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 REVISTA INCLUSIONES ISSN 0719-4706 VOLUMEN 7 – NÚMERO 2 – ABRIL/JUNIO 2020

Indización, Repositorios y Bases de Datos Académicas

Revista Inclusiones, se encuentra indizada en:

CATÁLOGO

DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA
 REVISTA INCLUSIONES ISSN 0719-4706 VOLUMEN 7 – NÚMERO 2 – ABRIL/JUNIO 2020

BIBLIOTECA UNIVERSIDAD DE CONCEPCIÓN

DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA
 REVISTA INCLUSIONES ISSN 0719-4706 VOLUMEN 7 – NÚMERO 2 – ABRIL/JUNIO 2020

ISSN 0719-4706 - Volumen 7 / Número 2 / Abril – Junio 2020 pp. 185-194

GAME TECHNOLOGIES IN THE PROCESS

OF MASTERING THEORETICAL MUSICAL DISCIPLINES

Dr. Marina Viktorovna Pereverzeva

Russian State Social University, Russia
ORCID: 0000-0003-4992-2738
melissasea@mail.ru
Dr. Natalia Ivanovna Anufrieva
Russian State Social University, Russia
ORCID: 0000-0003-4119-9805
nata415485@mail.ru
Dr. Irina Semenovna Avramkova
Saint Petersburg State Pedagogical University, Russia
ORCID: 0000-0002-3693-9605
avramkova@mail.ru
Ph. D. (C) Elena Olegovna Kuznetsova
Saint Petersburg State Pedagogical University, Russia
ORCID: 0000-0001-6301-8898
libinfo@herzen.spb.ru
Dr. Anna Iosifovna Shcherbakova
Moscow State Institute of Music named after A. G. Schnittke, Russia
ORCID: 0000-0001-7371-7211
anna.68@list.ru

Fecha de Recepción: 28 de diciembre de 2019 – Fecha Revisión: 07 de enero de 2020

Fecha de Aceptación: 23 de febrero de 2020 – Fecha de Publicación: 01 de abril de 2020

Abstract

The purpose of the work is to describe game technologies used in the process of mastering
theoretical musical disciplines by students of Russian musical universities and faculties, which are
proven the most effective in the course of the study of history and theory of music. The main results
of the study state that changing the format of the presentation of information and the preference for
interactive forms of teaching and game technologies lead to higher teaching outcomes. The use of
game technologies allows modern students to more effectively master theoretical musical
disciplines. As representatives of the information society, they experience problems with the
development of analytical thinking and learn worse than their predecessors. The novelty of the work
is the presentation of the results of the development and practical application of specific game
situations, which are proven an effective method of teaching history and theory of music. The main
findings of the study: in the conditions of the post-industrial world, the world of total synthesis,
globalization, and rapid flow of information, modern people have poorly developed analytical
thinking. Game technologies partially solve these problems, allowing students to form competencies
that are relevant in modern life.

Keywords

Game technologies – Game forms of teaching – Theory of music – History of music

DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA
 REVISTA INCLUSIONES ISSN 0719-4706 VOLUMEN 7 – NÚMERO 2 – ABRIL/JUNIO 2020

Game technologies in the process of mastering theoretical musical disciplines pág. 186

Para Citar este Artículo:

Pereverzevam Marina Viktorovna; Anufrieva Natalia Ivanovna; Avramkova Irina Semenovna;

Kuznetsova Elena Olegovna y Shcherbakova Anna Iosifovna. Game technologies in the process of
mastering theoretical musical disciplines. Revista Inclusiones Vol: 7 num 2 (2020): 185-194.

Licencia Creative Commons Atributtion Nom-Comercial 3.0 Unported

(CC BY-NC 3.0)
Licencia Internacional

DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA
 REVISTA INCLUSIONES ISSN 0719-4706 VOLUMEN 7 – NÚMERO 2 – ABRIL/JUNIO 2020

Game technologies in the process of mastering theoretical musical disciplines pág. 187

Introduction

The problem of training highly qualified musicians is relevant at all times, however,
its significance and solutions are changing now. The latest sociocultural, economic,
scientific, and methodological trends of the time are reflected in education. The active
inclusion of Russia in the global practice of education has determined the specifics of
sociocultural processes at the turn of the century, including the need to integrate Russia
into the pan-European educational space and the possibility of implementing the
equalization system declared in the Bologna Process. The desire to improve the quality of
teaching has led to the profiling of each specialty and the revision of methodological
principles and pedagogical approaches. In this case, the most important task is the
approximation of the educational process to professional activity and the real practice of
applying formed competencies.

