Данная книга предназначена исключительно для ознакомления! 41 страница

McNamara, Patrick; Flannery, Kathleen A; Obler, Loraine K; Schachter, Steven C. (1994)

Special talents in Geschwind's and Galaburda's theory of cerebral lateralization: An examination in a female population. International Journal of Neuroscience, 78:167-176.

Malyarenko, T.N. (1996) Music alters children's brainwaves. Human Physiology, 22:76-81

Manturzewska, M. (1978) Psychology in the Music School. Psychology of Music, 6:36-47.

Miller, L.B. (1989). Children's Musical Behaviors in the Natural Environment, In: Peery, J. C, et al (eds.), Music and Child Development, New York: Springer-Verlag, pgs. 206-224.

Moen, Inger. (1991) Functional lateralisation of pitch accents and intonation in Nor­wegian: Monrad-Krohn's study of an aphasic patient with altered «melody of speech.» Brain & Language, 41:538-554.

Mohanty, B. & Hejmadi, A. (1992.). Effects of intervention training on some cognitive abilities of pre-school children. Psychological Studies, 37:31-37.

Miluk-Kolasa, В., Obminski, S., Stupnicki, R. and Golec, L. (1994). Effects of music treatment on salivary cortisol in patients exposed to presurgical stress. Expeimental. and Clinical Endocrinoogy., 102:118-120.

Mockel, M., Rocker, L., Stark, Т., Vollert, j., Danne, O., Eichstadt, H., Muller, R. and Hochrein, H. (1994). Immediate physiological responses of healthy volunteers to different types of music: cardiovascular, hormonal and mental changes. European Journal of Applied Physiology, 68:451-459.

Muente, Thomas F.; Kohlmetz, Christine; Nager, Wido; Altenmueller, Eckart (2001) Cerebral localization of the center for reading and writing music. Nature, 409: 580

Nilsonne, A. and Sundberg, J. (1985). Differences in ability of musicians and nonmusi-cians to judge emotional state from the fundamental frequency of voice samples. Music Per­ception, 2, 507-516.

Orsmond, G. I. and Miller, L.K. (1999). Cognitive, musical and environmental corre­lates of early music instruction. Psychology of Music, 27:18-37.

Pechmann, Thomas (1998) Syntactic processing in language and music: Different cog­nitive operations, similar neural resources? Music Perception, 16: 43-54

Peynircioglu, Zehra F.; Tekcan, Ali I.; Wagner, Jennifer L; Baxter, Terri L.; Shaffer, Stephanie D. (1998) Music training improves verbal memory. Memory & Cognition, 26:1131-1137

Peretz, Isabelle. (1996) Can we lose memory for music? A case of music agnosia in a nonmusician. Journal of Cognitive Neuroscience, 8:481-496.

Peretz, Isabelle; Belleville, Sylvie; Fontaine, Sophie. (1997) Dissociations between music and language after cerebral damage: A new case of music deficits without aphasia.

■489

[French]. Original Dissociations entre musique et langage apres atteinte cerebrale: Un nouveau cas d'amusie sans aphasie. Canadian Journal of Experimental Psychology, 51: 354-367.

Peretz, I., & Morais, J. (1993). Specificity for music. In: F. Boiler, & J. Grafman, (Eds.) Handbook of Neuropsychology, 8: Amsterdam, Elsevier Science Publishers.

Piccirilli, Massimo; Sciarma, Tiziana; Luzzi, Simona. (2000) Pitch and timing abilities in adult left-hemisphere-dysphasic and right-hemisphere-damaged subjects. Journal of Neurology, Neurosurgery & Psychiatry, 69: 541-545

Platel, Herve; Price, Cathy; Baron, Jean-Claude; Wise, Richard; Lambert, Jany; Frack-owiak, Richard SJ; Lechevalier, Bernard; Eustache, Francis. (1997) The structural compo­nents of music perception: A functional anatomical study. Brain, 120: 229-243.

Piro, Joseph M. (1993) Laterality effects for musie perception among differentially tal­ented adolescents. Perceptual & Motor Skills, 76: 499-514.

