EA002697B1 - Method for teaching music, method for writing down and educational aids - Google Patents

Abstract

1. A method for teaching music, comprising giving nameless sound signals, included in the composition of 12 sound signals of an octave of a chromatic gamma of a tempered scale, which are spaced upwards by a semitone from sound signals having their own names Doh, Re, Fa, Sol, Lah, respectively, a phonetic characteristic in the form of a personal name having at least one vowel and at least one consonant, forming a sequence of names of sound signals in accordance with a sequence of the 12 sound signals of the chromatic gamma of the tempered scale, spaced one from another by an interval of a semitone in respect to the pitch of the sound signal, mastering structural elements of musical speech, characterized in that during the pre-note stage of teaching, the method comprises determining the pitch of the register of a sound signal, corresponding to the pitch of the register of the voice of a student, determining the pitch of a sound signal in a found register, coinciding with the pitch of the tone of the student's voice, sequentially changing the pitch of the sound signal in the found register by at least a semitone upward and downward, thereby forming in the student an aptitude for intonating reproduced sound signals of the chromatic gamma of the tempered scale by singing their names out loud, sounding to the student at least one musical phrase with the use of the personal names of this 12 sound signals of the chromatic gamma of the tempered scale, repeating together with the student at least once said musical phrase with use of the personal names of the 12 sound signals of the chromatic gamma of the tempered scale until a relationship is established in the memory of the student between, the pitch of each sound signal of the chromatic gamma of the tempered scale, included in said musical phrase, the personal name assigned thereto and the time relationship of the lengths of the sound signals. 2. A method according to claim 1, characterized in that names Tu, Mo, Zu, Loh, Su are used as the names of the sound signals spaced upwards by a semitone from the sound signals having the personal names Doh, Re, Fa, Sol, Lah, and the chromatic gamma of a sequence of names of sound signals is formed in accordance with the sequence of 12 sound signals of a chromatic gamma, spaced one from another at the interval of a semitone by the pitch of a sound signal - Don, Tu, Re, Mo, Mi, Fa, Zu, Sol, Loh, Lah, Su, Si. 3 A method according to any one of claims 1-2, characterized in that said musical phrase is repeated at least once together with the student in a slow tempo with the use of the personal names of the 12 sound signals of the chromatic gamma of the tempered scale and with maintenance of the time relationships of the lengths of the sound signals of the musical phrase by means of the student intonating the name of the sound pitch which the student is reproducing until a relationship is formed in the student's memory between the pitch of each sound signal of the chromatic gamma of the tempered scale being reproduced by voice, the personal name attached to that sound signal and the time relationship of the sound Signals. 4, A method according to any one of claims 1-3, characterized in that an interval is used as the base for determining the structural elements of musical speech, which are selected from a group consisting of a sound row, time, consonance and accord. 5. A method according to claim 4, characterized in that a letter-digital designation Mn is used to designate the interval which is the base of the structural elements of musical speech, wherein M indicates the name of the initial basic tone of the sound signal, determining the name of the corresponding accord, consonance, nine and sound row, n is the number of semitones from the name of the initial basic tone of the sound signal. 6. A. method according to claim 4, characterized in that a letter-digital designation MHK is used 10 designate the consonance and accord, which are the base of the structural elements of musical speech, wherein M indicates the name of the initial basic tone of the sound signal, determining the name of the corresponding accord, consonance, tune and sound row, H is the number of semitones from the name of the initial basic tone of the sound signal, K is the number of semitones in the composition of a subsequent interval in an accord. 7. A method according to claim 1, characterized in that the location on a musical instrument of each of the 12 sound signals of the chromatic gamma of the tempered scale is displayed to the student, wherefore a graphic display of the names of the sound signals is placed on the musical instrument in places corresponding to where they are derived, correspondence is established between the name of each sound signal of the musical phrase and the place on the musical instrument from where it is derived, the student is prompted to reproduce by voice, at least once, the name of musical sounds in the musical phrase being learned in slow tempo, maintaining the rhythmic structure of the musical phrase, and to synchronously, while continuing to play sounds on the musical instrument, perform the musical phrase being learned until a relationship is established in the student's memory between the pitch of each sound signal of the chromatic gamma of the tempered s sale, included in said musical phrase, the personal name attached to the sound signal and the time relationships of the lengths of the sound signals. 8. A method for writing musical text comprising giving nameless sound signals, included in the composition of the 12 sound signals of an octave of the chromatic gamma of a tempered scale, spaced upwards by a semitone from sound signals having personal names Doh, Re, Fa, Sol, Lah, respectively, a phonetic characteristic in the form of a personal name having at least one vowel, forming a sequence of names of sound signals in accordance with the sequence of the 12 sound signals of the chromatic gamma of the tempered scale, spaced one from another by a semitone interval in respect to the pitch of the sound signal, characterized in that, the method further comprises reproducing by voice a musical phrase using the personal names of the 12 sound signals of the chromatic gamma of the tempered scale, wherein a fraction of the time flow of the musical phrase is singled out by stress and the names of all of the sound signals compiling the musical phrase are written one after another in small letters, establishing the frequency at which the fractions appear, which is the frequency of pulsation off the flow of musical speech, by means of a metronome, once more reproducing the musical phrase by voice synchronously with me process of marking time with the metronome and using the personal names of the 12 sound signals of the chromatic gamma of the tempered scale, and correcting the obtained writing, wherefore when pulsation of the flow of musical speech coincides with the moment of reproducing by voice the sound signal of the musical phrase, the name of that sound signal is indicated with a capital letter, the remaining names of the sound signals in the fraction are left written with small letters, and special marks are used when there is not and when there is a sound signal at the moment of pulsation. 9. A method according to claim 8, characterized in that Tu, Mo, Zu, Loh, Su are used as the names of the sound signals spaced upwards by a semitone from sound signals having the persona1 names Doh, Re, Fa, Sol, Lah, and a sequence of names of sound signals is formed in accordance with the sequence of 12 sound signals of a chromatic gamma, spaced one from another at the interval of a semitone by the pitch of a sound signal - Doh, Tu, Re, Mo, Mi, Fa, Zu ,Sol, Loh, Lah, Su, Si. 10. A method according to claim 8, characterized in that " - " and " ( " are used as the special marks when there is a sound signal at the moment of pulsation and when there is no sound signal at the moment of pulsation, respectively. 11. A method according to claim 8, characterized in that where there are sound signals in the fraction which are of different length, the length of the sound signals in said fraction is further broken down into smaller sections of equal time - discrete units, corresponding to the shortest sound signal in the fraction, which serve as a standard of the length for each sound signal in the fraction, and where there is at least one additional discrete unit present in the composition of the sound signal, that sound unit is shown by the mark ",". 12. A method according to claim 8, characterized in that a carrier selected from the group consisting of paper, fabric, plastic, electronic carrier. Braille system carrier, is used as the carrier. 13. A method according to claim 8, characterized in that sound signals, located upwards or downwards outside the limits of the octave of the initial sound row of the chromatic gamma of the tempered scale, are respectively marked with the mark" - " above or below the name of the sound signal. 14. A method according to claim 8, characterized in that where an electronic carrier is used, sound signals are additionally written thereon which are meant for reproduction simultaneously with video signals reproducing the names of the 12 sound signals of the chromatic gamma of the tempered scale, corresponding to the musical phrase being reproduced. 15 A method for reproducing sound signals of a chromatic gamma of a tempered scale, comprising giving nameless sound signals, included in the composition of the 12 sound signals of an octave of the chromatic gamma of a tempered scale, spaced upwards by a semitone from sound signals having personal names Doh, Re, Fa, Sol, Lah, respectively, a phonetic characteristic in the form of a personal name having at least one vowel and at least one consonant, forming a sequence of names of sound signals in accordance with the sequence of the 12 sound signals of the chromatic gamma of the te

Description

The invention relates to an education system, in particular music, and can find application in the system of musical and educational institutions for the development of musical abilities in children and their familiarization with the world of music.

State of the art

Music is a flow over time of a logically organized sequence of sounds of various heights, which serve as a reflection in the artistic forms of the subjective perception of the world.

Through the performance of a musical work, the author or performer tells the audience about their feelings and emotional experiences. A musical work is perceived by the listener as musical speech, the main idea of which is revealed by the ear, generalized and remembered in the form of a melody (the so-called linearity of music). Unlike colloquial words, musical words in the form of intonational rhythmic, harmonic and melodic turns serve to express the author’s emotional, sensual attitude to objects or phenomena.

To save the result of his work in time, the author of a musical work uses a musical notation system, thus translating the flow of music into graphic symbols - notes and pauses (time of absence of music) recorded on a stave. They (notes and pauses) allow you to fix the main components of the process of music flow, namely the pitch of sounds (vertical) and the duration of their sound or absence in the process of music flow (horizontal). Reading a musical letter enables the performer to reproduce the author’s intention by reproducing the text. Free orientation in musical notation is necessary both for the author when translating the flow of music to the level of written speech, and for the performer to read (decode) this translation and turn it into a musical result.