The processes of globalization, informatization, growth of subcultures, revision of

sociocultural values and traditions of the past, diversity of coexisting artistic trends,
absence of strict restrictions on creativity, collective activities, individuality of scientific and
creative search, active language renewal of all areas of activity, new aesthetic
phenomena, existence of different cultures (elite and mass, traditional and innovative), etc.
– all this affects the nature of the formation of a new educational paradigm to varying
degrees. One of its signs is the use of game technologies that allows modern students to
more effectively master theoretical musical disciplines. As representatives of the
information society, they experience problems with the development of analytical thinking
and learn worse than their predecessors. The novelty of the work is associated with the
presentation of the results of the development and practical application of specific game
situations, which are proven an effective method of teaching history and theory of music.

When teaching the course of theory and history of musical art, as well as the
disciplines of cultural studies and world art studies, teachers are faced with the fact that
students do not have the skills of speed reading, taking notes, highlighting the main idea in
the text, and using reference materials and encyclopedias. Sometimes students are not
able to understand the internal subtexts and other subtleties of a work. In order to improve
the situation, attempts to organize additional classes, courses, and scientific and
educational clubs are made, where the teacher trains students to analyze and critically
assess articles and detailed texts. The lack of interest and ability to memorize music
associated with its passive listening as a part of daily routine is compensated by problem
tasks offered to students before the process of auditory perception. In addition, a quiz
preparation mode that improves this situation is acceptable.

Modular disciplines, mainly practical ones with gradually increasing complexity, are
particularly difficult. Thus, skipping one or two links in the chain leads to misunderstanding
of subsequent topics and tasks. The solution to this problem lies in the field of teaching
methods based on the principle of including retrospective material and solving tasks from
the previous sections in order to reiterate learned material and “awake” those students,
who for some reason did not master an important topic.

Methods

Due to the fact that modern people as representatives of the post-industrial world,
the world of total synthesis, globalization, and rapid flow of information, have poorly
developed analytical thinking, the problem of revising methodological approaches to
DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA
 REVISTA INCLUSIONES ISSN 0719-4706 VOLUMEN 7 – NÚMERO 2 – ABRIL/JUNIO 2020

Game technologies in the process of mastering theoretical musical disciplines pág. 188

teaching modern students is examined. A. L. Krainov considers clip thinking as a

phenomenon of the information society and, as a consequence, a decrease in the level of
critical perception of information and analytical abilities: “A person ceases to think globally
and analyze large volumes of important information. The effect of clip thinking is especially
clearly visible in the education system, for example, students, who have lost the ability to
meaningfully retell a scientific text”1. A. A. Konstantinov, N. S. Tarasenko note that in the
current situation, “the brain does not try to catch certain information, which makes it
difficult for such specialists to analyze, distinguish the essence, and make decisions on
that basis”2. Due to the need to absorb a lot of information, a representative of the 21st
century does not have enough time for its selection and analysis. In addition, the new
information generation is not capable of formulating problems and finding solutions to
them. The technologies discussed in the article partly solve these problems, allowing
students to form competencies that are relevant in modern life.

It is noteworthy that researchers propose such solutions to the problem of

developing analytical thinking among representatives of the information society as
changing the format of the presentation of information and the preference for interactive
forms of teaching and game technologies3, profiling disciplines4, as well as increasing the
volume of “reading serious books, listening to serious music and conducting serious
conversations with smart people”5. However, it seems that a solution to the problem of
inertia of analytical thinking among young people is in the purposeful formation of the skill
of operating with flexible, dialectically developing categories. These categories allow
developing a many-valued and changing understanding of musical images and meanings.
This overcomes the one-dimensionality of perception of information and human thinking6.

