International Conference

on New Scientific Trends

and Challenges

Country
л,
(ITALY)

4
a f t
A
У
У *\
www.openconference.us
 International Scientific Conference on
"New Scientific Trends and Challenges "

20th February, Rome, Italy

he Role of Computer Programs in the Process of Creating Modern

Educational Literature in Music Education

M a’rufjon Ashurov Abdumutalibovich

Andijan State Pedagogical Institute, Acting Professor,
Independent Researcher, Department of Fine Arts and Music Education

Abstract: This article is devoted to the history of preparation of musical works for
publication and the creation of contemporary literature using computer programs.
Keywords: innovative technology, computer literacy, information technology, computer
programs, performance skills, musical knowledge.

Introduction
Anyone who has anything to do with music these days understands the value of a printed sheet.
This value is measured not only in the cost of ink and paper. But even if we say that the notes are
a reflection or fixation o f the composer's intention, their importance is still overlooked. The need
for music printing can also be seen in its complex journey from manual copying to computer
typesetting systems and offset printing. For centuries, masters from different countries have
worked to make printed musical text beautiful and convenient to convey not only precise
performance instructions, but also the overall aesthetic intent of the composer.
In this respect, musical notation offers more freedom than conventional notation: aesthetic
perception is affected by many components of the musical text, their relative position, the spaces
between them ("air"), the distribution of musical material across lines and pages, and the score,
performance instructions reveals in detail.
Music publishing dates back to a time when notation took a form close to what we know today,
for which it was natural to combine several horizontal layers of the musical fabric (parts,
instruments, voices, backgrounds) into a single flow. special patterns of vertical and horizontal
construction. Before the first notes were printed, a system of written representation of time
relationships in music had already been formed. All subsequent evolutions in musical notation
have not changed these two essential features of musical notation: the addition of horizontal lines
and temporal ratios. This difference between musical notation and text writing placed very high
demands on music printing, which were successfully met at various stages of the development of
science and technology.
For the culture of music publishing, which has been gradually developing over the centuries, new
opportunities are opening today based on the use of computer technologies and the transition from
traditional to new ways of working in music publishing. Realization of these possibilities requires
serious scientific-conceptual and information-technological developments. However, doubts may
arise: can the music publishing industry remain at the high level achieved by old ("manual")
technologies? Can notes not lose the "liveness" that is imparted to them with the engraver's
breath? And the use of computer methods will allow us to find a qualitatively new stage of
development of music printing, new applications of sheet music in the field of musical
performance and education, expand the scope of paper music publishing and make it virtual?

135 | https://www.openconference.us/index.php/trends
 International Scientific Conference on
"New Scientific Trends and Challenges "