Listening to music is similar to the phonetic perception of colloquial speech and is a recognition process by comparing the perceived sequence of sounds (metro rhythmic, palm tonal, intonational, melodic revolutions and harmonic sequences) with patterns laid down in the listener's memory by previous experience, own practice and education.

Considering the problems of the formation and development of musical hearing, memory, and musical-logical thinking, it should be noted that the musical language as a system designed to transmit information, from the standpoint of speech logic, corresponds to the spoken language of human communication. The musical language also operates with sounds of various heights (phonemes of musical speech), which are metrhythmically organized in time into musical words - melodic turns. The musical language also has an add-on - writing, which allows you to record the sound result with graphemes of musical notation - notes.

Therefore, to find the most effective way of developing musical abilities, it is necessary to rely on the natural way of mastering the language of human communication by an individual. Since infancy, an imitation process of assimilation of phonemes - sound particles of colloquial speech - takes place. Each phoneme, perceived by the hearing through the development of the muscles of the speech apparatus, is fixed in memory due to its distinctive sound characteristic, which becomes the name of this phoneme, its standard. Thus, through imitation, the process of cognition of phonemes - syllables-words, fixed in the mind as names-objects, names, names-relationships of the world.

The child's mastery of each new word occurs over a relatively large period of time. And if initially the process of recognizing a word is based on a comparison of the phonemes that make up this word with their standards, then later, with the expansion of the syllable and vocabulary, speech recognition moves from a sub-phonemic-syllable level to a vocabulary perception based on a semantic context. Learning the basics of the grammatical structure of the language, the formation of logical thinking is impossible without the process of the child’s own verbal creativity, carried out on a logical, concrete perception of the meaning of the words of colloquial speech.

Building writing and reading skills takes a long period. The process of reading (voicing graphemes) is based on the mind-built relationship between the phoneme and its grapheme, by repeatedly translating the phoneme into its graphic symbol. The process of recognition of written speech at the initial stage is built at the phonetic level in the form of a sequence of operations: I see, I reproduce (I sound the grapheme), I hear, I understand (based on vocabulary). Thus, written speech becomes an arbitrary tool for expanding vocabulary, accumulating knowledge and building the thought process.

Historically, in music, seven syllable phonemes are used as the names of the heights of sounds, the places of their extraction on a musical instrument and notes: Do, Re, Mi, Fa,

Salt, La, Si. Unlike the phoneme of human speech - the sound particle of a word that has its own name, the musical phoneme (pitch) of sound cannot be distinguished by the listener as a bearer of his own name, as a result of which the perception of musical speech occurs only on an emotionally-figurative, sensual level.

The discrepancy between the ratio of the number of syllables used as names (seven) with the number of sounds in the octave of the temperament (twelve) leads to the redistribution of names and their renaming.

This process becomes possible due to additional corrective notation (signs of alteration), such as, for example, #, b, used in musical notation and added as their names - sharp (#), flat (b) - to these syllables. These corrective additions transfer the nominal value of the original syllable to the adjacent heights of sounds and, accordingly, to the places of their extraction on the musical instrument up and down to two semitones, thereby increasing the number of musical symbols (graphemes) to thirty-five. As a result, the ratio of the number of used syllables to phonemes of musical speech (sounds of the temperament) and to the graphems reflecting them looks like 7:12:35.

In practice, during phonetic operations with syllabic names, for the convenience of pronunciation and preservation of the metro-rhythmic basis of the voiced musical text, corrective additions (sharp, flat, double sharp, double flat) are not pronounced and thus the same syllable can name five different heights (example: Re (double flat), Re (flat), Re, Re (sharp), Re (double sharp).

As a result of renaming, each pitch except Sol sharp A flat can be called three different syllables, for example, a pitch of 440 Hz can be called not only the syllable A, but also Sol (double sharp) or C (double flat). As a result, a competent record of pitch requires knowledge of a huge set of theoretical rules that determine the choice of a name.

The absence of a proper name in the sound of the temperament system leads to the fact that not only the vast majority of professional musicians, but even blind musicians, people with an incomparably more acute hearing, perceive music only at an emotional-sensual level, as temporary-high-altitude ratios of anonymous phonemes of a musical speech. As a result of this, neither remembering the melody, nor even its vocal intonation gives a guarantee to the musician instant playback (imitation) on a musical instrument of what he heard. Only the great practice of hearing selection and one’s own musical creativity lead to the establishment of a direct relationship between the pitch of the sound (perceived by the ear or represented in the mind) and tactile-motor sensations associated with the keyboard representations of the instrument, which allows for creative music making (composing, improvisation), bypassing the operation names of key sounds.

The existing discrepancy between the number of syllabic names and the number of sounds used in a tempered musical system leads to the fact that the phonetic mastering of a musical language by students cannot flow freely as a process of building a logical system in their mind that serves verbal expression of thought through named high-altitude representations.

The presence of several names at the pitch of sound is an inhibiting factor in the development of musical hearing, memory and, accordingly, the construction of musical and logical thinking, as the ability to freely operate in the mind with named high-altitude representations and adequately perceive the melodic line of music by ear. In the music education system, within the framework of the solfeggio subject, there is an attempt to form the foundation of musical logical thinking through the practice of solfing music notes (singing sounds with the names of notes) and recording notes with melodies perceived by ear (musical dictation). Unfortunately, the result does not meet the goals.

In the process of professional training in music, the dawn period takes a very short period of time and is limited by the diatonic scale (white piano keys), where each pitch corresponds to its name. Going beyond the scope of this scale (black piano keys that do not have their own name) inevitably forces the teacher to introduce musical notation as a visual reference signal. It allows you to learn any musical works with the student, without going into the presentation of theoretical rules and patterns that justify the choice of a particular note name for the sound to be extracted.

The study of the rules of music theory takes place in parallel with the development of a musical instrument during all years of study on the subjects of Solfeggio and Theory of Music. Bypassing the preliminary stages of memory formation to the pitch of sound, phonetic accumulation of vocabulary, musical vocabulary (i.e. the experience of composing your own melodies), necessary for mastering speech, as well as the subsequent stage of practical establishment of the relationship between the musical phoneme (pitch of sound) and grapheme, i.e. Note, the knowledge of the language of music begins through the visual perception of a fundamentally new for the user sign (musical) system of graphic recording.

Moreover, this system in itself is a very complex and conditional writing system. In contrast to the written language of the user, where the grapheme reflects only the name of the sound particle of colloquial speech (phoneme), the grapheme of traditional musical writing - note, carries not only the name of the pitch that serves to reflect the vertical flow of music, but also the name of the duration, for example, the whole, half, quarter, etc., serving to reflect the duration of this sound in the process of the flow of music, i.e., its horizontal. And if for the correct reading of the vertical it is enough to remember all the writing options for each pitch, then reading the horizontal is an extremely difficult task.

In music, the organization of sounds over time is based on the repetition of the rhythmic structure of the words of musical speech (exact or variable), as a result of which its flow is permeated by an even sequence of semantic stresses (pulsation of the flow of music).

The semantic stresses - accents of pulsation, differ in gravity, as a result of which the music flow is divided into strong and weak, equal in duration time segments (fractions of a meter), evenly alternating among themselves, similar to alternating stressed and unstressed syllables the size of a poetic speech.

The frequency of the pulsating accents of a particular musical work serves as a means of conveying the nature of the musical work and is reflected in the musical text in the form of an author’s indication of the tempo, for example a11edgo, or a metronome indicating the number of pulsations per minute at the beginning of the play.

The fraction of a meter is an abstract unit of time for the flow of music, as a result of which the author, when recording his composition, can choose any duration as a measure of time (fraction of a meter), for example, fraction = eighth, fraction = quarter, fraction = half. Based on this, the same melody can have different types of recordings (Fig. 1, 2, 3).

When the same tempo is established, for example, for fractions of a meter of graphically different recording options for one melody, their perception by ear during playback will be identical. The same applies to the designation of the duration of the absence of sounds during music - the duration of pauses.

As a result, the perception of durations, reflecting in notes the ratio of the duration of the sounds of the flow of music, is forced to rely not on the concrete, but on the abstract thinking of the user.

The rhythmostructural diversity of words in musical speech leads both to the fragmentation of the time segment of the share into smaller durations (equal and unequal to each other), and to the merging of several parts into one duration.

In order to facilitate visual perception in the text of a musical note, measures of the passage of time - a fraction of a meter, shorter durations included in its time period are combined into a group of notes. The use in practice of musical notation of various meters (both simple and complex) leads to the fact that the grouping of durations can have not one but several recording options, as a result of which the grouping of durations can not always be simple and accessible to consciousness, especially for children, and serve as a visual guideline for identifying the standard time fraction. Hereinafter, the applicant considers the problem of perception of the vertical and horizontal on the example of linear music (i.e., one-voice melodies). The perception of music of a polyphonic and homophonic-harmonic warehouse is complicated proportionally in accordance with the addition of high-altitude-time lines of musical speech.

