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Marina Karaseva



Publications:

    Articles
  • 2009. Solfeggio “in meet” and “in fish”: genre peculiarity. Master of Russian harmony. Moscow 2009. P. 279-298
  • 2008. Ear Training as a Practical Aspect of Music Cognition. Musiktheorie im Kontext. Berlin, S. 63-71 (in English)
  • 2008. Y. N. Kholopov at the root of Modern Solfeggio. Y. N. Kholopov’s ideas in the 21st century. Moscow. P. 345-364
  • 2007. Application of multimedia in the ear training course. Proceedings of IV Conference “Modern Audio-Visual Technologies in Creative Arts”. Saint Petersburg. P. 56-58
  • 2007. Sots Art Starts and Wins. "Kultura" Weekly Newspaper, ¹ 41 (7602) 18-24　Sept. P. 4 
  • 2007. Music Patterns of Psychological Influence in National Anthems". Der 18. Kongress der Internationalen Gesellschaft fur Musikwissenschaft. Zurich, 2007. P. 241 (in English)
  • 2006. Solfeggio-21: between dreams and pragmatism. How to Teach Solfeggio in 21st Century. Moscow, P. 3-10
  • 2006. Perceiving foreign language melodically. The Asia TEFL 2006 International Conference "Spreading Our Wings: Meeting TEFL Challenges". Fukuoka. P. 344 (In English)
  • 2006. What if someone is a native speaker? Optimization of interdisciplinary dialogue by means of adequate intonation. The IV All-Russian Fulbright Alumni Conference. Volgograd. P. 57-58
  • 2006. Synesthetic Listening and its Potentialities in Emotional Perception of Modern Music. International Conference "Methods and Perspectives of Musical Aesthetics: from Theory to History". Strasbourg. P. 19-20 (in English)
  • 2005. Edit-PR. Vremya novostei. 06.10.2005. ¹ 185. P. 10 
  • 2005. Power of music in music of power. Music and Musician in the changing social-cultural area. Rostov on Don. P. 153-163
  • 2005. Contemporary good ear for music and the new millennium challenges. Music and Musician in the changing social-cultural area. Rostov on Don. P. 72-86
  • 2005. Humanitarian and creative education in Russia and un the U. S. The Proceedings of the International Conference “Russian-American Interrelations in the Context of Globalization”. Moscow. P. 73-80
  • 2004. The mystery of the 20th century music aversion: synesthetical associations as a psychological key factor of listener’s aural barriers. Horror Novitatis. Prague. P. 88-191 (in English)
  • 2004. Learning Japanese melodically: language ear training methodology by means of music notation. Globalization and National Originality. Forum of Languages. Kazan. P. 207-212
  • 2004. New music and ear training: Groping for way in – widening way out. Music and Cultural Identity. Weimar. P. 203 (in English)
  • 2004. Steps in the Snow: Meta-programs of the new Russian culture and their application in the field of music marketing. Professionals for Cooperation, Issue 6. Moscow. P. 197-228
  • 2004. Social psychocorrection by means of music. Musicology and Globalization. Proceedings of International Congress of the Musicological Society of Japan. Shizuoka. P. 517-519 (in English)
  • 2004. Is it true that Sokolov is Shvydkoy`s Man Friday? Anyone at the conservatory just smiles on hearing such a question. Izvestia, 17.03.2004. P. 9 
  • 2003. Russian solfege in the postmodernism, or the postmodernism in the mirror of methodology. J. N. Kholopov and his Scientific School. Moscow. P. 333-339
  • 2002. Components of music language in group and individual psychocorrection. The 5th All-Russian Conference on Psychotherapy and Clinic Psychology in Theory and Practice. Moscow. P. 289-290
  • 2002. NLP and music therapy. The 5th All-Russian Conference on Psychotherapy and Clinic Psychology in Theory and Practice. Moscow. P. 21-25
  • 2002. Diplomacy with the language of music: National anthem as a genre of multicultural communication. Professionals for Cooperation, Issue 5. Moscow. P. 196-206
