Relevant bibliographies by topics / The Inner Game of Music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'The Inner Game of Music'

Author: Grafiati
Published: 15 July 2021
Last updated: 3 February 2022

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Journal articles on the topic "The Inner Game of Music"

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Green, Barry. "The Inner Game: Breaking through your Barriers." American String Teacher 36, no. 1 (1986): 41–45. http://dx.doi.org/10.1177/000313138603600121.

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Barry Green has been Principal Bassist with the Cincinnati Symphony since 1967, and is Adjunct Professor of Double Bass at the University of Cincinnati, College-Conservatory of Music. Known for his books on bass pedagogy, his solo albums and premiers of new music for bass, he also presents unique ‘Inner Game’ lectures and entertaining bass recitals throughout the U. S., and in Europe, Asia and Mainland China. Mr. Green's new book, The Inner Game of Music (with Timothy Gallwey), about overcoming the mental obstacles to learning and playing music, has just been published by Doubleday/Anchor Press.
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Goh, Wilson, Leonard Tan, and Hui Xing Sin. "Developing the Inner Musician: Practical Strategies for Large Ensembles." Music Educators Journal 107, no. 3 (2021): 31–37. http://dx.doi.org/10.1177/0027432121998481.

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Nearly fifty years ago, Timothy Gallwey published The Inner Game of Tennis, which left an indelible mark on sports psychology; subsequently, Barry Green used similar principles to author The Inner Game of Music. As far as can be determined, there lacks a concise guide that translates key insights from sports and music psychology into practical strategies for large ensembles. To address this gap in the professional literature, we draw on the sports and music psychology literature, as well as our own professional applied experience, to discuss the benefits of psychological skills for musicians, and we present ten practical strategies to aid the development of psychological skills for large-ensemble musicians. We conclude with some final thoughts on developing the inner musician.
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Petreniuk, D. "THE INNER GAME CONCEPT AS A METHOD OF MUSIC COACHING." Aesthetics and Ethics of Pedagogical Action, no. 22 (December 27, 2020): 189–200. http://dx.doi.org/10.33989/2226-4051.2020.22.222023.

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Maximizing musician’s potential and creating effective performing skills in the process of their musical education and during the further professional development, as well as overcoming their own fears, doubts and limiting beliefs, particularly during performing in public, are still actual tasks both for musicians and their teachers.One effective approach to developing musician's creative potential is coaching. Coaching is based on a dialogue between the coach and the student (coachee); the coach proposes a series of questions aimed on assisting the student in finding their own solution of the problem. It has been known for a long time that the inner state of a person significantly impacts effectiveness of their actions. The Inner Game concept proposed by Timothy Gallwey is a coaching methodology designed to overcome inner obstacles in reaching person’s goals. Those obstacles are of mental nature and include loss of concentration, nervousness and self-doubt. What distinguishes the Inner Game from other coaching methods is that it utilizes statements and tasks that often do not require the student’s verbal answer (moreover, such verbal answer often cannot be given at all), but rather stimulate them to pay attention to their senses and to experiment (for example, in finding optimal position during playing an instrument or choosing proper dynamics for a certain music piece).The first principle of the Inner Game points out the fact that the quality of person’s performance depends not only on their potential (talent, skills, knowledge, etc.), but also on the level of self-interference (mental digression, untimely self-criticism, lack of confidence, fear, etc.).Traditional approach to improving performance suggests working on increasing the potential; the idea of the Inner Game is to decrease self-interference in order to bring the quality of the performance as close to the potential as possible.To describe the inner dialogue taking place inside person’s mind, notions of Self 1 and Self 2 are used. Self 1 is the source of self-interference, it contains person’s ideas about how the thins should be, their judgements and associations. Self 2 is our inner potential, it includes our natural talents, abilities and skills. The methods of the Inner Game are used to decrease self-interference (impact of the Self 1) and help the performer to enter the ideal state during performance, the state of relaxed concentration.
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Ortiz de Gortari, Angelica B., and Mark D. Griffiths. "Auditory Experiences in Game Transfer Phenomena." International Journal of Cyber Behavior, Psychology and Learning 4, no. 1 (2014): 59–75. http://dx.doi.org/10.4018/ijcbpl.2014010105.