20th February, Rome, Italy

With the development of computer technology and high technology in recent decades, more and
more types of information can be stored and processed electronically. And this is not only a
respect for time, but also a meaningful need due to the growing need for this information, the
speed of access to it, the reliability of storage, the flexibility of changing and updating it. to the
possibility of automated search and analysis of this data.
Today, computers are widely used to store and process large amounts of traditional data, such as
text, monochrome and color static and animated images, drawings, diagrams, sound tracks, output
units, and control programs for electric musical instruments. The computer is entrusted with
managing processes based on the analysis of these data in various areas of human activity.
Based on consumer requirements, equipment manufacturers are striving to increase the speed and
reliability of this equipment, and are also looking for opportunities to increase the volume of
recorded data. In this sense, they are far ahead of software developers for this hardware, who
stopped being critical of their work and relied on the speed o f the hardware and the size of its
address space, hiding the flaws of the software. Such an attitude leads to inefficient use of
technology and, with the increase in the volume of information, it leads to a serious slowdown in
all processes related to its processing.
Therefore, the format chosen for its presentation on electronic media plays a major role in
increasing the speed of information processing. A lot of speed can be achieved through
development.
1. These fears are not unfounded. As PC and desktop publishing became more common, many
non-professional publications such as books and sheet music appeared. The apparent technological
simplicity becomes a temptation for people who are unprepared, lack publishing experience, don't
know or appreciate tradition - and they turn to improvisation, increasing the number of bad
publications. At the same time, many of those who mastered publishing skills and had experience
in preparing books and sheet music could not master new technologies, their knowledge was no
longer in demand. A format for storing certain data, focusing on some special cases of this data.
However, this method leads to a sharp decrease in efficiency and sometimes even failure when
working with other special cases. Thus, format development requires a compromise between
implementing the universal principles of data generation and the specific circumstances of that
data. This requires in-depth study of the information being developed by specialists in this field of
information.
Notation (broadly understood as all notational systems, including notation, oral, digital, etc. - with
which the author puts down his musical work on paper) is a field in which notation is used. The
computer opens up a wide range of possibilities. First, a significant part of the hard physical work
of a music engraver (stamper, copyist) can be transferred to the computer, requiring instead the
work of an experienced music editor with computer skills. Secondly, it will be possible to create a
database accessible via the Internet for electronic storage o f texts of musical works. Thirdly, a
computer with access to the specified data bank will help in conducting research with the texts of
musical works and in their analysis.
Today, commercial projects related to the sale of notes via the Internet are becoming widespread.
As a rule, they are made using the PDF electronic document format. However, this format can
only be used in such projects if users purchase sheet music images. As musicology software
became widely used, there was a need to distribute the music text available to run such programs,
and the PDF format could not meet that need. In addition, the presentation of any information in a
graphical form requires a much larger amount of memory and therefore more data transfer time
than its "content" presentation. For example, one letter of the alphabet is encoded using one byte
(in Unicode - two). However, if you transmit its graphic representation describing the coordinates

136 | https://www.openconference.us/index.php/trends
 International Scientific Conference on
"New Scientific Trends and Challenges "

20th February, Rome, Italy

of all the points (or vectors) contained in it, it will occupy several kilobytes. The same can be said
about musical notation: the representation of a single note in MIDI format takes several bytes.
2. O f course, the acquisition of computer technology is the second necessary condition for the
successful development of such a format. its graphic description size is also measured in kilobytes.
Voice always plays a crucial role in data transmission over the network.
The specified prospects are possible due to solving a number of problems in the development of
computer programs and creating an integrated computer environment for the musician based on
them. One of these tasks is to create programs for writing and arranging music (we call such
programs notation programs). In recent years, many companies and individuals have been working
in this direction. However, attempts to solve this problem outside of the rest of the complex lead
to the creation of an integrated environment, because when developing a format for storing
musical notation data, it is usually not intended to use this data for purposes other than
visualization. Moreover, the idea that musical notes can only be manipulated as a simple set of
straight and curved lines is deeply flawed: each symbol in musical notation carries a multilevel
semantic load and is connected to other symbols by many spoken and unspoken laws. the main
part is based on music and is illustrated by these characters.
3. Thus, the problem of creating an integrated computer environment for the musician should be
clearly approached by developing a format for storing sheet music data that takes into account the
musical load of all its components and allows the use of this information on all musical
instruments. not just in any of the above areas. Such a format should not be limited to currently
available notation systems, allowing for the use of all musical graphic concepts and associated
notations associated with the development of the art of music. Such concepts should be introduced
with as much flexibility as possible and used with equal ease.
The advantages and disadvantages of specific projects are discussed in the following chapters,
respectively.
4. A promotional article describes the "advantages" of Music Publisher notation software: "In fact,
the program knows very little about music (just like a word processor knows little English)." On
the one hand, this "ignorance" o f the program gives a person more freedom when writing complex
modern music, because a computer controlled by such a program does not try to adapt the musical
text to standards that do not correspond to a certain style. . On the other hand, it completely
deprives us of the advantages of a computer that we have the right to expect from it - that is, to
automatically perform routine tasks for us and follow all the formal rules necessary to write music
on paper. as it already exists. Therefore, we are not only talking about creating a data storage
format, but also about developing a musical notation data description language designed for
interaction between software components of an integrated environment. This work does not set the
task of fully developing such a language, because its construction is inextricably linked with the
creation of all the components of the integrated environment discussed above. However, by
studying existing musical notation encoding formats, it is now possible to identify their
advantages and disadvantages and, on that basis, create new concepts for computer representation
of notation.
The bibliographic material of this dissertation includes traditionally published literature, as well as
information and articles posted on the Internet or distributed in various digital media. It can be
divided into four groups:
1. historical-theoretical works on sheet music and music printing (including manuals for editors,
proofreaders, engravers, stampers and copyists of music texts);
2. research on the use of computers by musicians (including music software manuals and
reference books);

