which will help him consciously navigate the world around him. It is not simple. Teachers will have to overcome a number of stereotypes and lack of self-confidence. Someone once decided that the moment of transferring knowledge should be serious and difficult, that before an exam you should be nervous and afraid of a bad grade. What kind of self-realization of a child can we talk about? What will happen if you make the learning process joyful and smiling? What if you don’t force your child to learn a lesson, but arouse his interest? Mikhail Kazinik conducted such an experiment in the city of Vyksa, Nizhny Novgorod region and called it the complex wave lesson technique or the School of the Future. The technique is based on the development of associative perception - an ability that distinguishes, for example, Nobel laureates. At the School of the Future, humanities subjects are combined into a single chain around one “anchor” and presented in a creative manner. For example, an apple can become such an “anchor”: this includes biology (an apple as a fruit), and chemistry (processes occurring in an apple), and physics (Newton and his laws) and literature (I. Bunin and his “Antonov apples”) , history (the emergence of apple culture in Russia, the time of Kievan Rus) and much more. The technique was not only successfully tested on the experimental site, but also aroused great interest from the Institute of Art Education of the Russian Academy of Education. Today we are preparing for the next stage - to introduce a comprehensive wave lesson into the daily practice of ordinary schools. To do this, it is necessary, firstly, to find talented, “hot” teachers and teach them to teach in a new way, and secondly, to create a methodological base, materials, and channels for exchanging information and support to help them. Our Project is being implemented to solve this problem. We need creative people who are passionate about the cause, so not any teacher can become a participant in the project, but only those who pass a special selection. For them, we are ready to create a full range of necessary conditions and support them in the future, to help them become the “first swallows” who will carry the light further to their students. If you consider yourself one and are interested, please become our student. We also need other help - it is important that only those who are passionate about the teaching mission get into the Master School, so by introducing strict selection based on professional qualities, we make the cost of participation acceptable to everyone and are looking for additional sources of funding. We encourage everyone who shares our understanding of the issue and supports our views to join, as sponsors, private donors or event organizers. Let's together make school a place of true development for our children! Complex wave lessons at the 7 keys school.
Chelyabinsk city.
Everything works out!!!
The pressure in any harmonic wave can be written in the form The amplitude and initial phase of oscillations depend only on the coordinates of the point. For example (see Chapter IX), in a spherically symmetric diverging harmonic wave and From (22.1) it follows that the particle speed, compression and other characteristics of the wave at each point also change over time according to a sinusoidal law. For a harmonic wave, the wave equation is simplified - substituting (22.1) into the wave equation (16.1), we obtain the so-called Helmholtz equation The Helmholtz equation includes derivatives only with respect to coordinates; Thus, for harmonic waves, the time dependence can be eliminated from the equations. If (22.1) is the solution of equation (22.2) that interests us, then it is easy to check by direct substitution that the function also has some solution, which means it depicts a wave in the same way as (22.1). Solution (22.3) differs from (22.1) only by the phase shift by a quarter of the period. Any linear combination of these two solutions is also a solution. The following complex linear combination is especially convenient for calculations: Here the notation is introduced. With this recording of the wave, the standard harmonic time dependence for all points turns out to be represented by a multiplier independent of the coordinates. For example, a plane harmonic wave traveling along the x-axis to the right will be written in the form Usually For the sake of brevity, the time factor is omitted. Note that multiplication by is equivalent to multiplication by corresponds to a change in the phase of the oscillation or phase of the wave by a quarter of the period. The quantity in (22.4) is called the complex amplitude of the oscillation; it depends only on the coordinates and characterizes the amplitude and phase of oscillations of the medium at various points. The Helmholtz equation is satisfied by both the complete solution (22.4) and its complex amplitude separately. The real amplitude does not satisfy the Helmholtz equation. The introduced complex harmonic waves are convenient for calculations because they involve only one (exponential) function instead of two different trigonometric functions (cosine and