In musical notation, such a clearly defined reference point is only a strong fraction, more precisely, the moment of the beginning of the time of its flow, thanks to the time line set in front of it. The remaining lobes for visual perception are blurred in various recordings: a) splitting the lobes into equal time intervals; b) splitting a share into unequal time segments of a share; c) the merger of shares in one duration of the share; d) the merger of the end of one share with the beginning of the next - start 1, etc.

In general, the absence of a graphically clearly marked measure of the flow of music in a note — a fraction, significantly complicates the formation of the horizontal reading skill of a musical text.

As a result, for the perception of musical text, the user (student) needs to not only be guided by the signs of alteration, which rename the pitch and place of extraction on a musical instrument, but also know the various recording options and the rules for grouping durations to recognize a fraction of a meter among the durations of the rhythm structure of recorded music .

The correct reproduction of the duration of the sounding of each duration of the musical text is impossible without a highly developed sense of temporal representations, based on the flow time and graphic design of a fraction of a meter, varying in pace and duration (depending on the choice of the play).

Free orientation in the graphic conventions of measuring the time of music is needed both by the performer for reading (decoding) the musical text and turning it into a sound result, and by the author to translate the live flow of music to the level of written speech.

Writing his essay, the author is faced with the need to choose

a) a name for the extracted sound (musical phoneme) when recording it with a note corresponding to theoretical laws and rules;

b) duration as a measure of the time flow of music - a fraction of a meter;

d) the correct, temporarily, option for correlating the sounds he extracts with his chosen duration as a measure of the flow of music — a fraction of a meter, and on this basis, recording the sounds of the rhythm structure of the music as those or other durations;

d) the option of grouping durations among themselves in order to indicate shares in the text.

Noting the role of own word-making as an extremely important stage in the knowledge and development of the language and considering it in relation to music, it should be noted that in recent years, in order to intensively develop musical hearing and a deeper understanding of the basics of musical speech, non-traditional teaching methods are used, based on which are not reading musical text, and children's own musical creativity, which consists in composing melodies, genre plays, etc. on a musical instrument

It must be emphasized that children's interest in their own creativity directly depends on the number of saved results of their work. Due to the complexity of the recording, tunes composed by a child are usually not saved and quickly forgotten. And his initial creative activity (during one lesson a student can compose from 5 to 10 melodies for a poetic text) after some time passes due to the lack of an object of pride in his work - the result of creativity in the form of recorded opuses, which thus leads to a decrease in progress in knowledge of music.

A child of 5-7 years old, cognizing the world and building it in his mind by accumulating sensory impressions and specific meanings, cannot easily accept the fundamental principles of musical notation: the conventions for renaming sounds and keys related to the location of notes, and, moreover, the conventions for the flow designations time in music - the duration, the basics needed to record it.

Requiring the user to have abstract thinking that is not characteristic of children's consciousness, a highly developed sense of time, and extensive knowledge of the theory of music necessary for competent recording, musical writing cannot be used at the initial stage of training as a way to preserve the results of one’s own creativity.

Owing to the problems described, the knowledge of a musical language through music graphics in a music school for many years looks like a letter-by-word analysis of musical words, during which the uniformity of the flow of a meter’s flow is inevitably violated, thereby inhibiting the student’s formation of a sense of the temporal presentation of the beat as a universal time measurement standard music and the perception skill in the musical text of the semantic logic of musical speech.

Renaming the pitch and the absence of a simple visual guideline for the pulsation of the beat as a measure of the flow of time impede the ability to read musical text when reading musical text, similar to reading literary text in the user's native language.

Without passing the stage of phonetic accumulation of vocabulary, the stage of forming memory to the pitch of sound, the stage of forming named temporary representations, the stage of musical creation (i.e. the experience of composing your own tunes), as well as the subsequent stage of practical establishment of the relationship between the musical phoneme (pitch of sound) and grapheme, i.e. a note by recording musical words (the time allotted by the solfeggio subject for these purposes cannot be considered sufficient), the learner cannot develop the skill of perceiving musical text and, accordingly, cannot reach the level that turns the text into an instrument for the arbitrary development of musical hearing, an instrument for the formation of musical and logical thinking .

The quantitative mismatch of the name sounds minimizes the phonetic level of mastering musical speech, prematurely plunging the learner into solving a whole range of problems related to the perception in pitch graphemes of the musical text of the pitch, duration as a measure of the time flow of music, a reference point of semantic stress (ripple) - a fraction. This turns the musical text into a factor that impedes the building of musical hearing, the development of a sense of temporal representations, the perception in the text of the semantic logic of musical speech, the development of musical memory and the formation of musical thinking.

The beginning of knowledge of the language of music and the development of musical speech through musical notation is the main reason for the catastrophically low performance of the primary music education system (only 30 out of 100 students accepted on the basis of competitive entrance exams graduate from music school, and only 2% of those who graduate from it can use the acquired knowledge in practice), an insurmountable obstacle to the general access to musical knowledge and the development of musical abilities, to the harmonious development of personality. Along with traditional music notation, a system for recording notes using the writing system for the blind Louis Braille is also known. According to Braille, all musical notes, names and designations of the heights of sounds and the duration of their sound, as well as the letters of the alphabet, are depicted by combinations of six points in the cells, which are perceived by tactile fingers. For the correct perception of six-digits as signs of a musical text, additional characters are used that explain that this text needs to be deciphered as symbols of musical notation, which introduces additional complexity in the development of musical notation by the blind.

It is known that considering the most difficult issue of time perception in the process of music flow - an aspect necessary for identifying the ratio of sounds of the rhythm structure of musical speech both when recording it and when reading musical notes, researchers, talking about the relationship of musical sounds in music, come to the definition of rhythm as a natural division of the time sequence of stimuli into groups united around stimuli that stand out in one way or another, i.e. accents.

The perception of music is always accompanied by an involuntary muscular reaction of the listener or performer as empathy with the accent of the pulsation of the flow of music.

Perception of rhythm usually involves one or another motor reaction. These can be visible movements of the head, arms, legs, or even swinging with the whole body, or, most often, the rudimentary movements of the voice, speech and respiratory apparatus, muscles of the extremities, deep lying muscles of the chest and abdominal cavity that do not appear outside.

Perception of rhythm is never just auditory; it is always only co-motive. Most people are not aware of these motor reactions until attention is specifically paid to them. Attempts to suppress motor reactions either lead to the appearance of the same reactions in other organs, or entail the cessation of rhythmic experiences.

The experience of rhythm is essentially active. You can’t just hear the rhythm. The listener then only experiences the rhythm when he co-produces it.

All of the above is especially evident in relation to the perception of a rhythmic accent. From a psychological point of view, the rhythmic accent is expressed in a peculiar experience of the activity feeling activity, something energetic, intense, a kind of internal impulse, and this experience is associated with more powerful motor reactions.

Based on these provisions, we can say:

musical rhythmic feeling should be manifested primarily in the fact that the perception of music is directly accompanied by certain motor reactions that more or less accurately convey the time course of the musical movement, or, in other words, the perception of music has an active auditory-motor character. Thus, based on the studies of psychologists, as well as on the practical experience of educators and performers, it can be concluded that the user's involuntary muscular (tactile) response to accents of music pulsation, reflecting the logic of the uniform flow of semantic stresses of musical speech, is not an absolute standard of time , like a second or a minute, is nevertheless a universal measure of the time flow of music filled with semantic and artistic expressive content.

Uniform tactile strokes (with the fingertips on the table surface, feet on the floor, etc.) can initially be used as a tool for measuring the flow of music - its proportions, an instrument necessary both when recording music and when reading it, an instrument, responsive to all tempo deviations (decelerations, accelerations) associated with the transfer of an artistic image, with the nature of a musical work.

A known method of teaching music, containing the development of a musical instrument, the development of musical memory and ear for music, the study of the constituent elements of music, the recording and reading of a musical text, carried out on the basis of seven single-syllabic names of the twelve sounds of the temperament and their places of extraction on a musical instrument. (Vakhromeev V.A. Elementary theory of music, ed. 7th, M., Music, 1975).

The known method provides for the mandatory introduction into the educational process as a visual reference signal at all stages of learning musical notation. The development of musical memory is carried out through the development of the names and location of notes on the stave and the subsequent memorization of the music being studied. The practical development of a musical instrument begins with the development of an incomplete temperament within the diatonic scale, for example, the white keys of the piano Do, Re, Mi, Fa, Sol, La, Si. Going beyond this range inevitably leads to the introduction of musical graphics as a visual reference signal in the educational process.