137 | https://www.openconference.us/index.php/trends
 International Scientific Conference on
"New Scientific Trends and Challenges "

20th February, Rome, Italy

3. descriptions of note formats;

4. descriptions of computer programs and data formats that are not related to music, but provide
useful solutions for the development of music data formats and programs, as well as literature
on publishing.
An important part of the literature of the first group consists of works devoted to the development
of local and world musical notation before and after the emergence of music publishing, among
which I.A. Barsova's "Essays on History" should be mentioned. sheet music and W. Apel's
polyphonic musical notation, which help reveal the origins of today's traditions in sheet music.
Among the works that have an idea about the development of music publishing, it is possible to
highlight the "Essay on the history of music publishing" by the hereditary Russian music publisher
B.P. Jurgenson and his article "How sheet music is printed", as well as the beginning of music
publishing in Russia, the Russian printed music of the 18th century by B. J. Volman. can be seen
in a number of works.
5. In the bibliography (Appendix E) all sources are listed in alphabetical order (first Russian,
then foreign) in a single list, Russian music publications of the early 19th-20th centuries,
"Triton" music publishing house.
As for the current state of music publishing in the era o f computer technology, it is described in
sufficient detail in local guides to the graphic design of musical texts.
A lot of useful information for setting up a computer music graphics system can be found in the
correspondence o f famous composers with well-known music publishers, such as Tchaikovsky
and Jurgenson or Scriabin and Belyaev. The latter is especially interesting, because Belyaev in his
publishing activity focused entirely on the aesthetic and general musical value o f the publication,
no matter how useless it may be, rather than from a commercial point of view.
An important source o f material for working on the dissertation was the archive o f the composer
P. B. Ryazanov, who worked as an editor at the Triton music publishing house in the 1920s and
30s. Six storage units in his archive are devoted to "writing and editing techniques" - the subject of
these notes. However, in their essence, they are the result of an analysis of many domestic and
foreign notation publications, from which examples o f the use o f various objects o f notation are
copied. This collection was at one time instrumental in Ryazanov's work as an editor at Triton, and
today it helps to find ways to formalize sheet music.
C. Kohoutek in his book "Composition technique in 20th century music" and G. Suponeva in
"Problems of notation in 20th century music" think about the search for innovation in the field of
notation. , as well as a number of Moscow authors in the Ars Notandi collection. Notation in a
changing world, an exploration of past, present and future notation challenges.
The second group o f sources includes user manuals provided by software manufacturers, non­
software literature that contains purely useful information about the purpose o f certain tools and
program modules, practical recommendations and descriptions of the operation of programs. . .
This aspect of the debate is even mentioned in one of S. Lebedev's publications "Final for
Windows. A Practical Guide with Reflections” . In addition to this book, which has passed through
two editions, a number o f other works can be named that reflect (to a lesser extent) the question of
the compatibility o f programs with musical requirements. This is a series o f books by the father
and son Petelins Personal Orchestra and on PC, Sound Studio on ShK, Personal Orchestra on PC,
as well as the reference 600 sound and music programs compiled by the Moscow systematizer P.
Zhivaikin, the reference V. Belunkov Musical possibilities of the computer and K. Eremenko's
two-volume book From the Ice Age to the Age of Electronics.

