The Project of Instruction of General Disciplines at a Musical Institution for Higher Education
Article Sidebar
Main Article Content
Abstract
The task of advanced musical education, in addition to specialized preparation, includes providing a broad general
musical and humanitarian scope. However, the set of disciplines called upon to carry out this task in Russia in its
present form suffers from utter dissociation. In order to overcome it, a connecting element is required, which would
be, placed at the foundation of all the basic courses. This function may be carried by the principle of historicism.
In this case, the latter implies the mastery of the entire cycle in a parallel, synchronous unfolding of the material
– from its sources to modernity, in its advancement from epoch to epoch. It is relatively easy to accomplish such
transformations in presentment of the music history disciplines, for which it is necessary to overcome the tradition
of separate presentations of the history of Russian music and the music of other countries. In the instruction of the
music theory cycle it is necessary to dissociate oneself from differentiation of the respective theoretical disciplines
into separate disciplines and return to the initial generic concept of the theory of music. It becomes even more difficult
to overcome the inertia of teaching the social sciences, in which connection, for the needs of the conservatory it is
advisable to replace the existent subjects with a course of world history, which would incorporate all the indispensable
information from philosophy, sociology, economics, aesthetics, etc. This project is aimed at that ultimate result for the
sake of which the conservatory exists – to bring up a musician of high qualification.
Keywords: higher musical education, tutorial plans for Russian conservatories, complex teaching of general
musical and humanitarian disciplines, the principle of historicism in musical instruction.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Demchenko A. I. Globalizatsiya i khudozhestvennoe obrazovanie [Globalization and Artistic Education]. Sovremennoye iskusstvo v kontekste globalizatsii [Modern Art in the Context of Globalization]. St. Petersburg, 2011, pp. 78–90.
3. Demchenko A. I. Ob odnoy iz vozmozhnykh perspektiv khudozhestvennogo obrazovaniya [About one of the Possible Perspectives of Artistic Education]. Kontseptsiya obrazovaniya v iskusstve i nauke [Philosophy of Education in Art and Science]. Moscow, 2012, pp.132–156.
4. Demchenko A. I. O putyakh sovershenstvovaniya khudozhestvennogo obrazovaniya [On the Paths of Improvement of Artistic Education]. Obrazovanie i nauka XXI veka [Education and Science of the 21st Century]. Sofia, 2012, pp. 48–57.
5. Modernizatsiya vysshego muzykal'nogo obrazovaniya [Modernization of Higher Music Education]. St. Petersburg, Saint Petersburg State Conservatory, 2011. 230 p.
6. Shaymukhametova L. N. Bolonskiy protsess i gorizonty muzykal'noy nauki [The Bologna Process and the Horizons of Musical Scholarship]. Problemy muzykal'noj nauki [Music Scholarship]. 2009, No. 1 (4), pp. 6–10.
7. Shaymukhametova L. N., Tankelevich E. L. Vospityvat' tvorcheskoye myshleniye [Fostering Creative Thinking]. Muzykal'naya akademiya [Musical Academy]. 1988, No. 9, pp. 101–111.
8. Elliot David J., Silverman Marissa. A Philosophy of Music Education. New York: Oxford University Press, 2015. 541 p.
9. Kertz-Welzel A. Didaktik of Music: A German Concept and its Comparison to American Music Pedagogy. International Journal of Music Education (Practice). 2004. 22 No. 3, pp. 277–286.
10. Leask B., Bridge C. (2013) Comparing internationalisation of the curriculum in action across disciplines: Theoretical and practical perspectives. Compare. 2013. No. 43(1), pp. 79–101.
11. McPherson G., Graham W. The Oxford Handbook of Research in Music Education. Volume 2. New York: Oxford University Press. 2012. 736 p.
12. Schippers H. Facing the Music. New York: Oxford University Press, 2010. 240 p.
13. Serenko A. Student satisfaction with Canadian music programs: The application of the American Customer Satisfaction Model in higher education. Assessment and Evaluation in Higher Education. 2011. No. 36 (3), pp. 281–299.
14. Zgaga P. Looking out: The Bologna Process in a Global Setting On the “External Dimension” of the Bologna Process. Norwegian Ministry of Education and Research, 2014. 242 p.