Lecture
Students' independent extracurricular work involves preparing seminar presentations and papers, carrying out practical research assignments, and preparing creative
assignments for course credit; as well as reviewing lecture material and recommended reading in preparation for the rating-based assessment and the exam.
3.4.1. Recommendations for Preparing a Presentation for a Seminar Session
1. Choose a topic for your presentation.
2. Compile a list of sources on the chosen topic, drawing on the reading recommended for the course, and also select additional sources (see «Recommendations for Compiling an Additional Bibliography»).
3. After studying the sources, define the aim and objectives of your presentation and draw up its
outline.
4. When drawing up the outline, remember that it should include
a short introduction presenting the topic, a main body, and a conclusion
(summing up what has been said and drawing the audience's attention to
its main points). A list of the sources used is also required.
5. Proceed to actually writing the presentation, consulting your instructor during the process as needed.
6. While working on the presentation, be sure to identify the main ideas and
material for examples, and try to make its content accessible and engaging for your audience.
7. Format the presentation carefully, paying attention to the correct presentation of
footnotes and the list of references.
8. It is desirable that your presentation be accompanied by an electronic slide presentation and visual and audio materials.
3.4.2. Recommendations for Compiling an Additional Bibliography
1. Study the content of the lecture on the assigned topic.
2. Study the recommended core and supplementary reading on this topic.
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3. Search for sources not included on the list in: 1) the department reading room; 2) the university reading room; 3) the university
library; 4) city libraries; 5) the Internet.
4. Your bibliography may include books, journal articles in
your field and related fields, articles from collections of scholarly papers,
proceedings of scientific-practical conferences at various levels,
and e-books and articles from Internet resources.
5. At least two-thirds of the bibliography should consist of sources published within the last five years.
6. The additional bibliography you compile has no limit on the number of sources, but must include at least 5
entries.
7. The bibliography must be formatted in accordance with the current bibliographic description standard.
3.4.3. Recommendations for Writing a Research Paper
1. Choose a topic for your research paper.
2. Compile a list of sources (at least 15 sources).
3. Study the selected sources.
4. Define the aim and objectives of the paper.
5. Draw up an outline for the paper. Its required parts are:
- a table of contents listing section titles and page numbers;
- an introduction (the relevance of the topic, the degree to which the problem has been studied, the aim
and objectives of the work);
- several section paragraphs (at least 3) with their numbering and
titles;
- a conclusion (summarizing the work, the degree to which the aim and
objectives were achieved, and conclusions);
- a list of references, formatted in accordance with
the current standard;
- an appendix (an additional section including illustrations,
diagrams, lesson plans, program excerpts, etc.)
6. Proceed to writing, consulting your instructor as
needed.
7. Format the paper, paying particular attention to the correct
formatting of the list of references and citations.
8. Select illustrative material that will make your paper more interesting and visual.
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9. The paper is prepared in electronic form and is submitted in both electronic
and printed versions. Font size 12, line spacing – 1.5, indent – 1 cm, main text alignment – justified, headings – centered
and bold. Page parameters: left margin – 3 cm,
right margin – 15 cm, top and bottom – 2 cm. Pages are numbered at the bottom
right, starting from the third page. The first page – is the title page. The printed version is placed in a binder folder.
10. The length of the paper – approximately 15-20 A4 pages.
3.4.4 Recommendations for Writing an Essay
1. General characteristics of the era, its time boundaries.
2. Key philosophical, scientific (pre-scientific), and social ideas,
discoveries, and concepts.
3. Stylistic features of musical art characteristic of the period under study
(illustrated with several specific examples).
4. The state of the science of music and contemporaries' accounts of the musical art of the period being described.
5. Identifying, on the basis of the analysis carried out, resonant phenomena
within the cultural-scientific paradigm of the era. Conclusions about the psychological dominants of the era's musical consciousness.
3.4.5. Essay Topics
1. Resonant phenomena in the cultural-scientific paradigm of the Baroque era.
2. The psychological significance of the chivalric lyric poetry of medieval Europe, based on an analysis of the musical and poetic texts of the eras.
3. Psychological concepts in the musical treatises of Boethius
(Al-Farabi, and possibly other authors) as a reflection of the musical
consciousness of the era.
4. The psychological significance of Guido of Arezzo's contribution to the development
of musical culture. (Or: Guido of Arezzo's contribution to the dynamics of musical culture as a reflection of the transformational processes of Europe's musical consciousness.)
5. The psychological aspect of phenomena in Russian musical culture and the philosophy of "Russian cosmism."
6. The psychological aspect of contemporary musical styles (of your
choice).