The problem of the modern student is also the weak motivation to study and lack of
volitional qualities, desire to regularly engage in art, and willingness to work hard and
purposefully. It is necessary to involve such students in interesting projects, role-play, and
problem tasks in order to give them an opportunity to show independence of thinking and
decision-making. Scientific articles and major studies of recent years7 are full of

1 A. L. Krainov, “Klipovoe myshlenie v kontekste obrazovatelnykh praktik: sotsialno-filosofskii analiz

Izvestiia Saratovskogo universiteta. Novaia Seriia”, Seriia: Filosofiia. Psilhologiia. Pedagogika Vol:
19 num 3 (2019): 262.
2 A. A. Konstantinov y N. S. Tarasenko, “Vliianie informatsionnykh system na formirovanie

klipovogo myshleniia u molodezhi”, Aktualnye problemy aviatsii I kosmonavtiki num 3 Vol: 13

(2017): 1118.
3 A. L. Krainov, Klipovoe myshlenie v kontekste obrazovatelnykh praktik…
4 M. Pereverzeva; N. Anufrieva; I. Avramkova; I. Korsakova y A. Shcherbakova, “Orientation of

musical disciplines as a condition for the formation of competencies”, Opcion Vol: 34 num Special
Issue 17 (2018): 719–730.
5 A. A. Konstantinov y N. S. Tarasenko. Vliianie informatsionnykh system na formirovanie…
6 A. A. Stoian, “Klipovoe myshlenie” cherez prizmu “odnomernogo cheloveka” Gerberta Markuze”,

Nauchnyi zhurnal KubGAU Vol: 114 num 10 (2015): 1566–1579.

7 I. Caponetto; J. Earp y M. Ott, Gamification and education: A literature review (conference paper).

Proceeding of the European Conference on Games-based Learning, num 1 (2014); C. Dichev y D.

Dicheva, “Gamifying education: what is known, what is believed and what remains uncertain: a
critical review”, International Journal of Education Technology in Higher Education Vol: 14 num 1
(2017); P. Mozgaleva; O. Zamyatina; A. Mozgaleva y P. Da Costa Brito Cabral, A metodology for
gamifying of the education process (conference paper). IEEE Global Engineering Education
Conference EDUCON. 2018 y O.I. Vaganova, “Game technologies in professional education”.
International Journal of Innovative Technology and Exploring Engineering num 8 Vol: 12 (2019):
2059.
DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA
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encouraging conclusions about the effectiveness of innovative teaching methods, including

methods of problem-based learning, self-study, game technology, case method, interactive
forms of cognitive activity, and the use of electronic educational resources.

Results

At the diagnostic stage of the pedagogical experiment with students of the “Music
Education” training program, through pedagogical observation and testing, it was found
that students could hardly or could not at all cope with intonational or rhythmic difficulties
when writing a dictation by ear. They could not concentrate on the episode, in which there
was a special interval structure or rhythmic figure; therefore, they had to stop and repeat
the same phrase multiple times. The musicians “stenographed” the dictation, but recorded
only the simplest moves, omitting any difficult passages, in which the whole meaning of
auditory exercises is laid. The same problem occurred during the process of solmization.
Therefore, students lack the concentration of auditory attention, as well as the skill of
auditory analysis and separation of particular elements of music in the flow of sound
information. Game technologies are precisely aimed at maximum inclusion in the process,
focusing on every moment, and developing analytical skills and critical assessment of a
situation.

During practical exercises of the “Solfeggio” module, the game “Find an Error” is
used. A teacher divides a group of students into two subgroups and gives each group
sheet music with a one-voice dictation with some kind of melodic or rhythmic difficulties (in
accordance with the studied section). Then students of each group agree to change some
fragments of the dictation and play the piano (or sing in unison) a one-voice melody,
deliberately making mistakes (play the wrong sound than one recorded in the notes, wrong
duration, wrong octave, etc.). Students of the other group follow the notes and listen
carefully to the one-voice melody, looking for discrepancies between the musical notation
and the sounding melody. When each “mistake” is detected, students signal or mark the
beat with an error. Then the students of the first group repeat the melody and the students
of the second group fully record the version of the dictation. Upon completion of the
recording, the players play the instruments or sing the resulting melody in unison. Then the
groups change places: the second group voices the melody with errors and the first finds
them and records the one-voice number the way the first one performed it.