  • 2002. Social psychocorrection by means of music. Musicology and Globalization. Shizuoka. P. 92 (in English)
  • 2002. Understanding music language through synesthesia as means for music cognition. Understanding and Creating music. Caserta (in CD) (in English)
  • 2002. Music psychocorrection as a special field of practical music cognition. The Book of Abstracts of the 17th International Congress of International Musicological Society. Leuven. P. 144 (a full text is on CD) (in English)
  • 2002. Russian model of performing creativity: psychological aspects. Investigating Music Performance. London, UK. P. 33 (in English)
  • 2002. Listening – visualising – feeling – changing": psychocorrective opportunities of the guided imagination in the process of music perception. Musical Creativity. Liege. P. 114 (in English)
  • 2002. Gregory Voronov – Marina Karaseva: Strategies of the music creation. Music Academy. ¹ 1. P. 39-49
  • 2002. Marketing in institutions of Fine Arts. Marketing Management in the Field of Education. Moscow. P. 27-31
  • 2001. The national anthem: psychotechnological secrets of music influence. Contemporary Psychotechnologies in Education, Business, and Policy. Moscow. P. 185-188
  • 2001. Psychocorrection by means of music as a new branch of modern psychotherapy. Integrated Approach to Health. Kobe. P. 180-182 (in English)
  • 2001. Specificity of solfeggio as a psychotechnology of ear training. The Proceedings of Professional Convention of the Russian Federation Music Education Association. Orel. P. 13-20
  • 2001. Chicken Soup from the Golden Eggs-Producing Hen. Nezavisimaya Gazeta. (62), 16.02.2001. P. 9 
  • 2000. Musical ear in the context of modern practical psychology. NLP Revue. Modern Practical Psychology. ¹ 2. Moscow. P. 217-253
  • 1999. Musical ear in the context of modern practical psychology. Music Academy. ¹ 4. P. 172-185
  • 1999. NLP and musical therapy through the musician's look. NLP Revue. Modern Practical Psychology. ¹ 1. Moscow. P. 125-153
  • 1999. Solfeggio – psychotechnique of modern professional ear training. Improvement of Musical Ear. ¹ 4. Moscow. P. 67-85
  • 1998. NLP-3: Let the cello sing! Revue of Modern Practical Psychology. ¹ 4. Moscow. P. 7-14
  • 1994. The specificity of the modal scales studying in the Special School of Music. Contemporary Methods of Music Education. Minsk. P. 33-36
  • 1993. The study of rhythmic difficulties in the course of ear training on the conservatory level. Improvement of Musical Ear. ¹ 3. Moscow. P. 34-48
  • 1992. What should be Modern Ear Training? Laudamus. Moscow. P. 273-280
  • 1990. Series of articles (9) on music theory in Music Encyclopedia. Moscow
  • 1988. Theoretical problems of the reconstruction of ear training methods. Actual Problems of the Development of Art and Culture. Moscow. P. 241-250
  • 1987. Modal scales in the 20th century music (To the problem of ear training). Traditions and Innovation in the Contemporary Music. Moscow. P. 5-19
  • 1987. Problems of ear training based on the 20th century in modern Ear Training Course. NIO Informcultura, GBL, ¹ 1470. Moscow
  • 1985. Solfeggio. Encyclopedia for Young Musician. Moscow. P. 292-293
  • 1983. The 20th century musical styles and problems of ear training methods. Historical and Theoretical Problems of Musical Style. Gorky. P. 106-107

Additional Information

  • Among Karaseva’s close relatives are well-known Rusian musicians: I. Bezrodny, S. Bezrodny, T. Pogozheva, D. Tukhmanov

Selected Internet Publications

Selected References to Karaseva’s Academic Activity

Karaseva’s Video Reportages

More references see on Karaseva’s personal Website:



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