138 | https://www.openconference.us/index.php/trends
 International Scientific Conference on
"New Scientific Trends and Challenges "

20th February, Rome, Italy

A third group of sources consists almost entirely of English-language technical documents on

developments by amateur authors, as well as entire communities seeking to achieve consistency
and standardization in the sharing of music files. All these documents are posted on the Internet,
where they are constantly updated and expanded.
Traditionally, several articles describing the structure of the MIDI format with varying degrees of
specificity have been published, one of which has been translated into Russian (C. Petzold,
Anatomy of MIDI
6. A topic close to the problems of this dissertation is mentioned in the theses of S. Lebedev
Musurgia Universalis - a computer workstation for a musicologist.
When searching the literature on this topic, you should keep in mind that the methods of
formalizing and encoding music graphics are trade secrets of notation software companies. If we
talk about theoretical studies in this area, they do not exist at the moment. Therefore, only the
above-mentioned documents and existing programs have a set of computer files known as PDK
(.Plug-in Developers Kit), in which plug-in software developers provide technical descriptions of
their data structures and the functions that work with them. for developers who want to create
additional modules for these programs. References to these PDKs are also available on the
aforementioned web page.
The very genre o f these definitions means that they lack any theoretical basis, which calls for
some caution in their use.
7. The importance of G.A. Smirnov's note-taking book using the Braille system should be
emphasized. Although musical text is not directly related to computer notation, it contains
valuable material for the work, as it describes the formalization and encoding of musical text
in Braille, which is nothing more than a sequence of six-bit numerical values. formatted as
various configurations of six dots within fixed-size rectangles. Information about each such
rectangle can be stored in computer memory, occupying only one byte (two more bits in each
byte are reserved for additional functions). So another completely open format for writing
musical notes that we need to learn and describe it in the form of a mentioned book.
The fourth group of sources allows you to find similarities with music data among other data
stored on the computer. With this, in some cases there is no need to invent anything, but you can
use ready-made solutions. One of the most popular books on this issue is G. Born's "Formats"
reference book
This mainly explains the illogical construction of existing formats from a musical point of view,
their lack of flexibility and development.
8. An alternative source of information for researching existing methods of notation encoding is
to study the files created by various notation programs in conjunction with practical work on
these programs. data. Books on publishing software are also helpful. These books not only
contain descriptions of the respective programs, but also provide additional information about
the printing rules and the logic behind the internal workings of these programs. The famous
typographer J. Tshihold's articles on the aesthetic image of the book are of great importance.
Today, experts from many countries are addressing the topic of notation, which can be seen in the
many materials on this topic on the Internet. However, the authors of these materials are mainly
programmers and cannot always imagine the full range of issues related to the encoding of certain
elements and the general aesthetics of music publishing when transferred to a computer. As for
musicians, they have the right to expect a new tool that can satisfy their needs in music publishing,
copying, storage and analysis of music texts.

139 | https://www.openconference.us/index.php/trends
 International Scientific Conference on
"New Scientific Trends and Challenges "