The skills and abilities formed by the proposed game technology in the practical
classes of the “Theoretical Musical Disciplines” are:

Skills: to carry out the selection of educational content for implementation in various
forms of teaching the subject area of musical education and upbringing in accordance with
the didactic goals and age characteristics of students;

Abilities: possession of subject content of music art and education; skills of

selection of variable content, taking into account the relationship between the curricular
and extracurricular forms of teaching the subject area of musical education and
upbringing.

The game participants are evaluated according to the following criteria (for each
criterion, a participant receives one point):

DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA
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1. Changing the original motif of a one-voice melody with the use of melodic and
rhythmic difficulties and characteristic melodic moves, for example, scale-wise or
according to the sounds of triads, diatonic or chromatic, and rhythmic patterns, including
syncopation, dotted rhythm, or special division of durations – triplets and quintuplets
(application of these elements indicates the mastering of theoretical and practical material
of the previous topics of the module);

2. Reproduction of the musical number using an instrument or voice, which is

correct in terms of pitch and intonation during the performance (correct intonation indicates
the acquisition of practical skills that are the aim of studying this discipline);

3. Determination of intentional errors by ear during the performance of a one-voice

melody (developed musical ear indicates the acquisition of practical skills that are the aim
of studying this discipline);

4. Correct musical notation of a melody with intentional errors in the performance of

participants in a group of rivals (the ability to correctly record the dictation heard indicates
the acquisition of practical skills and abilities that are the aim of studying this discipline);

5. Reproduction of a musical number using an instrument or voice, which is correct

in terms of pitch and intonation, the way it is performed by a group of rivals (correct
intonation indicates the acquisition of practical skills that are the aim of studying this
discipline).

At the end of the game, the points are summed up and the best participant in the
game, the most attentive “listener” is selected by voting method within each group.

Another game, which is used in practical classes, is called “It exists – it doesn’t
exist”. The teacher divides students into two groups and instructs each of them to
compose and perform a melody of a certain style (folk, academic opera, or pop). It is
necessary to include foreign-style elements – a characteristic rhythm (for example, a
syncopation from ragtime in folk tunes), intonations (blues notes to a melody in the style of
an opera aria), etc. The other group listens to the singing of a member of the first group
and tries to identify the foreign style element by ear. After the eightfold performance of the
composed melody, the participants of the first group perform it by heart. Then the second
group also plays the composed melody and the first one guesses whether something
exists in the melody of a given style or not.

In this game, the participants are evaluated according to the following criteria (for
each criterion, a participant receives one point):

1. Use during the composition of the correct elements of a particular style – folk,
academic, or pop (the use of these elements indicates the mastering of theoretical and
practical material of the previous topics of the module);

2. Correct reproduction of a composed melody using an instrument or voice in

terms of pitch and intonation (correct intonation indicates the acquisition of practical skills
and abilities that are the aim of studying this discipline);

DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA
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3. Determination by ear of a common style of a melody when performing a one-

voice melody (developed musical ear indicates the acquisition of practical skills that are
the aim of studying this discipline);

4. Determination by ear of foreign-style song elements of a melody when

performing a one-voice melody (developed musical ear indicates the acquisition of
practical skills and abilities that are the aim of studying this discipline);

5. Correct reproduction of a composed melody by heart or voice in terms of pitch

and intonation (correct intonation indicates the acquisition of practical skills and abilities
that are the aim of studying theoretical musical disciplines).

At the end of the game, the points are added up and the best participant in the
game is selected by voting method within each group. This type of game activity
contributes to the formation of the skill of analyzing the source material, assessing it from
the point of view of style features, practical application of the knowledge gained, and
acquisition of skills in musical and creative activities.