A known method of teaching practical music-making, including phased learning to play musical instruments in musical notation and phased study of musical notation (VI, A No. 2090938, published

09/20/97 Bul. No. 26). At each stage, according to the known method, musical notation is studied using the keyboard of a keyboard musical instrument, read and record recorded musical instruments. To read the musical text, new rhythm syllables are formed from the phonetic series A, I, T, P and are recorded using written signs such as line, loop, comma, arc.

Known methods of teaching music rely on a seven-syllable system for naming twelve sounds of the temperamental system, using notation at the initial stage, which, due to the above reasons, is a braking factor in the way of forming memory to the height of sound and the formation of musical and logical thinking.

The disadvantages of the known methods of teaching should also include the fact that the practical development of the constituent elements of music, for example, scale, interval, chord, is distributed by the program for all years of study due to the need to keep in memory a large amount of rules that determine the order of renaming and recording sounds, and lack of semantic reference points when learning these rules.

Thus, the well-known teaching methods, relying on the abstract perception of musical notation, do not take into account the psychological laws of perception and assimilation of knowledge and require a lot of training time.

There is a method of notation of musical sounds of the temperament in the twelve-syllable naming, according to which the sound altitude system is reflected in the new twelve-syllable system for naming the sounds of the temperament based on the Beletsky chromium series (KI A No. 2121717).

The method involves the use of five-line stave bearers and generally accepted notation for notes to display the pitch and rhythmic structure of the melody. The known method of recording removes the problems associated with renaming musical sounds to display the high-altitude pattern of the melody, but does not remove the above problems associated with understanding the rhythmic pattern of the melody, which does not contribute to the formation of a sense of the temporal representation of the beat.

A textbook on the theory of music is known, containing two parts made with the possibility of moving relative to each other, on one of which the structural relations of the fret stages are marked with an indication of their internal stability degree, and on the other are graphic symbols for the absolute names of sounds of the temperament according to the zonal principle in volume of keys of the fifth circle. Sound names are expressed in letters and syllables - traditionally accepted names (8I A, 242653, 04.25.69)

A disadvantage of the known manual is that it is built on the variability of the names of the writing pitch, resulting in the above problems associated with renaming sounds. This leads to a complication of the perception of information in the learning process.

There are well-known music studios, music editors used in office equipment, thanks to which the user can perceive the sounding melody audiovisually with the help of the backlight cursor for the musical text synchronously accompanying the sounding moment of music (Personal orchestra in a personal computer, St. Petersburg, Yu.V. Petelin, R .Yu. Petelin, published by Polygon, 1997)

However, this way of perceiving information requires the preliminary development of a new graphical system for transmitting musical notation information, and cannot be accessible to a wide range of users.

The known method of digital recording directly from the microphone of natural samples (samples) of musical and non-musical sounds. After software processing, the samples are stored in a data bank, for example, in a read-only memory (ROM), as tones of the instruments created in this way (for example, piano, voice, telephone, etc.).

There is a method of recording information on compact discs containing music and lyrics in the user's language, reproduced by CO-COM devices of a personal computer in any tonalities and tempos by various tools of an electronic data bank (KAMIOKE Russian folk songs and romances KKRS97-1001, KAM1, KOM Sat B1b 1997). Sounding of these instruments takes place in devices using these data banks, for example, in digital musical instruments or sound cards (for example, 8oib Wkmsg A \ UE32). installed in computers. The devices use data banks both directly for playing music, and for recording it by music studios and music editors, as well as for sounding music recorded earlier in one of the well-known standards, for example, МГО1. A variety of musical and non-musical instruments stored in the ROM data bank expands the creative possibilities of the user.

It should be noted that neither the improvement in the sound quality of the created samples of musical instruments, nor their quantitative diversity in the data banks can help accelerate the development of musical abilities and musical hearing in connection with a number of the above problems.

The basis of the invention is the task of creating an effective system of music education, based on the formation of memory to the height of sound and the formation of musical and logical thinking by creating an effective way to learn music, a way to record music and music manuals.

The aim of the invention is to simplify the development of the basics of musical literacy and reduce the time for its study.

Disclosure of invention

The problem is solved in that in a method of teaching music containing the development of musical memory and musical hearing based on the opposite name system of twelve sounds of the temperament, the development of musical memory and musical hearing is carried out by the formation of the skill of perceiving high-altitude ratios of music in the form of syllable speech based on the opposite syllable system names of all sounds of the mentioned system.

The proposed method of training allows you to begin the development of musical memory, the practical development of the instrument and the basics of music theory with the simultaneous use of all sounds of the temperament.

It is preferable to use the Beletsky chromium series - Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Luo, La, Tsu, and Si as the unlike single-syllable system of names of sounds of the temperament.

It is advisable in the learning process to additionally use reference visual signals in the form of a graphic display in the language of instruction of syllabic names of musical sounds.

Reference visual signals can be placed at any convenient place for perception. It is advisable to arrange them according to the places of extraction of musical sounds on a musical instrument. It is possible to graphically record the supporting elements directly at the places where sounds are extracted, or to apply to any medium and fix them.

It is advisable to conduct a study of the constituent elements of music in the period of the donation. The study of the constituent elements is advisable to carry out, forming the semantic support points of their understanding on the basis of half-tone.

It is preferable to introduce a numerical designation to characterize the said support points.

In accordance with the stated task, a method of recording music has been created comprising fixing conditionally adopted symbols on a data carrier for reflecting musical sounds of a high-altitude system of uniformly temperament, displaying the temporal organization of said sounds using conditionally accepted symbols of additional signs designed to indicate the accent of pulsation and reflection of the rhythmic structure of the mentioned music, based on the conditional content in each share of equal time units corresponding to the smallest duration of sound within its boundaries, while the aforementioned temporal organization is displayed according to predefined rules that contain conditions for designating the accent of the pulsation of the beat and its temporal unit, conditions for displaying the content of the number of temporary units in the rhythmic structure of the beat, and in which is that the high-altitude system is displayed with the symbols of musical sounds in the opposite-syllable system of naming sounds.

The number of graphic symbols for displaying a high-altitude pattern in this case corresponds to the number of sounds of the temperament system.

It is advisable to use Beletsky’s chromo sequence — Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lo, La, La, Tsu, Xi when recording music as a one-syllable system for naming sounds of the temperament.

When recording about each temporary unit of a share, it is advisable to display as a separate symbol. This method of recording music allows you to perform the reflection of the rhythmic and high-altitude drawings of the melody in a single line.

It is advisable to choose a graphic image of a syllable as a symbol of musical sound.

It is possible to use Braille media as a storage medium.

It is advisable to choose an electronic device as the storage medium. It is preferable to additionally fix symbols on the electronic device that characterize the conditions for the sound display of the names of musical sounds in synchronization with their visual display.

The solution to the problem involves creating, for use in the learning process, a method for reproducing the names of musical sounds of the temperament system in a single-syllable system of the opposite type, including recording human voice samples using an analog-to-digital converter in a permanent storage device for reproducing tones of musical sounds with a syllable musical instrument.

When reproducing names, it is advisable to choose Beletsky's chromo sequence Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lu, La, Tsu, Si as the opposite of a single-syllable system.

The solution of the problem also provides for the creation of teaching aids for use in the learning process.

In one of the embodiments, a training manual was created in the form of a device for reproducing the names of musical sounds in an opposite syllable system using a human voice, 15 containing a permanent storage medium with a syllable musical instrument, providing singing of the names of sounds in an opposite syllable system with a human voice as musical tones of temperament while the keys of the musical instrument are indicated by the graphic names of the syllables mentioned monosyllabic-mentioned system.

It is advisable to choose Beletsky's chromium series - Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Luo, La, Tsu, Xi in the study guide as a single-syllable system of the opposite name.

According to another variant of creation, the training manual contains at least two parts made with the possibility of moving relative to each other, on one of which conditionally accepted symbols of the names of sounds of uniformly temperament are applied in the volume of at least the tonalities of the fifth circle, and on the other at least one of the constituent elements of the theory of music is plotted. In contrast to the well-known conventionally accepted symbols for the names of sounds of a uniformly temperamental system, they are plotted in a single-syllable naming convention, and the number of symbols mentioned corresponds to the number of sounds of the system.

It is advisable to select intervals as the mentioned component elements in the training manual.

According to another embodiment of this tutorial, it is advisable to select the structural relationships of the fret levels as the mentioned constituent elements.

It is advisable to carry out structural relations of the fret stages with a designation of the intraladic degree of their stability, and in the preferred embodiment, the graphic designation of stable and unstable steps is made in different fonts.

