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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
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