In addition, the “Classification” game is offered to students during the study of

modern compositional techniques and new types of notation. During a practical lesson,
students are divided into two groups and each of them is given fragments from musical
scores of different eras and styles (from Renaissance scores to modern verbal-graphic
scores). Students should group fragments of music scores from different centuries as
quickly as possible according to composition styles and techniques: baroque, classicism,
romanticism, impressionism, neo-folklorism, neoclassicism, modern, serial, aleatory,
sonorous, repetitive music, polystylistics, graphic music, instrumental theater, happening,
etc. Participants receive points for each fragment of the score correctly distributed among
the groups; the winning group is determined by the highest number of points received. In
offline and online mode, the faster and more correctly each student sorts fragments of
musical scores into groups, the higher the score. According to the results of the game
(which can be carried out in a time test mode), the student who in the shortest possible
time correctly performs with the task is determined.

Discussion

At the end of the pedagogical experiment, a control test was carried out – repeated
testing and observation of student musicians during the performance of auditory exercises
and tasks on history and theory of music. It was found that students paid more attention to
details, listened and analyzed musical phrases from the point of view of their specificity,
compared some melodic or rhythmic elements with others, and differentiated similar and
different. Students began to show the ability to reproduce (sing from memory) most of the
dictation, including measures with intonational and rhythmic difficulties that had not
previously been left in memory due to the low level of critical perception of information and
analytical abilities. During the game, the brain tries to catch certain information, solve the
existing problem, and find a way out in the proposed circumstances. As a result, the
student acquires the skill of critical perception and analysis of information, overcoming clip
thinking and one-dimensional attitude to what is happening.

When comparing the results of this study with international experience and the
research of foreign colleagues, the following becomes obvious: game technologies are
only being introduced into the training programs of musicians and have not yet been
DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA
 REVISTA INCLUSIONES ISSN 0719-4706 VOLUMEN 7 – NÚMERO 2 – ABRIL/JUNIO 2020

Game technologies in the process of mastering theoretical musical disciplines pág. 192

evaluated in terms of their effectiveness in music education. Scholars note the positive
impact of game technology on the learning process but do not offer specific development
of educational games for musicians that have been tested in practice. Therefore, the group
of authors of the article “A methodology for gamifying of the educational process” have
“designed, proposed, tested, and partially research a methodology for the gamification of
academic disciplines through the example of the Elite Engineering Education”8. I.
Caponetto, J. Earp, and M. Ott, performing a literature review on gamification and
education, note that “recently the term was used by many to denote the adoption of game
artifacts (especially digital ones) as educational tools for learning a specific subject such
as algebra”9. The authors of the study of the possibilities of activity technologies within the
framework of electronic education argue that “the statement of the educational task is
formulated in the form of a system of actions, determining the direction of activity so that
students can consciously conduct reflections and achieve the planned results”10.

K.V. McAlpine studies the influence of video game technologies (KIDI and BitBox!)
on the enactive learning of music and makes a conclusion that “both case studies highlight
the importance of play as a vehicle for learning”11. C. Dichev and D. Dicheva emphasize
that “with the growing popularity of gamification and yet mixed success of its application in
educational contexts, their review sheds a more realistic light on the research in this field”.
The authors conclude that “evidence exists to support the long-term benefits of
gamification in educational contexts; the practice of gamifying learning has outpaced
researchers’ understanding of its mechanisms and methods; the knowledge of how to
gamify an activity in accordance with the specifies of the educational context is still
limited”12.

O.I. Vaganova considers the possibilities of the formation of competencies of future

teachers of vocational training. Although she explores the process of applying “business
games taking into account the specifics of ‘Labor Law’ and ‘Civil Law’”, that “allows
improving the process of formation of competencies of future teachers of vocational
training”13. Full-fledged studies of the use of game technologies in the mastering of
theoretical musical disciplines, which are specialized and most difficult to study, have not
yet been conducted. S.N. Kelly and K. Veronee consider the meaning of music theory in
studying courses of nontraditional music by students as having musical value. It is
precisely theoretical musical disciplines that create the basis for the professional skill of
musicians and the conditions for the formation of general and special professional
competencies of specialists in this field.