Qureshi, Regula. (2000) Are text and tune of familiar songs separable by brain dam­age? American Ethnologist, 27: 805-838

Ranvaud, R.; Thompson, W. F.; Silveira-Moriyama, L.; Balkwill, L.-L. (2001) Dissoci­ations among functional subsystems governing melody recognition after right-hemisphere damage. Journal of the Acoustical Society of America. 109:3021-3030

Rauscher, F.H., Shaw, G.L. and Ky, K.N. (1993) Music and spatial task performance. Nature, 365:611.

Rayner, Keith; Pollatsek, Alexander. (1997) Eye movements, the eye-hand span, and the perceptual span during sight-reading of music. Current Directions in Psychological Science. 6: 49-53.

Rideout, Bruce E; Taylor, Jennifer. (1997) Enhanced spatial performance following 10 minutes exposure to music: A replication. Perceptual & Motor Skills, 85:112-114.

Rock, Adrienne M. L.; Trainor, Laurel J.; Addison, Tami L. (1999) Loss of global visu­al and auditory processing following right temporal lobe lesion. Developmental Psycholo-gyMar Vol 35(2) 527-534

Sacks, Oliver; (1995) Musical Ability. Science, 268:621.

Saffran, Jenny R.; Loman, Michelle M.; Robertson, Rachel R. W. (2000) A selective loss of the ability to read and to write music. Cognition, 77: B15-B23

Sawyer, R. Keith (1998) Effect of music on spatial performance: A test of generality. Creativity Research Journal, 11:11-19

Schlaug, Gottfried; Jaencke, Lutz; Huang, Yanxiong; Staiger, Jochen F; et al. Increased corpus callosum size in musicians. (1995) Neuropsychologia, 33:1047-1055. Schweiger, Avraham; Maltzman, Irving. (1985) Behavioural and electrodermal measures of lateralization for music perception in musicians and nonmusicians. Biological Psychology, 20: 129-145.

Shuter-Dyson, R.; Gabriel, С (1981) The Psychology of Musical Ability. London:Methuen

Sluming, Vanessa A.; Manning, John T. (2000) The relationship between learning styles/multiple intelligences and academic achievement of high school students. Evolution & Human Behavior. 21:1-9

Squire, L. (1987). Memory and Brain,. New York: Oxford University Press.

Starr, A., Amlie, R.N., & Martin, W.H. et al. (1977). Development of auditory function in newborn infants revealed by auditory brainstem potentials. Pediatrics, 30:831-839.

Steinberg, Stanley (1999) Music training and mathematics achievement. Psychoana­lytic Review, 86:853-875

Steinke, W. R; Cuddy, L. L; Holden, R. R. (1997) Dissociation of musical tonality and

pitch memory from nonmusical cognitive abilities. Canadian Journal of Experimental Psy­chology, 51:316-335.

Stough, C, Kerkin, B, Bates, T. and Mangan, G. (1994). Music and spatial IQ. Person­ality and Indi-vidual Differences, 17:695.

Szmedra, L., & Bacharach, D.W. (1998) Effect of music on perceived exertion, plasma lactate, nore-pinephrine and cardiovascular hemodynamics during treadmill running. International Journal of Sports Medicine, 19:32-37.

Truitt, Frances E; Clifton, Charles Jr; Pollatsek, Alexander; Rayner, Keith. (1997) The perceptual span and eye-hand span in sight reading music. Visual Cognition, 4:143-161.

VanderArk, S.D. and Ely, D. (1992). Biochemical and galvanic skin responses to music stimuli by college students in biology and music. 74:1079-1090.

VanderArk, S.D. and Ely, D. (1993). Cortisol, biochemical, and galvanicskin respons­es to music stimuli of different preference values by college students in biology and music. Perceptual and Motor Skills,77: 227-234.

Waters, Andrew J; Townsend, Ellen; Underwood, Geoffrey. (1998) Expertise in musi­cal sight reading: A study of pianists. British Journal of Psychology, 89:123-149.

Werner, L.A. & Marean, G.C. (1996). Human Auditory Development. Westview Press, Boulder

White, B. W. (1954) Visual and auditory closure. Journal of Experimental Psychology, 48:234-40.

Wieser, Heinz Gregor; Walter, Roland. (1997) Untroubled musical judgement of a per­forming organist during early epileptic seizure of the right temporal lobe. Neuropsycholo-gia, 35: 45-51.