20th February, Rome, Italy

Thus, the relevance of the topic of this dissertation is determined by the general direction of the
interests of modern musicians, as well as by the current needs of music publishers and companies
creating software for musicians. Throughout the history of notation and music printing, there has
always been a desire to use the latest advances in science and technology, so today it seems
natural and necessary for the computer to enter the musician's daily life. Although recent research
in the field of computer representation of musical notes by companies and scientists is often
placed in a competitive environment and responds more to commercial interests than scientific
and aesthetic, this research must continue and it is important to give it a scientific character, not
just a narrowly understood one.
The main goal of the dissertation is the theoretical justification of the basic concepts of the
computer language that formalize the description of the objects of musical notes. To achieve this
goal, the following tasks were set:
9. TgX is a layout program that is a text description language interpreter. Notational extensions
of this language are also known.
1. Observing the formation, development, and change of notation types;
2. To study the pre-computer principles of music printing, determined by the situation during the
emergence and subsequent co-evolution of notation;
3. To review the principles of notation programs in terms of meeting the modern needs of music
publishing;
4. To determine the specific advantages and disadvantages of existing formats for storing music
notes;
5. Promote new practical concepts related to the methods of storing sheet music data, algorithms
for working with them, as well as user interface elements designed to control the processes of
preparing sheet music on a computer.
The scientific novelty of this work is that computer representation of sheet music became a subject
of special theoretical research for the first time within the framework of an academic music
educational institution. Musical notation is studied from its inception to the present day, and
various stylistic trends in modern music reflected in musical notation are examined. For the first
time, standard typographical concepts such as line, paragraph, and section are applied to a music
publication, as well as new units such as vertical and vocal notation, which allow musicologists'
marks to be stored alongside the text. use of music and computer music library information for
educational purposes.
For the first time, instead of copying all the material for each part, it is proposed to use a single
data stream for orchestral scores and parts with additional instructions for each part. For the first
time, the memory allocation concepts found in modern high-level programming languages are
applied to musical score data.
In 1984, one dissertation was defended at Indiana University, USA, on the topic related to the
problems of this work. This is a computer generated sheet music by Donald Bird. Some of its rules
were used to create the NIFF and SMDL formats and are discussed in this work.
Methodological foundations of research. The work is based on the basic requirements of modern
music graphics, as they are presented in traditional music publications, as well as on the author's
practical experience of preparing original layouts of new works of composers in music publishing.
Theoretical researches on the fundamental problems of the study of sheet music became a guide in
the search for methods of analysis, as they are presented in the works of domestic and foreign
musicologists. The methodological basis for the development of a new language was the concepts
of Backus-Naur and Donovan.

140 | https://www.openconference.us/index.php/trends
 International Scientific Conference on
"New Scientific Trends and Challenges "

20th February, Rome, Italy

The practical importance of the thesis is that its results can significantly expand the scope of the
use of computers by musicians, as they lead to the practical implementation of a universal
computer workstation for a musician (musicologist, composer, etc.). finds its place in education
and scientific research and creative activity. In addition, the analytical sections of the dissertation
may be of interest to the employees of music publishers and motivate them to adopt new methods
of music publishing.
Summary
Notation is constantly being improved. Some of its forms are used in one or two works and are
forgotten. Some stay and are adopted by other musicians. The task of a music publisher is to
ensure that musical opuses do not remain in only one copy o f the author's manuscript. They should
be open to learning and doing. Thanks to the use of modern information technologies, access to
data banks and electronic libraries, where literary works, scientific researches and other
information are stored, is becoming easier. However, among them, the introduction of sheet music
is hindered by the lack of a universal format for storing music recordings in digital form. This
work is intended in part to fill this gap and to propose ways of formalizing musical notation that
help to solve this problem.
Thanks to the research carried out in this work, new ways of solving the traditional problems of
musical notation have been opened, the use of modern compositional methods and the freedom in
its recording have been expanded.
During the research, the main advantages and disadvantages of the software offered on the market
today, designed for working with music notation graphics, as well as for working with music
notation data storage formats, were identified. Analyzing these advantages and disadvantages
allows us to formulate a number of new concepts not previously used in popular sheet music
programs, which help to simplify, speed up and make meaningful the input, storage and
processing of musical texts. computer. With this, the principles of a new notation program and a
notation data description language were formed, which can be used in the development of a
universal computer workstation for the musician (composer, musicologist, editor, student, etc.).
For the first time, new data structures were proposed for a writing program, such as vertical and
paragraph patterns, rhythmic patterns, and patterns of mandatory elements at the beginning and
end of lines. In addition, the concept of typographic style is not yet widely used in music software.
For the first time, it is proposed to include musicological symbols in a music file along with the
physical structure of the piece.
The prospects for the application of the results of this research seem very attractive, as they allow
the creation of electronic music libraries, which is a very important issue in the context of the
growing importance of the Internet. The field of music publishing is expanding: not only
traditional paper music publications with high typesetting quality can be published, but also the
market for electronic publications, which has a very promising future, can be developed.
Commercial structures on the Internet are growing. Composers will be able to use the computer
more flexibly to record their musical intentions using notation. A computer equipped with a new
sheet music software allows a composer to create an electronic manuscript of his work at home.
One of the most important applications of a musician's computer workstation built using the
concepts proposed in this work is professional education. By working with electronic music
libraries, the student will be able to obtain a score for any work studied in the classroom. The
computer allows you to listen to any part of the score while viewing the text on the screen at the
same time. The teacher will be able to add their own marks to the electronic score file, making it
easier to identify the thematic material of the work, analyze the form, study its harmonic,
polyphonic structure and any other aspects.