This work partly fills this gap, since it describes specific games that have been
used in pedagogical practice for more than one year and have shown their effectiveness,
as evidenced by the results of diagnostics and verification of the results of the application
of the developed game technologies. As is well known, all new and modern is the well-
forgotten old, only considered from a new angle. In most cases, modern technologies are

8 P. Mozgaleva; O. Zamyatina; A. Mozgaleva y P. Da Costa Brito Cabral, A metodology for… 289.

9 I. Caponetto; J. Earp y M. Ott, Gamification and education… 50.
10 M. N. Bulaeva; O. I. Vaganova y M. N. Gladkova, “Activity technologies in a professional

educational institution”, Baltic Humanitarian Journal Vol: 7 num 3 (2018): 167.

11 K. B. McAlpine, Shake and create: Reappropriating video game technologies for the enactive

learning of music. Serious Games and Edutsinment Applications II (2017): 77.

12 C. Dichev y D. Dicheva, “Gamifying education: what is known… 119.
13 O. I. Vaganova, “Game technologies in professional education”, International Journal of

Innovative Technology and Exploring Engineering num 8 Vol: 12 (2019): 2059.

DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA
 REVISTA INCLUSIONES ISSN 0719-4706 VOLUMEN 7 – NÚMERO 2 – ABRIL/JUNIO 2020

Game technologies in the process of mastering theoretical musical disciplines pág. 193

used in various combinations and complement each other. Without the professional skill of
the teacher, no technology will bring expected results. However, the gamification of the
educational process and the introduction of game elements into the development of
theoretical musical disciplines by modern students motivates them to gain new knowledge,
develop their competencies, and, as a result, improve a university graduate’s knowledge
and skill levels.

Conclusion

In modern Russian universities, the following pedagogical technologies are used:

pedagogy of cooperation, game technology, problem-based learning, communicative and
collective learning, programming and differentiated learning, personal approach, forward-
looking learning, collective and group forms, theory of phased formation of mental actions,
technologies of self-development and self-education, etc. The game technologies used in
the study of history and theory of music at the Russian State Social University provide a
high level of development of analytical thinking and the formation of professional
competencies of musicians. The purposeful formation of analytical thinking is provided by
game technologies, which in Russia are only beginning to be applied in the development
of theoretical musical disciplines that have their own specifics.

The results of the study allow us to conclude about the effectiveness of the
application of the described game situations in the study of theoretical musical disciplines.
The main results of the study state that changing the format of the presentation of
information and the preference for interactive forms of teaching and game technologies
lead to higher teaching outcomes. The use of game technologies allows modern students
to more effectively master theoretical musical disciplines. As representatives of the
information society, they experience problems with the development of analytical thinking
and learn worse than their predecessors.

The significance of the conclusions in relation to previous studies is that the

specific game situations developed by us and tested in pedagogical practice, the
effectiveness of which has been proved during the training of students in history and
theory of music, can be used in the educational process, including distance learning. The
described task games can serve as the basis for further research on new teaching
methods for student musicians.

References

Journal articles

Bulaeva, M. N.; Vaganova, O. I. y Gladkova, M. N. “Activity technologies in a professional

educational institution”. Baltic Humanitarian Journal Vol: 7 num 3 (2018): 167–170.

Dichev. C. y Dicheva. D. “Gamifying education: what is known, what is believed and what
remains uncertain: a critical review”. International Journal of Education Technology in
Higher Education Vol: 14 num 1 (2017).

Kelly, S. N. y Veronee, K. “High school students’ perceptions of nontraditional music

classes”. Bulletin of the Council for Research in Music Education, num 219 (2019): 77–89.

DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA
 REVISTA INCLUSIONES ISSN 0719-4706 VOLUMEN 7 – NÚMERO 2 – ABRIL/JUNIO 2020

Game technologies in the process of mastering theoretical musical disciplines pág. 194

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DR. MARINA VIKTOROVNA PEREVERZEVA / DR. NATALIA IVANOVNA ANUFRIEVA / DR. IRINA SEMENOVNA AVRAMKOVA
DR. (C) ELENA OLEGOVNA KUZNETSOVA / DR. ANNA LOSIFOVNA SCCHERBAKOVA