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Modern problems of musical education are connected with the search for new and more efficient approaches considering the challenges of our time. One of such challenges is unprecedented in history of culture music stream falling upon the modern human. The relict musical mode archetypes, on the basis of which the music of the peoples of the world has been formed for centuries, and which nourish the creativity of the professionals, could be considered as ecologically friendly “musical products”. In this article, following a number of the range of previous publications, the author offers a new classification of mode archetypes based on previously designed principle of asymmetry/symmetry supplemented with several novel approaches. This classification obviously cannot cover all existing mode archetypes of music of people of the world, but definitely addresses their considerable part. Several tables with index-based ordering the most common mode archetypes are considered to be especially significant result of this paper. The author hopes that this method of designation will contribute to the development of a methodology for the analysis of the behavior of mode archetypes in various melodic contexts. The “Solveig’s Song” by E. Grieg is regarded as one of the most famous melodies, in which the musical mode archetype of Norwegian folk music occupies an important place.

В данной статье рассматриваются возможные пути оптимизации процесса обучения в курсе «Слушание музыки» в опоре на разработки когнитивной психологии и методику «Теории решений изобретательских задач». Изучение одной из областей психологии - психологии познавательных процессов - или когнитивистики - дает возможность подобрать способы работы с современным музыкальным материалом для включения его в курс. Осознание того, что процессами познания можно осознанно управлять и, самое главное, оптимизировать их - очень важно, так как в век информационных технологий выбор эффективных и действенных способов усвоения нужного материала обеспечивает столь необходимую в наше время «информационную гигиену». Ссылки на лень, непонимание, «дырявую» память учащихся в таком ракурсе организации обучения теперь не правдоподобны, так как непонимание материала детьми и отсутствие навыков самостоятельной работы с ним зачастую результат недейственных «рутинных» методов обучения. Представленные модели для сознательного решения творческих задач курса «Слушание музыки» помогают соединить в обучении особенности специфики восприятия младшего школьного возраста со сложностью традиционных и новых звуковых решений в творчестве композиторов. Тема статьи актуальна для педагогов, так как музыкально-творческое обучение младших школьников требует применения эффективных приемов овладения знаниями с самостоятельным участием детей в этом процессе.

Musician's psychology is a long-time subject, the beginning of studies dating back to Antiquity. Interpretation is a constant with a series of variables, analyzed in experiments and studies. Whether it's about emotions and the impact of multimedia on the psyche, musician's psychology is an area that raises questions and ideas. The frame of the interpretative act and the musician's perception can have a profound effect on the interpretation itself. It is necessary to study the many researches, there being a series of opinions that can improve and benefit the artist, who must not remain a mere performer, being the analyst of his own works, but also his own psychologist, who will permanently work on fortification of the psyche of performance. [ABSTRACT FROM AUTHOR]

Human emotion identification from image sequences is highly demanded nowadays. The range of possible applications can vary from an automatic smile shutter function of consumer grade digital cameras to Biofied Building technologies, which enables communication between building space and residents. The highly perceptual nature of human emotions leads to the complexity of their classification and identification. The main question arises from the subjective quality of emotional classification of events that elicit human emotions. A variety of methods for formal classification of emotions were developed in musical psychology. This work is focused on identification of human emotions evoked by musical pieces using human face tracking and optical flow analysis. Facial feature tracking algorithm used for facial feature speed and position estimation is presented. Facial features were extracted from each image sequence using human face tracking with local binary patterns (LBP) features. Accurate relative speeds of facial features were estimated using optical flow analysis. Obtained relative positions and speeds were used as the output facial emotion vector. The algorithm was tested using original software and recorded image sequences. The proposed technique proves to give a robust identification of human emotions elicited by musical pieces. The estimated models could be used for human emotion identification from image sequences in such fields as emotion based musical background or mood dependent radio. [ABSTRACT FROM AUTHOR]

This article is a summation of my thoughts on music and musical choices with many references to the music of Helmut Lachenmann. It details my experience with his music as a listener and explores how a person's listening habits vary depending on background, education and other factors. [ABSTRACT FROM AUTHOR]

Este texto, sobre a relação entre cognição e música, objetiva lançar novas perspectivas para uma idéia há muito presente na pesquisa psicológica: de que a atividade musical tem importantes conseqüências para o desenvolvimento emocional e cognitivo da pessoa. Estas, no entanto, não são sempre positivas, já que processos de aprendizagem musical, da forma como tradicionalmente desenvolvidos, podem também levar à frustração e ao adoecimento tanto físico como psíquico. O texto analisa estes temas, tendo como foco a aprendizagem expert de instrumentos musicais da tradição clássica como uma aprendizagem permanente, que envolve o desenvolvimento e refinamento constante de habilidades metacognitivas e auto-reguladoras, bem como uma capacidade para superar obstáculos emocionais oriundos do tipo de investimento necessário ao alcance e manutenção da expertise musical.