sine), which transform into each other during differentiation and integration. It should, however, be kept in mind that the complex solutions of the Helmholtz equation themselves do not have any physical meaning. Indeed, every physical quantity, every instrument reading, for example, a reading on one or another indicator, is always a real number. Only the real part of the complex wave has physical meaning. To move from a complex wave to a real wave that has a physical meaning, it is necessary to first restore the omitted time factor and then take the real part from the complex value. In order for the real part of the result of operations on complex waves to be equal to the result of the same operations on the real parts of complex waves, these operations must be linear: addition, subtraction of waves, and their differentiation in time and coordinates are permissible. But, for example, the real part of a product is not equal to the product of the real parts of complex numbers. Therefore, the energy or power of the wave cannot be obtained directly by multiplying the complex quantities that characterize the wave, but we have to return to the real notation (see Chapter IV). When studying harmonic oscillations and waves, it is very convenient to use the ratios of complex quantities. For a harmonic process, this ratio does not depend on time (the factors cancel). The phase of the resulting ratio is equal to the difference between the phases of the dividend and the divisor. If both quantities are of the same nature, for example, a wave incident on an obstacle and a reflected wave, then the modulus of the ratio is equal to the ratio of the real amplitudes of these waves. The ratios of quantities of various natures, for example, pressure and speed (the so-called impedance), etc., also turn out to be very useful. In the future, we will often encounter such quantities. Differentiation with respect to time of a complex wave is carried out by multiplying by integration - dividing by For example, the complex velocity of particles in a complex wave is equal, according to (13.3), This shows, in particular, that the motion of each particle in a harmonic wave is flat: the particle speed is parallel to the vectors and the components along these vectors are shifted in phase by a quarter of the period. At different points, the plane of motion of particles may be different. The conjugate (22.4) complex combination is also convenient for calculations where the asterisk, as usual, denotes the complex conjugate quantity. Both combinations differ in sign; however, it is often said that the second combination corresponds to a negative frequency: this is due to the type of the time multiplier, which for the second combination takes the form that can actually be obtained from the time multiplier of the first combination by changing the sign of the frequency. When calculating with negative frequencies, all complex quantities must also be replaced by conjugate values, differentiation and integration must be carried out by multiplying and dividing by the complex speed, expressed through the conjugate pressure by the formula a plane wave traveling to the right will be written in the form, etc. All results of linear operations will turn out to be complex conjugate with respect to the results coming from expressions for positive frequencies. Generally all functions of the complex characteristics of waves are replaced by conjugate ones, in particular the ratios of complex quantities characterizing the wave (for example, reflection coefficient, impedance). The final results of any calculation will also turn out to be complexly conjugate with respect to the results coming from the expressions of positive frequencies. One encounters negative frequencies, for example, in expansions of waves into the Fourier integral, extended to frequencies from to in the case when the Fourier expansion is performed in complex exponentials rather than in trigonometric functions. When moving to the real part, the result will be the same regardless of the sign of the frequency: waves that differ only in the sign of the frequency coincide as physical objects, despite the different mathematical notation.Complex wave school
Ball in honor of Teacher's Day at the Seven Keys school, 2017Children are actors, teachers are actors
Election of the president of the “Seven Keys” school. 2017
One lesson for the whole day
- Yeah, I see.
- Do you now think that it is not an insult to the artist when a person walks past a painting for 3 seconds, turning his head slightly to the left or to the right?
- Certainly.
- Let's stop. Let's try to make the artist happy. He's immortal. For example, he is watching us now when we look at his picture. Let's show him how we feel about the picture. Let us tell him how wonderful he is, how deeply we understand him.Genius is a friend of paradoxes
- Badly.
- Let's translate this “bad” into “good.” Now I offer you all: you are all late for class. I forgive you all, provided that you come up with a very interesting story with meaning, with ideas, with thoughts about why you were late.
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