Brief Description of the Drawings

The invention is further explained in the description of examples of its implementation with reference to the accompanying drawings, where FIG. 1, 2 and 3 depict examples of the presentation of the same melody by expressing a fraction of a meter of various durations;

FIG. 4 depicts a recording of the same melody in a new way, where musical sounds are displayed by their syllable names recorded in letters;

FIG. 5 and 6 depict examples of recording melodies according to the invention in written speech symbols;

FIG. 7 and 8 depict recording options for a melody according to the invention using musical bearers;

FIG. 9 depicts a block diagram of a simple device that implements the proposed method for recording sounds in a human voice;

FIG. 10 depicts the manual according to the invention in the position of the engine relative to the base of the ruler, which sets the first step of these modes opposite the Mi sound, showing the syllable names of the remaining steps in the scale of major, minor, reduced and enlarged rows;

FIG. 11 depicts a training manual according to the invention, showing syllabic names of steps when changing the position of the engine relative to the base of the ruler and the location of the first step opposite another Mo sound;

Fig. 12 depicts a textbook according to the invention in another embodiment;

FIG. 13 depicts the same manual plotted with graphical displays of intervals.

The best embodiment of the invention

The solution to the problem involves the use of constant and unambiguous concepts for determining the pitch of the sound by assigning twelve sounds to the temperament and the places of their extraction on musical instruments of unlike monosyllabic names in the user's language. As the names of sounds, you can use any convenient one-syllable names for pronunciation, depending on the user's language.

It is preferable to apply the historically known names of the seven heights of the sounds Do, Re, Mi, Fa, Sol, La, Xi, and assign the rest of the sounds of the temperament, for example, the corresponding sounds of the black keys of the piano, to their own single-syllable names.

In the further presentation, the solution of the problem will be disclosed by examples of the application of the twelve syllables of the Beletsky chromium series - Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lo, La, Tsu, Si.

The educational process at the initial stage is built at the phonetic level, operating with these syllables to indicate sounds and places of their extraction, as well as recording them in the form of syllable graphemes, which are applied as visual reference signals in the language of instruction (for example, Russian) to the places of sound extraction (for example, keys) or on any medium (paper, sticky applique, etc.), fixed to these places on a musical instrument.

The initial period of training forms a memory to the height of the sound, lays the foundation for the accumulation of vocabulary, taking into account the psychological aspects of the perception of the world, namely, the person’s ability to most quickly and fully perceive information clothed in specific unambiguous concepts.

According to the proposed method, syllables (phonetics) are used identically both when reading notes (graphics) and when naming places for extracting sounds on musical instruments and the sounds themselves.

The proposed method of teaching is based on the correspondence of the number of monosyllabic names with the number of sounds used in a tempered musical system, as a result of which the learner's phonetic mastering of the musical language proceeds freely as a process of building a logical system in his mind that serves the verbal expression of thought through named high-altitude representations.

The student has the opportunity from the very beginning of training to master complex works and its elements. This retains interest in the process for a long time and is a good incentive for more thorough work. In the learning process, it is important not only to direct attention, but also to maintain it for a long time. Attention depends on the content; if it is not clear, attention falls. According to psychologists, a person with any type of memory absorbs material much better if he uses both auditory and visual methods of memorization.

As a result of the learning process, which forms an unambiguous associative connection between the studied symbols and their content, the fusion of phonetics (syllable pronunciation) and graphics (notation) occurs in the consciousness of the student.

The constant intonational use of the twelve syllables (oral speech) leads to the ability to freely operate with high-pitch representations at the level of syllabic speech and in the thought process (internal speech), which is the basis for the formation of musical-logical thinking and adequate auditory perception of musical speech.

The training method involves conducting classes in both a group and an individual way, completing tasks, solving problems, exercises, most of which are mastered using game teaching methods.

Structuring the elements of musical speech based on a semitone (the smallest distance between the sounds of the temperamental system) allows you to master all the components of musical speech, such as scale, steps, intervals, chords, in a short time.

Mastering occurs by constructing and reproducing elements on the instrument and (or) voice (syllabic names) from each sound.

Structuring and the introduction of digital notation allows you to build these elements from any sound, as well as transpose melodies, operating with their interval composition, expressed in semitones.

For example, in the interval structure, the number indicates the number of halftones in the interval:

Prima - 0; Small second - 1; Big second - 2; Small third - 3; Big third - 4; Quart - 5; Triton - 6; Quinta - 7; Small Sextus - 8; Sextus is big - 9; Septima minor -10; Septima the Great - 11; Octave - 12.

The structure of triads: each digit indicates the interval composition in semitones. For example: Major - 4 3; Minor - 3 4; Reduced - 3 3; Enlarged - 4 4.

The scale structure is determined by the interval composition between its steps. For example, the structure of a scale of major (natural) scale is written as: 2-2-1-2-2-2-2-1. Gamma in C major: Do, Re, Mi, Fa, Sol, La, B, Do. Gamma Tu Major: Tu, Mo, Fa, Zu, Lo, Tsu, Do, Tu.

Other major scales are likewise constructed (executed). The structure of the scale of the minor (natural) scale: 2-1-2-2-1-1-2-2.

Gamma in C minor: Do, Re, Mo, Fa, Salt, Lo, Tsu, Do. Gamma Tu minor: Tu, Mo, Mi, Zu, Luo, La, Si, Tu. Other minor scales are likewise constructed (executed).

The structure of the scale of the chromatic scale: 1-1-1-1-1-1-1-1-1-1-1-1-1-1. Chromatic range from To: To, Tu, Re, Mo, Mi, Fa, Zu, Salt, Law, La, Tsu, Si, Do. Chromatic gamut from Tu: Tu, Re, Mo, Mi, Fa, Zu, Salt, Lo, La, Tsu, Si, Do, Tu. Other chromatic scales are constructed (executed) in a similar way.

Structuring the material under study makes it possible to quickly, by means of simple arithmetic operations, build the scale of any major, minor, reduced, increased frets, as well as their varieties, while to find the required level in the fret, it is enough to know its interval from the first fret level.

For example, when solving a task for finding a subdominant in T major, a student needs to know only that it is the fourth stage of the scale or is a quarter (five semitones) away from the original sound. As a result, he can find it immediately by these parameters, either by building the scale of Tu major - Tu, Mo, Fa, Zu, Lo, Tsu, Do, Tu (the fourth ordinal sound - Zu), or by counting five semitones from Tu (Zu).

Measuring intervals in halftones allows you to simply record, define and build not only triads, but also more complex chords, for example: Septima big from Do, recorded as Do ¹¹ = Do-C, C major triad (third major + third minor) are written as Do 43 = Do-Mi-Sol, Do-major major seventh chords (Septima major + major triad) are recorded as Do- ⁿ 43 = Do-Mi-SolSi.

For the studied melodies and plays use recording syllable graphemes. The metro-rhythmic basis of the learner is mastered by the learner at the imitation level by means of text solimization.

At the same time, when switching to the traditional musical schedule, the reading (reproduction) of the musical text is performed as follows: notes C sharp, Do, D double flat read as Do, notes C sharp double, C sharp, D flat read like Tu, notes DO sharp, Re, Mi double flat read as Re, notes D sharp, E flat, Fa double read like Mo, notes double sharp, Mi, Fa flat read like Mi, notes M sharp, Fa, Sol double flat read like Fa, notes E double sharp, F sharp, Salt flat read as Zu, notes F double sharp, Salt, A double flat read like Salt, notes Salt yeah, La flat read like Lo, notes Double salt sharp, La, C double double read like La, notes double sharp, C flat, Double double read like Tsu, sheet double double sharp, C, flat read like C in all octaves and keys respectively.

Sound recording of the sounds Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lo, La, Tsu, Xi is carried out both in traditional notation in accordance with the rules of musical notation based on a subsequent study of the classical theory of music, and on the basis of a new recording method.

A musical instrument should be mastered only in the unity of reading and writing. The creation of a new recording system is based on the uniform pulsation of music, recorded by tactile muscular sensations, and serves as a tool that marks the boundaries of the share of the flow of music, allowing it to record (read) the rhythm of the melody.

The development of musical notation for a person is nothing but the knowledge of a fundamentally new coding system for high-altitude information. This process always requires elementary literacy, strength, additional time spent on its development and, for the above reasons, the presence of abstract thinking.

Due to the fact that the proposed method of the twelve-syllable system of recording tempera linear music (Beletsky's syllable) is based on the well-known alphabet of the user's country language, a literate person only needs to know a few simple rules for recording it and the skill of perceiving ripple accents for practical mastering of reading and writing music recordings the flow of music, necessary for the correct recording and reading of the temporal relationships of the duration of sounds (rhythm of the melody).

The skill is formed by several training sessions on the basis of the coincidence of tactile muscular sensations (uniform tapping of the fingers on the table top, feet on the floor, etc.) with accents of pulsation of perceived music captured by ear. Tactile muscular sensations serve in the future as a tool for measuring the flow of music, allowing any literate person to accurately record and read the time flow of linear music.

