Lecture
Paper topics.
• The history of the development of musical-psychological views.
• Musical-psychological scientific concepts.
• Music therapy – history and modernity.
• Musical-psychological therapeutic concepts.
• The energetics of emotion in V. V. Boyko's concept.
• The energetics of will in R. Assagioli's concept.
• B. M. Teplov's theory of musical abilities.
• Psychoanalytic theories of musical abilities.
• Humanistic theories of musical abilities.
• Alternative theories of musical abilities (synergetic, irrationalist, bioenergetic, and others).
• The phenomenon of the supraconscious in musical art.
• Material and ideal components of musical speech.
• 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.
• The structure of musical creativity.
• Energetic aspects of communication.
• A musician's communication with colleagues.
• Healthy and unhealthy forms of relationships in the creative
environment.
• A musician's communication with the audience.
• Communication during a stage performance and artistic
communication.
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Questions for the pass/fail session.
1. The subject and objectives of music psychology.
2. The history of the development of scientific views.
3. Musical-psychological concepts.
4. The perception of music from the standpoint of S. Grossberg.
5. The multidimensional nature of sound and its perception.
6. The effect of rhythm and sound on a person.
7. The energetics of emotion and will (V. Boyko, R. Assagioli).
8. Manifestations of the human emotional-volitional sphere in music.
9. The phenomenon of memory in musical art. Memory in the work
of the composer, performer, and listener.
10. Techniques for developing memory in musical-pedagogical practice
11. The attention of the performer and the listener.
12. Techniques for cultivating and developing a musician's attention.
13. Imagination and fantasy of the composer, performer, and listener.
14. Productive and destructive forms of imagination and fantasy
in music.
15. Manifestations of temperament in musical creativity.
16. B. M. Teplov's theory of musical abilities. Other concepts of musical abilities.
17. Innate aptitudes for musical abilities. Their diagnosis and development.
18. Musicality as an integrative indicator of the personality. The structure of musicality.
19. Psychological cognitive processes in the personality of homo musicus.
20. The energetics of the supraconscious. The phenomenon of the supraconscious in musical art.
21. Consciousness – the place where creative energies «meet.»
22. Musical language and musical speech. Material and ideal components of musical speech.
23. The problem of understanding different musical «languages» and ways of solving it.
24. The character and personality of the musician. The musician's personality, its structure and dynamics in normal and pathological states.
25. 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.
26. Musical creativity: activity or agency? The structure of musical creativity.
27. Energetic aspects of communication. A musician's communication with colleagues. Healthy and unhealthy forms of professional relationships.
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A musician's communication with the audience and fans off stage. Creating
and maintaining an artist's image.
28. A musician's communication with the audience. Communication during a stage performance and artistic communication.
29. Psychological aspects of an artist's communication with a manager, team, and support staff.
30. Psychological foundations of musical-pedagogical activity.
When compiling exam tickets, one question from the theoretical section of the course is selected for each ticket. To monitor
the mastery of practical skills, one of the two questions on the ticket must include a creative task involving the analysis or resolution of a situation. Given
an appropriate level of student preparation, such practical questions can also
be posed additionally to test the speed of reaction in solving
complex problems, which will undoubtedly arise in the course of the future
professional activity of bachelor's students in the fields of «Musical
Instrumental Performance» and «Teacher Education with Additional Training in Pop and Jazz Vocals.»
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