| No. | Course Section | Semester Week | Independent Study Hours | Types of Independent Study |
|---|---|---|---|---|
| 1 | Introduction to music psychology. | 1 | 2 | Preparing papers on the topics: «The History of the Development of Musical-Psychological Views,» «Musical-Psychological Scientific Concepts.» |
| 2 | 2 | 2 | Preparing papers on the topics: «Music Therapy: History and Modernity,» «Musical-Psychological Therapeutic Concepts.» | |
| 3 | Section 1. Adaptive resonance theory. Perception of music from S. Grossberg's perspective. | 3 | 3 | Preparing for a colloquium: «Computer Modeling of Mental Processes.» |
| 4 | Psychological features of the perception of sound and music. | 4 | 3 | A «round table» on the topic: «The Multidimensional Nature of Sound and Its Perception. The Concepts of A. I. Efimov, A. Ustinov, and V. I. Sinkevich.» |
| 5 | Section 2. The energetics of emotion and will. Manifestations of the human emotional-volitional sphere in music. | 6 | 2 | Preparing and defending papers on the topics: «The Energetics of Emotion in V. Boyko's Concept,» «The Energetics of Will in R. Assagioli's Concept.» |
| 6 | Musical art as an indicator of the emotional-volitional sphere of the personality. | 7 | 3 | Developing tools for diagnosing the emotional-volitional sphere of a personality engaged with musical art. |
| 7 | The phenomenon of memory in musical art. Memory in the work of the composer, performer, and listener. | 8 | 3 | A study of the influence of memory on the effectiveness of musical art. Practical work: «Techniques for Developing Memory in Musical-Pedagogical Practice.» |
| 8 | The attention of the performer and the listener. | 9 | 2 | Training for cultivating and developing the attention of the musician and listener in musical creativity. |
| 9 | Training of cognitive processes in musical creativity. | 10 | 3 | Preparing exercises and conducting training on cognitive processes in homo musicus. |
| No. | Course Section | Semester Week | Independent Study Hours | Types of Independent Study |
|---|---|---|---|---|
| 10 | Imagination and fantasy of the composer, performer, and listener. | 11 | 3 | A round table on the topic: «Productive and Destructive Forms of Imagination and Fantasy in Music.» |
| 11 | Manifestations of temperament in musical creativity. | 12 | 3 | Practical work studying the manifestations of the composer's and performer's temperament in musical creativity. |
| 12 | Section 3. B. M. Teplov's theory of musical abilities. Other concepts of musical abilities. | 13 | 2 | Preparing and defending papers on topics devoted to various concepts of the development of artistic (including musical) abilities. |
| 13 | Innate aptitudes for musical abilities. Their diagnosis and development. | 14 | 2 | Practical work on diagnosing and practicing techniques for developing musical abilities in performance and teaching practice. |
| 14 | Musicality as an integrative indicator of the personality. The structure of musicality. | 15 | 3 | Practical work on finding and testing tools for diagnosing the level of development and structure of musicality as an integrative indicator of personal development. |
| 15 | Section 4. The energetics of the supraconscious. | 1 | 2 | Preparing and defending papers on the topic «The Phenomenon of the Supraconscious in Musical Art.» |
| 16 | Diagnosing manifestations of the supraconscious in art. | 2 | 2 | An attempt to create and test methods and tools for diagnosing manifestations of the supraconscious in art. |
| 17 | Section 5. Consciousness — the place where creative energies «meet.» | 3 | 2 | A round table on the topic: «Theoretical Concepts for Studying the Structure of Consciousness.» |
| 18 | Diagnosing, differentiating, and stimulating the unconscious and conscious aspects of creativity. | 4 | 2 | Selecting and testing techniques for diagnosing, differentiating, and stimulating the unconscious and conscious aspects of musical creativity. |
| 19 | Section 6. Musical language and musical speech. | 5 | 2 | Writing and reviewing the essay «Material and Ideal Components of Musical Speech.» |
| 20 | The problem of understanding different musical «languages» and ways of solving it. | 6 | 2 | Preparing and conducting a practical session on identifying barriers and expanding the boundaries of perception of different musical «languages.» |
| 21 | Section 7. The musician's character and personal characteristics. | 7 | 2 | Preparing and defending papers on the topics: «The Musician's Character and the Permissible Limits of Its Accentuation,» «The Dependence of a Musician's Personal Characteristics on Their Field of Creative Work.» |
| No. | Course Section | Semester Week | Independent Study Hours | Types of Independent Study |
|---|---|---|---|---|
| 22 | The musician's character and personality. | 8 | 2 | A round table: «The Musician's Personality, Its Structure and Dynamics in Normal and Pathological States.» |
| 23 | Section 8. Musical creativity: activity or agency? The structure of musical creativity. | 9 | 2 | 1. Preparing and holding a debate: «Musical Creativity: Activity or Agency.» 2. A self-reflective essay: «The Structure of Musical Creativity.» |
| 24 | Training in musical creativity. | 10 | 2 | Selecting tasks, preparing for, and participating in training on musical creativity. |
| 25 | The problem of communication in the life and work of a musician. | 11 | 2 | Preparing and defending papers on the topics: «Energetic Aspects of Communication,» «A Musician's Communication with Colleagues,» «Healthy and Unhealthy Forms of Relationships in the Creative Environment.» |
| 26 | Training in a musician's successful professional communication. | 12 | 2 | Selecting tasks, preparing, and independently conducting a segment of this training. |
| 27 | Training in resolving conflicts in the artistic environment. | 13 | 2 | Selecting tasks, preparing, and independently conducting a segment of this training. |
| 28 | Communicating with the audience and artistic communication. | 14 | 2 | A seminar on the topics: «A Musician's Communication with the Audience,» «Communication during a Stage Performance and Artistic Communication.» |
| 29 | A musician's communication with the audience and fans off stage. Creating and maintaining an artist's image. | 15 | 2 | Gathering photo and video materials on the session's topics, and their joint analysis and discussion. |
| 30 | Psychological aspects of an artist's communication with a manager, team, and support staff. | 16 | 2 | Selecting, inviting, and holding a meeting with an expert on this topic. |
| 31 | Psychological foundations of musical-pedagogical activity. | 17 | 4 | Preparing and presenting one's own lessons in musical creativity within one's specialization. |
TOTAL:
Weeks: 14 / 17
Independent Study: 72 hours
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