A variety of rhythmic structures of musical words leads to the fact that they (words) can consist of sounds that are different in number and duration, both coinciding with their beginning with a beat (ripple accent) and falling within the beat frames, and not matching (for example, impact) or going far beyond the limits of one beat in the form of long sounds or pauses, bearing artistic, semantic and logical load and containing several accents of pulsation (a fraction of the time the music flows).

Recording sounds of musical words of simple structure, such as, for example, the sound is equal to a fraction (1: 1), or as in the case of rhythmic splitting of a fraction into equal time intervals: 1: (1 + 1) - two sounds, 1: (1 + 1 + 1) - three sounds, 1: (1 + 1 + 1 + 1) - four sounds, etc., are carried out simply by recording the names of all sounds included in the time frame of the beat, for example, Lyasolfami.

Musical words of a complex rhythmic structure consist of sounds of various durations. This leads to a split of the share into unequal time periods, for example 1: (2 + 1), 1: (1 + 2), 1: (3 + 1), 1: (1: 3), 1: (1 + 2 + one). The identification of the ratios of the duration of sounds in the composition of a beat to each other, necessary for accurate recording of this kind of rhythm or for its subsequent adequate reproduction, requires its own measure, a kind of micropulsation of the beat.

In order to avoid the fact that the term micropulsation, by analogy with pulsation, can be perceived as referring equally to all parts of a musical work, which cannot be accepted because of the variability of the rhythmic structures of musical words, it is necessary to use another concept to identify the duration of sounds in parts of uneven rhythmic fragmentation as a tool for measuring the flow of a single share, regardless of the previous and subsequent. For these purposes, the applicant proposes to use the universal concept of musical quantum (the smallest discrete value of movement). In the new recording method, the sound that becomes the smallest in duration during the flow of a single fraction becomes such a discrete quantity-quantum of a fraction. Each sound name in the record reflects a quantum of the corresponding fraction. Representing a discrete unit of the share’s flow, it can be expressed as one sound equal to the share, or several. To indicate the duration of a sound containing two, three or more quanta, one of the pre-selected graphic symbols of written speech is used. One of these signs is chosen to reflect subsequent quanta in the composition of this sound.

When a melody of a complex rhythmic structure is perceived, the number of quanta in each sound of its beat is revealed by uniform micropulsation in the form of tactile muscle fixation of quanta (quantization of the beat), combined with singing of sounds. The second and subsequent quanta present during the sound are reflected in the record by a predetermined graphically symbol.

Thus, the student’s tactile muscular sensations, fixing the pulsation to identify the measure of the flow of music - lobes, and if necessary, the micropulsation to identify the measure of the flow of lobes - quanta, become a universal tool that allows you to record music and then read it accurately in the user's language . The proposed method is as follows.

Using the alphabet and punctuation marks used in the graphic writing of the Russian language, the names of the sounds of the temperament system according to the 12-syllable system of the Beletsky chromium series, for example, Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lo, La, La, Tsu, Si, write ( typed) in the form of a poetic text by known methods, for example, using a text editor of office equipment.

The names of sounds (syllables) are combined into musical words (melodic, intonational rhythmic turns), which are separated by a space, as shown in FIG. 4, based on the logic of perception of musical speech.

A group of graphic symbols of written speech is chosen to indicate a rhythmic pattern, for example, a comma, period, hyphen, and stress. Select one of the graphic symbols to graphically display the pause. In FIG. 5, a pause is indicated by a graphic symbol of the accent mark, and in FIG. 6, a comma is selected to display the pause.

Recording and reading time relationships of the duration of sounds, i.e. The rhythmic structure of the melody is carried out on the basis of the user's tactile muscular sensations (a tool for measuring the flow of music), for example, tapping with the fingertips on the table surface, fixing the logical stress of the music and thereby revealing the proportion - a measure of the flow of music, the beginning of which (emphasis on pulsation) is graphically are indicated in the text, for example, as shown in FIG. 5 by capitalization of the name of the sound matching this accent (A);

a hyphen (-) in the presence of an accent in the process of the time flow of sound;

the accent mark, placed above the space ('), in the absence of sound (pause) at the time of accent, which (hyphen or accent mark) put in accordance with the number of such accents.

Graphic symbols (a comma in Fig. 5 or a dot in Fig. 6) are used to display a rhythmic pattern within the boundaries of ripple accents.

The names of the sounds that make up the share are written with a small letter. Each graphic symbol of a record (sound name, hyphen, accent, comma) of FIG. 5 reflects one quantum - an equal length of time for the flow of the corresponding fraction. The second and subsequent quanta during the sound are reflected in the record by a comma. In case of uneven rhythmic fragmentation of a beat, accurate recording and reading of the rhythm is achieved through quantization of the beat (perception in a single fraction of its smallest discrete units - quanta) and its quantization (counting through tactile muscular sensations of the number of quanta in each sound of the beat). The presence in the sound (pause) of the second (third, etc.) quantum is indicated by a graphic symbol, for example (,), the comma of FIG. 5. The comma reflects one quantum of time redistributed in favor of the sound preceding its writing.

Each symbol of the record (sound name, hyphen, accent, comma) reflects one time quantum of the flow of the corresponding fraction.

In the proposed record there is no push-pull division of shares. The perceived rhythm structure of the music flow and its strong beats detected tactilely and by hearing group involuntarily in the user's mind the pulsation accents in various metric groups of 2 (one-two) or 3 (one-two-three) -long meters, thereby allowing in accordance with the logic of musical speech, record a melody in the form of poetic lines.

The pitch of the sounds in the proposed recording method is of relative importance. Sounds that go beyond the limits of the original octave of the chromo sequence up or down one octave (two or more) are marked with horizontal bars (two or more), set above or below the name of the sound, respectively. In the Louis Braille system, a plus or minus sign in front of the corresponding sound is used for these purposes.

In order to reduce the text and simplify the recording in the proposed recording method, one can use a number of notation of traditional musical notation, such as reprise, volta, fermata, mordent, trill, groupet, grace, etc. Acquiring a sound of the temperament system of its own name eliminates the need for the user to solve tasks of choosing the name of the perceived pitch, and the graphic system of the native alphabet, chosen to record the names of sounds, simplifies reading. In addition, it becomes possible to use the recording method as a transition to traditional notation, placing the graphic symbols of ordinary notes on a note 23 of the nose. In this case, the choice of note duration does not matter (Fig. 7 and 8). The choice of the type of graphic symbols used for the rhythmic structure is determined by the teacher before the start of training, and he can use both traditional punctuation marks and other signs of written speech and musical notation.

Thus, the new method of musical speech in combination with the well-known audiovisual (audio tactile) technical means and formats for processing sound and images serves as a tool for synchronous (visual / tactile) translation of melodies of musical works into the user's language in devices of audiovisual, audio tactile perception of information (office equipment, network 1p1sgps1. Cinema and telecommunications).

As such, the method is used in cognitive, educational, game and entertainment programs, reproducing information in a known manner both at fixed and arbitrary pace and sound options, for example, Beletsky's syllophone, accompanying the text of the recorded music on the screen with light (in the tactile sensing device - tactile) cursor, fixing the moment of sound synchronously to the tempo of music playback.

Through the involuntary muscular response of the listener to the accents of pulsation of the sounding music and the visual (tactile) hearing synchronized perception of the names of sounds, the relationship between the flow of music and spelling is established. thus leading to the acceleration of the process of its development and the formation of reading skills in the form of a sequence of operations, I see, I’m reproducing. The reading skill thus formed subsequently makes it possible to use the proposed recording method as an autonomous tool for arbitrary expansion of the vocabulary, knowledge accumulation, and building the user's musical and logical thinking.

On the basis of the new method, a new method of teaching music is inevitable, as well as the creation of new fonts for text editors of office equipment and printing devices that use the sound name or its other graphic symbol as the letter of their font.

Tactile muscle sensations used as a tool for perceiving and measuring the time flow of music:

a) record the melodies of your own compositions and perceived music;

b) read previously recorded melodies;

c) to form the skill of perceiving music as a living tissue of colloquial speech, filled with logical meaning and emotional content.

Using the proposed method of a twelve-syllable system for recording tempera linear music in the Louis Braille alphabet system in the user's language avoids the additional development of a fundamentally new coding system for high-altitude information, which is the Louis Braille music system. The process of forming the skill of correct recording and reading the temporal relationships of the duration of sounds by the proposed method according to the Louis Braille system is constructed similarly to that described above.

The proposed method of teaching music, translating it to the phonetic-syllable level, fundamentally changes the technology of mastering musical speech, developing musical hearing, forming musical abilities by using the human voice in a data bank (for example, ROM) as a fundamentally new syllable musical instrument Beletsky, which provides reproduction of musical tones of the temperament system by singing the names of sounds, and the creation of fundamentally new ones on its basis reading devices (synthesizers, instruments, toys).