Yeung, A; Mclnerey, D.; Russel-Bowie, D. (2001) The effect of music on anxiety. Aus­tralian Journal of Psychology, 53:125-133.

Zatorre, R.J., Evans, A.C. & Meyer, E. (1994). Neural mechanisms underlying melodic perception and memory for pitch. The Journal of Neuroscience, 14: 1908-1919.

ОГЛАВЛЕНИЕ

Геннадий Рождественский. К ЧИТАТЕЛЮ

О СПЕЦИАЛЬНЫХ СПОСОБНОСТЯХ........................................................... 8

ИНДИВИДУАЛЬНЫЕ РАЗЛИЧИЯ И ИДЕЯ РАВЕНСТВА...................... 9

IQ КАК «ТАБЛЕТКА ОТ ВСЕГО»................................................................... 10

IQ + CREATIVITY =.......................................................................................... 15

УСВОЕНИЕ, ПРИЛЕЖАНИЕ И ТВОРЧЕСТВО............................................. 18

МУЛЬТИПЛИКАТИВНАЯ МОДЕЛЬ ТАЛАНТА.......................................... 22

NATURE VS NURTURE: ОТ БОГА ИЛИ ПЕДАГОГА?................................. 26

НЕ ПУТАЙТЕ НАУКУ С ПОЛИТИКОЙ!...................................................... 29

ГЕНЕАЛОГИЯ И ТАЛАНТ.......................................................................... 31

ТЕОРИЯ МУЛЬТИИНТЕЛЛЕКТА ХАУЭРДА ГАРДНЕРА............................ 35

МУЗЫКАЛЬНЫЕ СПОСОБНОСТИ............................................................. 48

ФИЛОГЕНЕТИЧЕСКАЯ МОДЕЛЬ ТАЛАНТА............................................ 49

УНИВЕРСУМ МУЗЫКАЛЬНОГО ТАЛАНТА...................................... 54

ИНТОНАЦИОННЫЙ СЛУХ.................................................................. 60

ИНТОНАЦИОННЫЙ СЛУХ И МУЗЫКАЛЬНОЕ ОБЩЕНИЕ... 60

ИНТОНАЦИОННЫЙ СЛУХ В ЗЕРКАЛЕ ЭКПЕРИМЕНТА................... 65

КАК РАБОТАЕТ ИНТОНАЦИОННЫЙ СЛУХ............................................. 70

ПСИХОЛОГИЧЕСКИЙ СЛОВАРЬ ИНТОНАЦИОННОГО СЛУХА 77

ТЕСТИРОВАНИЕ ИНТОНАЦИОННОГО СЛУХА....................................... 84

ИНТОНАЦИОННЫЙ СЛУХ И МУЗЫКАЛЬНАЯ МОТИВАЦИЯ 91

ЧУВСТВО РИТМА.......................................................................................... 99

ВНАЧАЛЕ БЫЛ РИТМ..................................................................................... 99

ТЕЛЕСНО-МОТОРНАЯ ПРИРОДА ЧУВСТВА РИТМА.............................. 105

РАЗ-ДВА, РАЗ-ДВА............................................................................ 110

ЧУВСТВО РИТМА В ЭКСПЕРИМЕНТАХ И МУЗЫКАЛЬНОЙ

ПРАКТИКЕ............................................................................................. 122

ЧУВСТВО РИТМА В СТРУКТУРЕ МУЗЫКАЛЬНОГО ТАЛАНТА 131

АНАЛИТИЧЕСКИЙ СЛУХ................................................................... 139

РЕЧЕВОЕ ПРОИСХОЖДЕНИЕ АНАЛИТИЧЕСКОГО СЛУХА....................... 143

СТРУКТУРА АНАЛИТИЧЕСКОГО СЛУХА............................................. 149

ЧУВСТВО МУЗЫКАЛЬНОЙ ВЫСОТЫ..................................................... 154

АБСОЛЮТНЫЙ СЛУХ............................................................................... 161

ЧУВСТВО МУЗЫКАЛЬНОГО ИНТЕРВАЛА................................................ 174

ЛАДОВОЕ ЧУВСТВО............................................................................. 183

ГАРМОНИЧЕСКИЙ СЛУХ.................................................................... 191

ВНУТРЕННИЙ СЛУХ И МУЗЫКАЛЬНАЯ ПАМЯТЬ............................ 196

