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Relevant bibliographies by topics / Philosophy of music education

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Academic literature on the topic 'Philosophy of music education'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Philosophy of music education"

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Reimer, Bennett. "A Philosophy of Music Education." Journal of Aesthetics and Art Criticism 49, no. 3 (1991): 279. http://dx.doi.org/10.2307/431496.

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McCarthy, Marie, and J. Scott Goble. "Music Education Philosophy: Changing Times." Music Educators Journal 89, no. 1 (September 2002): 19–26. http://dx.doi.org/10.2307/3399880.

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LeBlanc, Albert. "Music Matters: A New Philosophy of Music Education." Music Educators Journal 82, no. 4 (January 1996): 61–62. http://dx.doi.org/10.2307/3398921.

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Fiske, Harold E., and David J. Elliott. "Music Matters: A New Philosophy of Music Education." Notes 53, no. 3 (March 1997): 770. http://dx.doi.org/10.2307/899720.

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Sarrazin, Natalie, and David J. Elliott. "Music Matters: A New Philosophy of Music Education." Ethnomusicology 40, no. 3 (1996): 517. http://dx.doi.org/10.2307/852476.

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Gauthier, Delores, and John Lychner. "Music Matters: A New Philosophy of Music Education." Journal of Music Teacher Education 5, no. 2 (June 1996): 30–32. http://dx.doi.org/10.1177/105708379600500206.

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Gonzol, David J. "Otto Rudolph Ortmann, Music Philosophy, and Music Education." Philosophy of Music Education Review 12, no. 2 (2004): 160–80. http://dx.doi.org/10.1353/pme.2005.0006.

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Richerme, Lauren Kapalka. "Measuring Music Education." Journal of Research in Music Education 64, no. 3 (August 3, 2016): 274–93. http://dx.doi.org/10.1177/0022429416659250.

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Despite substantial attention to measurement and assessment in contemporary education and music education policy and practice, the process of measurement has gone largely undiscussed in music education philosophy. Using the work of physicist and philosopher Karen Barad, in this philosophical inquiry, I investigated the nature of measurement in music education while concurrently exploring the assumptions underlying documents related to the proposed music Model Cornerstone Assessments. First, Barad’s concepts of reflection and diffraction reveal the false assumption that measurement captures rather than alters and produces musical experiences. Second, measurement apparatuses are explained as boundary-making practices. Third, the limits of measurement apparatuses are explored through Barad’s assertions about experimental inclusions and exclusions and Lyotard’s concept of the differend, and these limits are used to problematize the ambitious, value-laden discourse of documents related to the music Model Cornerstone Assessments. Finally, through Barad’s concept of intra-action, measurement is reinterpreted as a process through which “teacher” and “student” emerge. Music education policymakers, teachers, and students might adopt language emphasizing the intra-active nature of measurement and empower themselves to critique and reimagine existing measurement apparatuses and their measurement and assessment practices.

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Elliott, David J. "Modernity, Postmodernity and Music Education Philosophy." Research Studies in Music Education 17, no. 1 (December 2001): 32–41. http://dx.doi.org/10.1177/1321103x010170010401.

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Oehrle, Elizabeth. "Challenges in Music Education Facing the New South Africa." British Journal of Music Education 15, no. 2 (July 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.

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South Africa is undergoing dynamic changes affecting all aspects of life, and legacies of the previous regime have a bearing on these changes. Music educators informal institutions face many challenges. Music-making in the informal sector is extensive, ongoing and relevant. Today, one of the greatest challenges for music educators in the formal sector is to realise the importance and value of developing a philosophy and process of music education that emanates and evolves from musics and musical practices existing in southern Africa.

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Dissertations / Theses on the topic "Philosophy of music education"

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Bates, Vincent Cecil. "Moral Concepts in the Philosophy of Music Education." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1082%5F1%5Fm.pdf&type=application/pdf.

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Vogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.

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Razumovskaya, Maria. "Heinrich Neuhaus : aesthetics and philosophy of an interpretation." Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/355/.