Directly from a microphone, using an analog-to-digital converter (ADC), samples of a human voice, female and (or) male, reproducing (singing in the volume of its range) in the user's language are recorded as musical tones of the temperament naming of sounds in a twelve-syllable system, for example, Beletsky chromosome (Do, Tu, Re, Mo, Mi, Fa, Zu, Co (l), Lo, La, Tsu, Si).

These digitized syllable samples after software processing by a well-known sound editor, for example, 8 roibde. sewn into the data bank, for example, read-only memory (ROM) as musical tones. Thus, in the data bank, ROMs receive a fundamentally new syllable musical instrument.

The databank with the syllable musical instrument Beletsky’s syllophone provides the devices containing it with a fundamentally new quality - the reproduction of musical tones of the temperament system by singing the names of sounds in the twelve-syllable system (for example, the Beletsky chromo-series - Do, Tu, Re, Mo, Mi, Fa, Zu, So ( ), Luo, La, Tsu, Xi) and can be used in new music editors, synthesizers, game and training devices.

The simplest device shown in FIG. 9, implementing the proposed method, contains the following components:

the keyboard (1) of the device with the twelve-letter names of keys printed in the user's language; a central processor (2) that scans the keyboard matrix and converts the positional matrix code into a serial number of keys; read-only memory (3) with keyboard control and scan programs; random access memory (4) for temporary storage of variable data information; a data bank (5), which stores digital information about the wave forms of sounds of a syllable musical instrument Beletsky’s syllophone; a digital signal processing processor (6) that generates real-time sounds extracted from ROM (their height, volume) in accordance with the keystrokes of the device; digital-to-analog converter (7) and output to sound reproducing equipment.

The proposed method is as follows.

Using an analog-to-digital converter, samples (samples) of a human voice, female and (or) male, reproducing in the user's language as musical tones the names of the sounds of the temperament system in the twelve-syllable system, for example, in the Beletsky chromosome (Do, Tu, Re) are recorded directly from the microphone , Mo, Mi, Fa, Zu, So (l), Luo, La, Tsu, Si).

Then, two phases of syllable sounding (consonant phases and vowel phase ringing) are subjected to software processing by a well-known sound editor (for example, 8th Rogde), while in order to save memory, the end of the sound name SALT (i.e., eh) is cut off. Received syllable samples in the form of digital information are sewn into the data bank (5) as musical tones. As a result, a fundamentally new syllable musical instrument is obtained in the data bank, which is used to reproduce musical tones of the temperament system by singing the names of sounds - Do, Tu, Re, Mo, Mi, Fa, Zu, So, Lo, La, Tsu, Si.

This syllabic musical instrument can be used in fundamentally new involuntary training devices (synthesizers, sound cards), in game and educational programs, and the twelve-syllable system itself can also be used when writing software tones for sounding musical tones.

The new instrument can also be used in devices that reproduce previously recorded music in a known manner, for example, in the format МШ1. Musical sounds recorded by traditional musical graphics, the instrument reproduces as follows: notes C sharp, Do, D double flat sings as a syllable Do; notes C sharp double, C sharp, D flat sings like a syllable Tu; sheet music Double sharp, Re, Mi double flat sings like a syllable Re; notes D sharp, E flat, F double flat sings as a syllable Mo; sheet music Re double sharp, Mi, Fa flat sings like a syllable Mi; sheet music M sharp, F, Salt double flat sings as a syllable F; notes Mi double sharp, F sharp, Salt flat sings like a syllable Zu; notes F double sharp, Salt, A double double sings like a syllable Co; sheet music Sol sharp, A flat sings like Lo's syllable; notes Salt double sharp, A, B double C flat sings like a syllable A; notes of A sharp, B flat, Until a double flat sings like a syllable Tsu; notes A double sharp, C, E flat sings like a syllable C in all octaves and keys within the range of the human voice. Sounds that go beyond this range are transferred an octave (two) up or down, respectively.

When using the instrument in music editors, the musical notation of the sounds Do, Tu, Re, Mo, Mi, Fa, Zu, So (l), Lo, La, Tsu, Xi is performed as in the traditional notation based on the classical theory of music and in accordance with the rules traditional music graphics, and when creating the appropriate new music editors according to the new method of musical notation.

Thus, on the basis of the known components, a device was obtained for the involuntary development of phoneme-syllable musical speech and the formation of memory at a named pitch (absolute `` hearing '') of the foundation of musical-logical thinking by playing music in a human voice singing the syllable names of sounds of the temperament, the perception and mastery of which as a syllable phoneme of musical speech can begin by the child in parallel with the knowledge of the language of human communication.

Intonation arising from the involuntary imitation of reproduced names of sounds in the process of using the device leads to adequate recognition of the names of musical tones (like syllabic phonemes) in the sound of other (non-syllable) musical instruments and the formation of the ability to perceive melodies as syllabic speech.

The way of mastering a musical language through various devices using a new musical instrument becomes accessible to everyone who can distinguish phonemes, thus making learning music an interesting lesson.

To facilitate the orientation of students in the study of the basic elements of music, the teaching aids presented in FIG. 10, 11, 12, made on the same principle.

The manual (Fig. 10) consists of the base of the ruler (1) and the engine (2). On two fields of the same content (1) (upper and lower), the names of the sounds of the temperament are plotted in the volume of two octaves in the new twelve-syllable naming (Fa, Zu, Sol, Lo, La, Tsu, Si, Do, Tu, Re, Mo , Mi, Fa, Zu, Salt, Luo, La, Tsu, Si, Do, Tu, Re, Mo, Mi). New syllables of sounds (Tu, Mo, Lo, Tsu), corresponding to the black keys of the piano, are located respectively on a dark background.

The engine (2) is marked with Roman numerals of the sequence of seven stages of major scales (upper row) and seven stages of minor (lower row) with an indication of the intraladic degree of their stability by graphically writing in bold type stable stages (I, III, V) that underlie these frets, and inclined italics - unstable steps (II, IV, VI, VII). In addition, the main steps of the major and minor modes - Tonic, Subdominant, Dominant - are additionally indicated in Latin script (T 8 Ό). A line of the six-step scale of the enlarged scale (Ι / ΙΙ, III, IV, V, VI), whose instability created by the ratio of stages I, III, V in bold, is indicated in italics, is written in Roman numerals under the line of the major fret. Above the minor fret line is the line of the eight-step reduced fret (I, II, III, IV, V, VI VII, VIII), the instability of which is created by the ratio of the steps (I, III, V, VII, I) in bold in italics.

The proposed line works as follows. To find a certain tonality, the student or teacher sets, by moving the engine 2, the designation of the first (I) stage opposite the selected sound name applied to the base of the line 1, for example, Mie, as shown in FIG. 10. As a result, the student can instantly and clearly see or determine the syllabic name of any step in the scale of each frets applied to the line engine. Using the proposed line on the basis of the twelve-syllable naming allows you to simplify orientation in all frets and keys, speed up the learning process many times and avoid numerous renaming of the pitch of sounds when changing modes and keys in the temperament.

The proposed fundamentally new system of music education allows you to attach to the active perception of music and musical creativity of all people with physical hearing from 5 years old to old age;

to develop musical ear, musical memory and musical logical thinking among millions of viewers and users of the Bisgns network! through audiovisual (audiotactile) perception of the syllable in information and music programs and special training programs;

to simplify the cognition of musical culture for people deprived of vision by publishing for them in the Louis Braille system a recording of melodies of musical works and tactile reading of them, as well as the possibility of them retaining the results of their own musical creativity in a syllable;

to solve the problem of the general accessibility of musical education and training in secondary schools and kindergartens by mass publishing music (melodies of musical works) on a fundamentally new basis;

to make a new way of writing an intermediate stage in mastering musical notation in music school, thereby simplifying the child’s entry into traditional music graphics;

to preserve the results of their own musical creativity of non-professional composers and music lovers, becoming a tool for this;

carry out the development of software products;

start production of video tapes, CD-SE-Э and other storage media recorded for audio-visual, audio-tactile sensing devices in the mode of simultaneous translation of the music syllable into the user's language.

Industrial applicability

The solution to the problem of improving the effectiveness of music learning in the implementation of the invention is confirmed by experimental training. The experience gained indicates the successful development of the material by students in a short time, and the main material is learned automatically before the lessons.

We went through retraining and mastered the proposed method for a group of highly qualified teachers of music schools. The results are positive.