141 | https://www.openconference.us/index.php/trends
 International Scientific Conference on
"New Scientific Trends and Challenges "

20th February, Rome, Italy

The history of music graphics over the centuries seems very interesting in relation to the use of
computers. As stated by G.I.Suponeva in her work "Problems of notation in music of the 20th
century": "Replacing approximate methods of notation. a fixed note has arrived." The clearer the
record, the easier it is to formalize that record for entry into the computer. There are examples of
such precise logging that only a technician can reproduce, but for a human its instructions are
redundant. However, then the sign took a step away from accuracy. Collecting the sheet music of
many contemporary composers, the performer becomes a co-author, sometimes creating a new
piece that is not exactly what the composer intended. Computer recording of such music is more
complicated, since its component intended for semantic (and therefore auditory) perception is
much freer than that intended for visual perception. But the music also took the next step:
"Forward, to the note without music!" and even in this case, the computer must follow the writing,
suggest new ways of conveying the author's intention, help describe the writing, whatever it is:
which is as mysterious and exciting as the music itself.
List of used literature:
1. Abdullin, E.B. Theory of music education Text: textbook for students. higher ped. textbook
institutions / E.B.Abdullin, E.V.Nikolaeva. -M.: Publishing center "Academy", 2004. 336 p.
2. Aidarova, I.R. Creativity lessons on a music computer Text. / I.R.Aidarova // Art at school.
2008. - No. 1. - P.60-62.
3. Aidarova, I.R. The computer as a musical instrument Text. / I.R. Aidarova // Bulletin of
PGIIC. 2005. - No. 1. - P. 102-108.
4. Apraksina, O.A. Methods of music education at school Text. / O.A.Apraksina. -M.:
Education, 1983. 224 p.
5. Bespalko, V.P. Education and learning with the participation of computers (pedagogy of the
third millennium) Text. / V.P. Bespalko. M.; Voronezh: MODEK, 2002. - 352 p.
6. Bespalov, P.V. Computer competence in the context of personality-oriented learning Text. /
P.V. Bespalov // Pedagogy. -2003.- No. 4. -WITH. 41-45.
7. Bochkarev, L.L. Psychology of musical activity Text. / L.L. Bochkarev; Institute of
Psychology RAS. M., 1997. - 352 p.
8. Borozdin, A.O. Application of music and computer technologies in music lessons in
secondary schools. Text. / A.O. Borozdin // Music at school. 2006. - No. 1. - P. 27-31.
9. Borozdin, A.O. Karaoke in the classroom: new information technologies in general music
education Text. / A.O. Borozdin // Music at school. 2006. - No. 5. - pp. 69-72.
10. Dmitrieva, L.G. Methods of music education at school Text: textbook for students. average
ped. textbook institutions / L.G.Dmitrieva, N.M.Chernoivanenko. M.: Publishing center
"Academy", 2000. - 240 p.
11. Dys, L.I. Fundamentals o f music informatics: lectures Text. / L.I.Dys. Kyiv, 1988. - 12 p.
12. Ibragimov, I.M. Information technologies and distance learning tools Text: textbook. aid for
students universities with a specialty in "Information systems and technologies" / I.M.
Ibragimov; edited by A.N. Kovshova. M.: Academia, 2005. - 331 p.
13. Krasilnikov, I.M. Digital technologies in music: pedagogical creative perspectives Text. / I.M.
Krasilnikov // Pedagogy: scientific and theoretical journal. 2001. - No. 10. - pp. 26-29.
14. Krasilnikov, I.M. Features of electronic music playing as an educational activity at school
Text. / I.M. Krasilnikov // Art at school. 2003. - No. 2. - pp. 78-80