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This thesis investigates one of the key figures of Russian pianism in the twentieth century, Heinrich Gustavovich Neuhaus (1888 - 1964). Although Neuhaus is known, particularly in the West, as an important pedagogue of the Moscow Conservatory rather than a performing artist in his own right, this thesis seeks to address the tension between Neuhaus's identities as a pedagogue and his overshadowed conception of himself as a performer - thus presenting a fuller understanding of his specific attitude to the task of musical interpretation. The reader is introduced to aspects of Neuhaus's biography which became decisive factors in the formation of his key aesthetic, philosophical, pedagogical and performative beliefs. The diverse national influences in Neuhaus's upbringing - from his familial circumstances, European education and subsequent career in Russia - are investigated in order to help locate Neuhaus within the wider contexts of Russian and Central European culture at the turn of the nineteenth and twentieth centuries. In addition, this introduction will highlight ways in which Neuhaus's national identity has been oversimplified in recent literature by both Russian and non-Russian authors. Whilst this thesis draws on a range of contemporaneous and recent international sources throughout its investigation, it presents a substantial amount of Russian-language material that has previously been unavailable in an English translation: this includes many writings and articles by Heinrich Neuhaus, his colleagues and the leading musicologists and critics of his time. The core of the thesis traces Neuhaus's personal philosophical approach to the act of performance and explores the impact it had on his interpretations of Beethoven and Chopin. This will show that despite aspiring to a modern, Urtext-centred approach and sensibility to the score, Neuhaus's Romantic subjectivity meant that he was unafraid of making assumptions and decisions which often misinterpreted or transformed the image of the composer to reflect his own artistic identity. Thus, the investigation of Heinrich Neuhaus as a performing artist, alongside his role as a pedagogue, presents a powerful model of interpretation as a creative process, from which performers today can learn.

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Mell, Margaret Ruth. "Body, Mind, Spirit: In Pursuit of an Integral Philosophy of Music Teaching and Learning." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/94537.

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Music Education
Ph.D.
This dissertation investigates extant literature on the contributions of spirituality within music education from perspectives of philosophical writers in the field. It introduces Integral Theory, which features a five element heuristic: a) four quadrants of human experience, specifically, subjective, objective, individual, and collective perspectives; b) levels (or stages) of human development; c) lines of human development; d) states of consciousness; and e) types or styles of being and acting in the world. Finally, this dissertation applies Integral Theory's multi-perspective approach to the dynamic elements that engage body, mind, and spirit as teacher and learner perform, listen to, compose, and improvise music. I use Integral Theory's four quadrants of human experience to summarize, categorize, analyze, and map aspects of presenters' papers and the final round table discussion at the Spirituality Symposium, Spirituality: More than just a concept?, during the International Society of Music Education Conference (ISME), July, 2008, in Bologna, Italy. I use Integral Theory's levels of human development to map Edward Sarath's Levels of Creative Awareness, as he applies it to trans-stylistic jazz improvisation pedagogy. Sarath's melding of jazz music practices, and music theory and analysis with personal and collective non-music influences, transpersonal elements, and meditation mirrors Integral Theory's second element. Results from this philosophical inquiry show that discussions and pedagogy focusing on spirituality in music education include (a) teacher and student levels of proficiency and excellence in music, (b) personal and collective transformation, (c) diverse descriptions and interpretations of transcendence as they pertain to music's effect on persons, (d) understanding self and other especially meaning, value, belief, and moral systems, (e) receiving and dealing with emotions and feelings in professional settings, (f) brain, biological, and physical aspects, (g) personal and collective imagination, creativity, mystery, wonder, intention, attention, awareness, mindfulness, playfulness, authenticity, flow, (h) identified stake-holding cultural collectives, (i) environmental, institutional, educational, religious, and ideological factors, and (j) curriculum and experiential practices and guidelines. A close reading of flow pedagogy in early childhood music teaching shows some similar methodologies.
Temple University--Theses

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Burchman, Eon Kriya. "A dialogue on improvisation, space and melody| Larry Koonse's approach to improvisation." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591592.

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This project explores Larry Koonse's playing and teaching as it relates to improvisation. In particular, the author discusses the various aspects of Koonse's playing through the elements of melody and space. This project focuses on the author's interview with Larry Koonse, which presents questions that reveal the guitarist's views on space in playing jazz and improvising. Koonse's ideas are compared and contrasted with perspectives from other teachers and pedagogues, used to support and expand on his ideas. This project also explores the views and experiences of other students and players, such as Kevin Downing and Jamey Rosenn.

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Wallbaum, Christopher. "Summary comparing normative constellations in music education." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34646.

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This summary connects parts of nearly every chapter of the book with a thick brush regarding normative constellations. Comparing the constellations shows both, how practices within lessons are normatively connected with practices in other social fields, and that there are fractures that show a need for further research. In conclusion I sketch a model for comparative praxial music education.

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Kangron, Ene. "Teaching music through active participation and involvement in music making." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34623.

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The development of Estonia’s national music culture has really taken place over the last 145 years, thanks to the national choral song festival tradition that began in 1869 and has continued until today. Song festivals have been always important as a form of non-political resistance confirming Estonian identity and self-confidence. Many have characterized Estonia as a “singing nation” and we know that a great contribution to this is provided by music teachers at schools.

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Paul, Stephen John. "Aesthetic Justifications for Music Education: a Theoretical Examination of Their Usefulness." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331148/.