Claims (18)

CLAIM 1. A method of teaching music, which consists in assigning untitled sound signals that are part of 12 sound signals of the octave of the chromatic scale of the temperament, spaced upwards by a semitone from sound signals that have their own names Do, Re, Fa, Sol, A, respectively a phonetic characteristic in the form of a proper name having at least one vowel and at least one consonant is formed by a sequence of names of audio signals in accordance with a sequence of 12 audio signals chromatic structural scale elements of musical speech, which are distinguished by the fact that at the bottom stage of training, determine the height of the register of the sound signal corresponding to the height of the register of the voice of the student, determine the height of the sound signal in the found register , coinciding with the pitch of the learner’s voice, successively upward and downward change the height of the sound signal in the found register, at least e, in semitone, whereby the learner is formed the skill of intoning the reproduced sound signals of the chromatic scale of the temperament by singing their names with voice, the learner is voiced at least one musical phrase using the proper names of 12 sound signals of the chromatic scale of the temperament, is repeated along with the trainees, at least once, the specified musical phrase using the proper names of 12 sound signals of the chromatic scale of the temperament until the relationship in the learner’s memory is established between the height of each sound signal of the chromatic scale of the temperament, included in the specified musical phrase, assigned to it by its own name and time ratios of durations of sound signals. 2. The method according to claim 1, characterized in that the names Tu, Mo, Zu, Lo, Su are used as the names of sound signals spaced upwards by a semitone from sound signals having the proper names Do, Re, Fa, Sol, La and form the chromatic gamma of the sequence of names of sound signals in accordance with a sequence of 12 sound signals of the chromatic gamma, spaced one from another by a semitone interval in height of the sound signal Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lo, La, Su , Si. 3. The method according to any one of claims 1 to 2, characterized in that, at least once, the specified musical phrase is repeated, using the proper names, of 12 sound signals of the chromatic scale of the temperament system at a slow pace, while maintaining time relationships of durations sound signals of a musical phrase by means of intonation of the name played by the learner with the sound reproduced by him before the formation in the learner's memory of the relationship between the height of the sound played by the voice of each sound drove chromatic scale temperament and assigned to it its own name and the time ratio of the audio signals. 4. The method according to any one of claims 1 to 3, characterized in that the interval is used as the basis for determining the structural elements of musical speech selected from the group consisting of scale, fret, harmony and chord. 5. The method according to claim 4, characterized in that to designate the interval, which is the basis of the structural elements of musical speech, use the alphanumeric designation Mn, where M - indicates the name of the original fundamental tone of the sound signal that defines the name of the corresponding chord, harmony, harmony and scale, n is the number of semitones in the name of the original fundamental tone of the sound signal. 6. The method according to claim 4, characterized in that to indicate the harmony and chord, which are the basis of the structural elements of musical speech, use the alphanumeric designation Mnk, where M - indicates the name of the original fundamental tone of the sound signal that defines the name of the corresponding chord, harmony, fret and scale, n is the number of halftones in the name of the original fundamental tone of the sound signal, k is the number of halftones in the subsequent interval in the chord. 7. The method according to claim 1, characterized in that the student is shown the location on the musical instrument of each of the 12 sound signals of the chromatic scale of the temperament, for which they place on the musical instrument a graphical display of the names of sound signals in places corresponding to their extraction, establish a correspondence between the name each sound signal of a musical phrase and the place of its extraction on a musical instrument, encourage the learner to reproduce in voice at least once the names of musical Vukov studied musical phrases at a slow pace while maintaining the rhythmic structure of the musical phrases and simultaneously, while observing the methods of sound extraction on a musical instrument, perform the studied musical phrase until the relationship between the height of each sound signal of the chromatic scale of the temperament system included in the specified musical phrase assigned to the specified musical phrase is assigned by his own name and time relationships of the durations of sound signals. 8. The method of recording musical text, which consists in assigning anonymous sound signals that are part of 12 sound signals of the octave of the chromatic scale of the temperament, spaced upwards by a semitone from sound signals having the proper names Do, Re, Fa, Sol, A, accordingly, a phonetic characteristic in the form of a proper name having at least one vowel is formed by a sequence of names of sound signals in accordance with a sequence of 12 sound signals of the chromatic scale of tempera of a particular system, separated from each other by a semitone interval in height of the sound signal, characterized in that the voice reproduces the musical phrase using the proper names of 12 sound signals of the chromatic scale of the temperament, while emphasizing the proportion of the passage of time of the musical phrase and recorded in lowercase letters the names of all the audio signals that make up the musical phrase, using the metronome, set the frequency of occurrence of the beat, which is the frequency of the pulsations of the flow of music When speaking with the metronome, the music phrase is played back again using the proper names 12 sound signals of the chromatic scale of the temperament system and the resulting recording is corrected, for which, if the ripple of the musical speech flow coincides with the moment the voice plays the sound of the musical phrase, the name is capitalized of this sound signal, the remaining names of sound signals in a fraction are kept in lowercase letters, and in the absence and in the presence of ripple sound using special characters. 9. The method according to claim 8, characterized in that the names Tu, Mo, Zu, Lo, Su are used as the names of sound signals spaced upwards by a semitone from sound signals having the proper names Do, Re, Fa, Sol, La and form a sequence of names of sound signals in accordance with a sequence of 12 sound signals of the chromatic scale, spaced one from another by a semitone interval in height of the sound signal Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Luo, La, Su, Si . 10. The method according to claim 8, characterized in that “-“ and “Λ” are used as special characters, respectively, in the presence of an audio signal at the time of ripple and in the absence of an audio signal at the time of ripple. 11. The method according to claim 8, characterized in that if there are sound signals in the fraction having different durations, the specified fraction additionally splits the duration of the sound signals into smaller equal time intervals — discrete units corresponding to the shortest sound signal in the fraction, which serve as a standard of duration for each sound signal in a fraction, and in the presence of at least one additional discrete unit in the sound signal, this sound unit is displayed with a “,” sign. 12. The method according to claim 8, characterized in that the medium used is a medium selected from the group consisting of paper, fabric, plastic, electronic medium, Braille medium. 13. The method according to claim 8, characterized in that the sound signals extending up or down beyond the octave of the original scale of the chromatic scale of the temperament are marked with a “-“ sign above or below the name of the sound signal, respectively. 14. The method according to claim 8, characterized in that when using an electronic medium, audio signals are additionally recorded on it, which are intended to be reproduced simultaneously with video signals displaying the names of 12 sound signals of the chromatic scale of the temperament, corresponding to the reproduced musical phrase. 15. The method of reproducing sound signals of the chromatic scale of the temperament, which is assigned to anonymous sound signals, which are part of 12 sound signals of the octave of the chromatic scale of the temperament, separated by half a tone from sound signals that have their own names Do, Re, Fa, Salt, La, respectively, a phonetic characteristic in the form of a proper name having at least one vowel and at least one consonant, form a sequence of names of sound signals in correspondence with a sequence of 12 sound signals of the chromatic scale of the temperament scale, separated from each other by a semitone interval in height of the sound signal, characterized in that the names of 12 sound signals of the chromatic scale of the temperament scale, reproduced by a human voice, are recorded from a microphone in a microphone as model signals having the corresponding signals height, form from the names of 12 model signals the names of 12 corresponding derived signals in which the vowel sound - phoneme has an extended length identity, and write down the generated names in ROM, convert the height of the obtained 12 derivative names of audio signals upward and downward, at least an octave in the range of the musical instrument and record the converted names of audio signals in ROM, use the specified names of audio signals for an electronic musical instrument that reproduces the names of sound signals of the chromatic scale of the temperament in accordance with the played musical phrase. 16. The method according to p. 15, characterized in that the names Tu, Mo, Zu, Lo, Su are used as the names of sound signals spaced upwards by a semitone from sound signals having the proper names Do, Re, Fa, Sol, La and form a sequence of names of sound signals in accordance with a sequence of 12 sound signals of the chromatic scale of the temperament, separated from each other by a semitone interval in height of the sound signal Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Lo, La, Su , Si. 17. A training manual for training orientation skills in the structural elements of musical speech for use according to claim 1, containing a base on which the names of sound signals of at least one octave of the chromatic scale of the temperament are plotted sequentially and at regular intervals, an element fixed to basis with the possibility of step-by-step movement relative to the names of sound signals, which are marked in a certain sequence of musical instruments selected from the group consisting of a scale , steps, frets, digital designation of intervals, harmonies, chords, characterized in that the nameless sound signals included in the 12 sound signals of the octave of the chromatic scale of the temperament, spaced upwards by a semitone from sound signals that have their own names Do, Re, Fa, FIG. one Sol, La, the corresponding phonetic characteristics are assigned in the form of proper names having at least one vowel and at least one consonant, which are applied to the base in the interval between the names of sound signals of an octave, while the total number of names corresponds to 12 sound signals of the chromatic scale of the temperament, and the names of frets and their steps, taking into account the degrees of their stability and the allocation of the main steps of the fret, are plotted on an element fixed to the base. 18. The manual according to claim 17, characterized in that the names Tu, Mo, Zu, Luo are used as the names of sound signals spaced upwards by a semitone from sound signals having the proper names Do, Re, Fa, Sol, La, Su and form a sequence of names of sound signals in accordance with a sequence of 12 sound signals of the chromatic scale, spaced one from another by a semitone interval in height of the sound signal Do, Tu, Re, Mo, Mi, Fa, Zu, Sol, Luo, La, Su, Si.