142 | https://www.openconference.us/index.php/trends
 International Scientific Conference on
"New Scientific Trends and Challenges "

20th February, Rome, Italy

15. Krasilnikov, I.M. Musical training based on digital tools Text. / I.M. Krasilnikov // Pedagogy.
2006. - No. 6. - P.43-49.
16. Krasilnikov, I.M. Students playing music on electronic instruments Text. // Art at school.
2008. - No. 3. - pp. 62-64.
17. Krasilnikov, I.M. Teaching electronic music-making in lessons in a secondary school. Text. /
I.M. Krasilnikov // Art at school. 2003. - No. 3. - 47-51.
18. Krasilnikov, I.M. The main stages of mastering music playing on keyboard synthesizers Text.
/ I.M. Krasilnikov // Art at school. -2003.-No.4.-S. 23-26.
19. Kukushkina, O.I. Computer program for children with developmental disabilities O.I.
Kukushkina Text. // Pedagogy: scientific and theoretical journal. - 2001. No. 6. - pp. 33-39.
20. Latyshev V.L. Computer technology of education: textbook Text. / V.L.Latyshev. M.: MAI
Publishing House, 1992. - 48 p.
21. Lepskaya, H.A. Computer technologies in the development of artistic abilities of secondary
school students Text: dissertation. Ph.D. ped. Sciences: 13.00.01. / N.A.Lepskaya. -M., 1999.
165 p.
22. Medushevsky, V.V. Computerization of music education as a musicological problem Text. /
V.V.Medushevsky, A.A.Podazhanskaya // Computers and problems of music education.
Novosibirsk, 1989. - P. 23-31.
23. Motorin, V.V. Computer technology as a factor in the intellectual and creative development
of the personality of a junior school student Text: dissertation. Ph.D. ped. Sciences: 13.00.01 /
V.V.Motorin. - M., 2002. 165 p.
24. Plakseeva, O.N. Computer technologies in the process of teaching music: on the example of
vocal training of students of the Faculty of Education Text: dissertation. Ph.D. ped. Sciences:
13.00.02 / O.N.Plakseeva. -M., 2008.-193 p.
25. Polozov, S.P. Educational computer technologies and music education Text. / S.P.Polozov. -
Saratov: Publishing house Sarat. University, 2002.-208 p.
26. Pravotorova, I.B. Computer in music lesson Text. / I. B. Pravotorova // Art, science,
technology: ways of connecting. Ufa, 1990.1. pp. 219-220.
27. Priselkov, A.S. Computer technologies in the formation of professional creative activity of
musicians Text: dissertation. Ph.D. ped. Sciences: 13.00.02 / A.S.Priselkov. Krasnodar, 2003.
- 177 p.
28. Puchkov, S.B. Musical computer technologies: modern creative tools Text. / S.V.Puchkov,
M.G.Svetlov. -SPb.: SPbGUP, 2005. 232 p.
29. Shilov, B.JI. Dictionary of computer music terms Text. / V.L.Shilov, A.A.Sharov. M.:
Modern music, 2003. - 400 p.
30. Taracheva, O. Computer technologies in music lessons Text. / O. Taracheva // Art at school.
2007. - No. 6. - P. 43.
31. Zakharova, I.G. Information technologies for quality and accessible education Text. / I.G.
Zakharova // Pedagogy: scientific and theoretical journal. - 2002. No. 1. — P.27-33.
32. Zhivakin, P.L. 600 sound and music programs Text. / P.L. Zhivakin. St. Petersburg: BHV-St.
Petersburg, 1999. - 624 p.
33 . Zhivakin, P.L. The synthesizer is the main element of general music education in the future
Text. / P.L. Zhivakin // Music at school. -2005. -No. 1.-P.4-6.

143 | https://www.openconference.us/index.php/trends