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Justifications for music education have been studied only by examining historical trends in statements of aesthetic versus utilitarian values, and not from the perspective of evaluating the justifications' usefulness. A number of prominent writers in the music education field, while supporting aesthetic values as important for music education, have expressed doubts about the effectiveness of aesthetic justifications when used for convincing outsiders of the importance of music in the public school curriculum. These doubts, along with a preponderance of aesthetic justifications in the recent music education literature, led to the present study, which conducted a theoretical examination of the usefulness of aesthetic justifications for music education. The study addressed three research problems, namely: (1) the attitudes of the clientele groups of the public schools in terms of their values toward music as a subject in the schools; (2) the attitudes of the groups within the music education profession in terms of their values for music in the public schools and for the profession itself; and 3) the likelihood that justifications based upon "aesthetics" as a system of values would be accepted by the groups both inside arid outside the music education profession. A philosophical-sociological perspective was chosen for the theoretical analysis because the problems of the study concern the manner in which values are accepted or rejected by groups of people. The particular sociological theory chosen combined the symbolic interaction theory of George Herbert Mead and the sociology of knowledge as described by Peter Berger and Thomas Luckmann. Conclusions: Problems arise in justifying music education using aesthetic theory because (1) the symbolic universe of aesthetic theory is complex and is not well-understood by music educators or the clientele of the public schools; and (2) aesthetic theory represents gestures of a reference group with norms and values not usually found in the music educator or clientele groups.

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Brueck, Julia Christine. "A study of Peter Christian Lutkin's philosophy of church music and its manifestation in the hymn tune transcriptions for organ (1908)." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/471.

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Prusky, Kathy Ann. "Developmental preschool music education : a proposed rationale, philosophy and 12-week curriculum for 4-year-old children." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/29053.

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Numerous curricula for preschool music education have been developed in the past two decades. For the most part, however, these have not incorporated important evidence from three disciplines which has important implications for how the music education of preschool children should be approached. The first of these is the field of developmental neurobiology, which has provided relevant information concerning early learning and experience. The second is the research pioneered by Jean Piaget, whose insights into cognitive development bear heavily on curriculum planning for preschool music education. The third is research in musical development, which indicates what skills and behaviors can be expected of preschool children in a musical setting. The goal of this thesis is to demonstrate (a) why an understanding of the major findings from these fields is important to the formulation of a music education program for preschool children; and (b) how this understanding can and should impact on the curricular choices made for the musical education of preschool children. To this extent, a series of developmental and musical objectives for the music education of preschool children, specifically 4-year-olds, have been formulated to serve as a theoretical and practical foundation on which to develop and choose musical activities which are appropriate for this age group. The educational and practical value of each of these activities was tested with a group of 4-year-old children during a 12-week study carried out at the University of British Columbia Child Study Center. The activities which adequately demonstrated this value were then organized into a 12-week music curriculum for 4-year-old children. Four conclusions are made in this thesis. The first of these is that music education should begin early in life in order to influence the general learning patterns necessary for the development of musical skill. The second conclusion is that early exposure to music will be most effective when the activities chosen are complex and stimulating and allow for interaction with numerous musical stimuli on a variety of different levels. The third conclusion is that developmentally appropriate musical activities may make an important contribution to the enrichment of the learning environment during the preschool years and may subsequently enhance sensory, motor, verbal and nonverbal, social and creative thinking skills. Finally, it was concluded that preschool music education will be most effective when musical tasks reflect the limitations of children's cognitive development.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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Books on the topic "Philosophy of music education"

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Kumar, Naresh. Music education. Delhi: Adroit Publishers, 2004.

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A philosophy of music education. 2nd ed. Englewood Cliffs, N.J: Prentice Hall, 1989.

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Music matters: A new philosophy of music education. New York: Oxford University Press, 1995.

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The Oxford handbook of music education philosophy. Oxford: Oxford University Press, 2012.

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Pio, Frederik, and Øivind Varkøy, eds. Philosophy of Music Education Challenged: Heideggerian Inspirations. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-9319-3.

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Music, society, education. Hanover, NH: University Press of New England, 1996.

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Music education: Major themes in education. New York: Routledge, 2012.

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Whitwell, David. Music as a language: A new philosophy of music education. Northridge, CA (P.O. Box 513, Northridge 91328): Winds, 1993.

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Whitwell, David. Music as a language: A new philosophy of music education. Northridge, CA: Winds, 1993.

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Reimer, Bennett. A Philosophy of Music Education: Advancing the Vision. 3rd ed. Upper Saddle River, NJ: Prentice Hall, 2005.

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Book chapters on the topic "Philosophy of music education"

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Lines, David. "Praxial Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-287-532-7_682-1.

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Lines, David. "Praxial Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-287-532-7_682-1.

