Lecture
The goals of mastering the discipline «Music Psychology» are:
- familiarizing students with the conceptual foundations of the energy-based approach in psychology,
- familiarizing students with the conceptual foundations of music psychology as a branch of specialized psychology that studies the psychic processes and states of individuals engaged in aesthetic interaction with musical art,
- forming an understanding of the current diversity of scientific musical-psychological approaches,
- forming a musical-aesthetic worldview based on
knowledge of the energy-related features of the interaction of the human psyche
and musical art.
In the process of mastering this discipline, the student forms and demonstrates the following general professional competencies:
in the field of musical-performing activity:
concert performance of musical works and programs in
various modes — solo, as part of an ensemble (orchestra), with an orchestra;
directing amateur and student musical-performing
ensembles;
performing orchestral and ensemble parts;
mastering the skills of rehearsal work with partners in an ensemble and in creative collectives;
creating arrangements and transcriptions;
in the field of pedagogical activity:
teaching disciplines in the field of musical-instrumental
art, including playing a musical instrument, to students in
educational institutions of the Russian Federation, institutions of supplementary education, including supplementary education
for children, children's art schools, and children's music schools;
studying the educational potential of students, the level of their artistic-aesthetic and creative development, and fostering the professional and personal growth of students;
developing students' creative abilities, independence in working on a musical piece, and the capacity for self-education;
planning the educational process, carrying out methodological work,
and conducting monitoring activities aimed at assessing the results of the pedagogical process;
applying, in implementing the educational process, the best examples of historically established pedagogical methods, as well as developing new pedagogical technologies;
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in the field of organizational-managerial activity:
working in state and municipal bodies for the administration
of culture, in institutions in the sphere of culture and art (theaters, philharmonic societies, concert organizations), in creative unions and societies;
participating in the organization of creative projects (concerts,
festivals, competitions, master classes, anniversary events);
organizing and directing institutions and organizations in the
culture and art sector (institutions of supplementary education, including
supplementary education for children, houses of folk art,
ethnocultural and folklore centers, collectives and studios of
folk (national) artistic creativity, and schools
of folk (national) culture);
participating in organizational-managerial activity for the preservation and state support of art, culture, and education;
in the field of the artistic direction of a creative collective:
providing artistic direction for a creative collective, amateur groups in the field of folk art;
directing student musical-performing collectives in
institutions of secondary vocational education, supplementary education for children, and general education institutions;
in the field of music-outreach activity:
with the aim of promoting the achievements of musical art, giving concerts (solo, as part of an ensemble, an orchestra, with an orchestra,
lecture-concerts) in educational institutions, clubs, and palaces and houses of culture;
providing professional consultations in the preparation of creative projects in the field of musical art and culture;
maintaining contact with the mass media, educational institutions of the Russian Federation, and cultural institutions
(philharmonic societies, concert organizations, agencies), and various
segments of the population, with the aim of promoting the achievements of musical art and culture.
Objectives of the discipline:
- studying the basic laws and concepts of the functioning of the psyche and of music as dynamic energy systems;
- studying the theoretical principles of music perception and the psychological characteristics of musicality and musical abilities;
- forming an understanding of musical perception and ways
to enhance it, as well as of the human emotional sphere as a source
of musical experiences in the musical development and education of the individual;
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- forming a need for creativity as the essence, goal, and
means of the development of Homo musicus;
- forming psychological-pedagogical aspects for the study of musical consciousness;
- forecasting and regulating self-actualization in the process of music education and artistic creativity.
As a result of studying the basic part of the professional cycle, of
which this discipline is a part, the student must know: basic
concepts of the energy-related foundations of the psyche and of music, and of the psychic processes and states of an individual in the process of their interaction with
music;
be able to: apply the knowledge and skills acquired in their own creative and educational-pedagogical activity;
possess: methods of self-expression and aesthetic communication.
Methodological guidelines. In giving a general idea of music psychology, one should proceed from the definition given by M.S. Starcheus. «Music psychology — 1) a broad field of interdisciplinary (border) research, the subject of which is the specific psychic acts, psychological processes, and personality traits connected with music and musical activity, as well as the reflection of psychic phenomena in musical language and the structure of musical works. In this sense, music psychology includes research from any disciplinary field that contains relevant issues (for example, from musicology, psychology, psychoacoustics, neuropsychology, the psychophysiology of hearing and movement, aesthetics, cultural studies, etc.); 2) a relatively independent discipline with the same subject of research — a branch of musicology (an applied branch of psychology). It unites theoretical and experimental research within this discipline, including special works on the subject and methods of research in music psychology.» — Yandex Dictionaries. It is necessary to cover in detail the historical path of the development of music psychology and the influence on it of historically established schools of thought and psychological concepts. One should note that historically and factually there is no clear-cut boundary between the two conceptions of music psychology (the theoretical and the experimental), and that as a result music psychology has a blurred categorical apparatus and weak continuity in the posing and investigating of many problems. It is important to cover the main areas of research in music psychology that took shape after the 1940s. Cover the border areas of research in music psychology. Examine Ernst Kurth's views on tone psychology and music psychology. It is important to pay special attention to the history of the development of Russian (domestic) music psychology (P.P. Sokalsky, S.M. Maykapar, S.N. Belyaeva-Ekzemplyarskaya, E.A. Maltseva, A.V. Vitsinsky, G.P. Prokofiev, N.A. Garbuzov, A.G. Kostyuk, E.V. Nazaikinsky, V.G. Beloborodova, G.S. Rigina, Yu.B. Aliev, V.V. Medushevsky).
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