АНАЛИТИЧЕСКИЙ СЛУХ В СТРУКТУРЕ МУЗЫКАЛЬНОГО

ТАЛАНТА.................................................................................................. 210

МУЗЫКАЛЬНЫЙ ТАЛАНТ.............................................................................. 218

АРХИТЕКТОНИЧЕСКИЙ СЛУХ............................................................ 222

КАК РАБОТАЕТ АРХИТЕКТОНИЧЕСКИЙ СЛУХ........................ 226

АРХИТЕКТОНИЧЕСКИЙ СЛУХ И ЭСТЕТИЧЕСКОЕ

ЧУВСТВО КОМПОЗИТОРА............................................................... 234

ТЕСТИРОВАНИЕ АРХИТЕКТОНИЧЕСКОГО СЛУХА................. 240

ОДАРЕННОСТЬ КОМПОЗИТОРА...................................................... 246

КОМПОЗИТОР В СОВРЕМЕННОЙ КУЛЬТУРЕ.......................... 246

МУЗЫКА СВОЯ И ЧУЖАЯ................................................................ 249

КОМПОЗИТОР - ИНТОНАЦИОННЫЙ ГЕРОЙ СТИЛЯ.............. 254

«ВОЛК ВОЛКУ КОМПОЗИТОР»...................................................... 259

ТВОРЧЕСКИЕ СПОСОБНОСТИ КОМПОЗИТОРА.......................... 265

СПОСОБНОСТЬ К ВАРИАНТНОМУ КОПИРОВАНИЮ................. 267

ТВОРЧЕСКОЕ ВДОХНОВЕНИЕ......................................................... 280

ОДАРЕННОСТЬ ИСПОЛНИТЕЛЯ.......................................................... 291

КОМПОЗИТОРСКИЙ ТАЛАНТ ИСПОЛНИТЕЛЯ............................ 291

ВИРТУОЗНАЯ ОДАРЕННОСТЬ ИСПОЛНИТЕЛЯ.......................... 309

АРТИСТИЧЕСКАЯ ОДАРЕННОСТЬ ИСПОЛНИТЕЛЯ................ 321

МУЖЕСТВО КАЖДЫЙ ДЕНЬ........................................................... 338

СТРЕСС КАК СПУТНИК ТВОРЧЕСТВА........................................... 344

СТРУКТУРА МУЗЫКАЛЬНОГО ТАЛАНТА........................................ 354

ВОСПИТАНИЕ МУЗЫКАНТА.................................................................. 360

МУЗЫКАЛЬНЫЙ ТАЛАНТ И НАСЛЕДСТВЕННОСТЬ......... 361

ЯБЛОКО ОТ ЯБЛОНИ?...................................................................... 361

ВРОЖДЕННЫЙ ХАРАКТЕР МУЗЫКАЛЬНЫХ СПОСОБНОСТЕЙ 367
РОД КАК НОСИТЕЛЬ МУЗЫКАЛЬНОГО ТАЛАНТА................ 372

УЧИТЕЛЬ И УЧЕНИК............................................................................ 383

МОЖНО ЛИ РАЗВИТЬ МУЗЫКАЛЬНЫЙ СЛУХ?.......................... 383

УСТАНОВКА НА УСПЕХ................................................................... 392

УЧИТЕЛЬ МУЗЫКИ............................................................................ 403

ФЕНОМЕН МУЗЫКАЛЬНОГО ВУНДЕРКИНДА...................... 413

СУДЬБА ВУНДЕРКИНДА..........................................:........................ 413

НЕТВОРЧЕСКАЯ ОДАРЕННОСТЬ ВУНДЕРКИНДА................... 419

ОБЫКНОВЕННОЕ ЧУДО................................................................... 425

HOMO MUSICUS............................................................................................. 434

МУЗЫКА И ШКОЛЬНАЯ НАУКА................................................. 437

МУЗЫКА И ТАЛАНТЫ ЦЕЗАРЯ...................................................... 443

МУЗЫКА И ОБЩЕНИЕ...................................................................... 447

МУЗЫКА И СЛОВО............................................................................ 450

МУЗЫКА И МАТЕМАТИКА................................................................ 454

Дата добавления: 2015-06-25