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Feldman, Evan, and Ari Contzius. "The History of Instrumental Music Education and Its Philosophy." In Instrumental Music Education, 70–80. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-6.

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Varkøy, Øivind. "Saving Beauty in Music Education." In Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-287-532-7_683-1.

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Lines, David. "Ways of Revealing: Music Education Responses to Music Technology." In Philosophy of Music Education Challenged: Heideggerian Inspirations, 61–74. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9319-3_4.

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Oberhaus, Lars. "Body – Music – Being. Making Music as Bodily Being in the World." In Philosophy of Music Education Challenged: Heideggerian Inspirations, 101–12. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9319-3_6.

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Ford, Charles, and Lucy Green. "The Phenomenology of Music: Implications for Teenage Identities and Music Education." In Philosophy of Music Education Challenged: Heideggerian Inspirations, 147–67. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9319-3_9.

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Pio, Frederik, and Øivind Varkøy. "Introduction. An Ontological Turn in the Field of Music and Music Education." In Philosophy of Music Education Challenged: Heideggerian Inspirations, 1–14. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9319-3_1.

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Wallrup, Erik. "Music, Truth and Belonging: Listening with Heidegger." In Philosophy of Music Education Challenged: Heideggerian Inspirations, 131–46. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9319-3_8.

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Angelo, Elin. "Music Education as a Dialogue Between the Outer and the Inner. A Jazz Pedagogue’s Philosophy of Music Education." In Philosophy of Music Education Challenged: Heideggerian Inspirations, 169–84. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9319-3_10.

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Conference papers on the topic "Philosophy of music education"

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Long, Zhaoming. "Philosophy of Music Education: Theoretical Growth Points of Chinese Localized Thoughts." In 2014 International Conference on Education Technology and Social Science. Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icetss-14.2014.35.

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Didenko, Natalia. "Music Time: from Intonation to Style Philosophy and Aesthetic Analysis." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.49.

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Dalal, Medha, Adam Carberry, Derek Warmington, and Richard Maxwell. "A Case Study Exploring Transfer of Pedagogical Philosophy from Music to Engineering." In 2020 IEEE Frontiers in Education Conference (FIE). IEEE, 2020. http://dx.doi.org/10.1109/fie44824.2020.9274128.

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De Podestá, Nathan Tejada, and Silvia Maria Pires Cabrera Berg. "New University: liberal education and arts in Brazil." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9514.

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This paper is part of an ongoing research on the issue of music education in Brazilian universities. It aims to identify educational models that structure pedagogical practice at this level of studies. It distinguishes the types of professional and human education promoted in each one of the presented models (French, German and American) as well as liberal education, identified as a global trend. Relating the current socio-cultural political and economic context with education with the support of Godwin (2015), Berg (2012) and Jansen (1999) we argue that liberal education provides a structure can favor the development of competences and skills demanded on the current conjuncture. In this frame, we will analyze, with the help of Paula (2008) and Santos & Filho (2008), the historical dynamics of Brazilian higher education and show how liberal education and post-colonial philosophy is restructuring Brazilian universities. This “new university” allows the implementation of a multicultural, multi-epistemic pedagogy that overcome fragmentary disciplinary views and renders feasible the proposition of new ways of conceiving training, studying, teaching and research in music and arts.

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Shermam Morais Vieira, Ariane, and Rosana Ribeiro Felisberto. "Law and Music: human rights protection and the song “Dom Quixote”." In XXVI World Congress of Philosophy of Law and Social Philosophy. Initia Via, 2015. http://dx.doi.org/10.17931/ivr2013_sws50_01.

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Raimi, Sunaj. "Metaphysical dialogue between philosophy and music in ancient Greek." In University for Business and Technology International Conference. Pristina, Kosovo: University for Business and Technology, 2015. http://dx.doi.org/10.33107/ubt-ic.2015.4.

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Yu, Xufeng. "Philosophy Education and the Innovation of Contemporary Chinese Philosophy." In Proceedings of the 2018 2nd International Conference on Economic Development and Education Management (ICEDEM 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icedem-18.2018.14.

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Petinova, M. "Communication And Time In The Philosophy Of Music A. Losev." In 11th International Scientific and Theoretical Conference - Communicative Strategies of Information Society. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.03.02.37.

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Grebeshev, Igor, and Sergey Nizhnikov. "Sergey Hessen's Philosophy of Education." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.1.

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Tóth-Bakos, Anita. "MUSIC EDUCATION AND MUSIC THERAPY." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.0135.

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Reports on the topic "Philosophy of music education"

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Loveless, Jerry. The Use of Music as a Pedagogical Tool in Higher Education Sociology Courses: Faculty Member Perspectives and Potential Barriers. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1100.

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

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