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This study investigated gamers' auditory experiences as after effects of playing. This was done by classifying, quantifying, and analysing 192 experiences from 155 gamers collected from online videogame forums. The gamers' experiences were classified as: (i) involuntary auditory imagery (e.g., hearing the music, sounds or voices from the game), (ii) inner speech (e.g., completing phrases in the mind), (iii) auditory misperceptions (e.g., confusing real life sounds with videogame sounds), and (iv) multisensorial auditory experiences (e.g., hearing music while involuntary moving the fingers). Gamers heard auditory cues from the game in their heads, in their ears, but also coming from external sources. Occasionally, the vividness of the sound evoked thoughts and emotions that resulted in behaviours and copying strategies. The psychosocial implications of the gamers' auditory experiences are discussed. This study contributes to the understanding of the effects of auditory features in videogames, and to the phenomenology of non-volitional auditory experiences.
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Prikhodovskaya, Ekaterina A., and Anna A. Okisheva. "MUSIC IN ITS POSSIBILITIES OF FORMING HUMAN EXISTENCE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 184–89. http://dx.doi.org/10.17223/22220836/40/15.

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As you know, music exists in various forms, including in the form of a number of local works. A number of local works are messages encoded with musical expressiveness. Based on the foregoing, we can qualify music as a timeless art form, since it is music that is a means of communication between generations. According to the well-known law of K. Baer, which states the correspondence of ontogenesis and phylogenesis, the musical education of children requires extensive attention. We can assume that preferences regarding the nature, as well as the tempo and other features of a particular music, depend on the gender of the person. For example, boys will like volitional, strict, marching music more, and girls will enjoy tender, reverent and transparent. Although, here, perhaps, there are exceptions. Music is capable of exerting a positive and negative impact on a person. Entire areas of human activity, for example, a direction such as music therapy, are based on this property of musical art. With the help of the virtual intergenerational contact considered in the article, we can hear some features of that time in the works of composers of past centuries: the genres used, symbolic, national intonations. In this regard, the expansion of human existence and the possibility of contact between generations are available to us because the emotional processes, as already mentioned, are identical in people of all generations. It was previously said that music, in the context of this work, is considered as a series of local works. In accordance with this, the emotional process can also be divided into a number of local formations. Just as the emotional process acts as a series of local emotional upheavals – music consists of a number of local works. The most common methods for developing the emotional world are, as you know, reading fiction from different eras, studying paintings of different directions, getting to know the works of world classics. Familiarity with the artist’s biographical data and historical events of that time is of considerable importance for comprehending these works. The influence of music on the inner emotional world of man was thought in ancient times; myths about Amphion and Orpheus speak about this: the first with the help of music built the city walls of Thebes, the second game on the lyre pacified the shadows of Hades. Any fact of extra-musical life perceived by a person is translated into a musical text aimed at expressing an emotional shock as an event of the individual’s inner psychological world. This forms the possibility of contact between generations, which was mentioned earlier – the community of human emotions ensures the community of the existence of music at all times.
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Klaes, Matthias. "Sociotechnical constituencies, game theory, and the diffusion of compact discs. An inter-disciplinary investigation into the market for recorded music." Research Policy 25, no. 8 (1997): 1221–34. http://dx.doi.org/10.1016/s0048-7333(96)00899-2.

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Kashyrtsev, Ruslan. "“The play” as a part of the composer’s interpretation process." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 131–44. http://dx.doi.org/10.34064/khnum1-59.09.

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Involving of philosophic achievements for investigations of the art of composer and performer is a productive practice in modern musicology. The concept of “Homo Ludens” by J. Huizinga (2011) is naturally popular, because its theoretical positions could offer a new approach to the composer’s interpretation consideration. This article dedicated to the problem of “playing” component in composer’s art and this is a relevant branch of modern Ukrainian musicology. The offered view, which includes the concept of “Homo Ludens”, is called for studying of the role of the “playing” component in the process of composer’s interpretation. To accomplish this objective, the analytical method and the method of abstraction and concretization were used. The research of “the playing” component in the communicative system of “composer – performer – listener” is looking promising and there is the relevance of this theoretical work; the scientific newness is there because relatively rarely studied phenomenon of composers’ interpretation appears in a new point of view through the prism of “Homo Ludens” concept by J. Huizinga. During the investigation the features of “the play” were determined as inherent for the composer’s art. They are: 1) the presence of a certain “space” for an “action” (the “inner” universe of composer’s imagination and the “real” place for the working process); 2) “the regular occurrence” of artistic pieces production; 3) “the game rules” – theoretical and practical (including ones, invented by a composer himself); 4) “the withdrawal” from the “real world” during the working process. Additionally, the “agonal” aspect of “the play” (a presence of “the challenge”), despite of its importance, exists together with an urgent necessity for the self-expression by the artistic personality. The composer’s interpretation is a part of every sort of composer’s art: 1) writing a piece on the base of musical “primary source” (Kotliarevska, 1996; Deineha, 2001; Borisenko, 2005; Moskalenko, 2012; Paliy, 2012); 2) processing and integration an image of non-musical origin to the dimension of music art (Khutorska, 2009); 3) invention of an own artistic concept. The musical piece creation, “the composition” itself, is a process of production and synthesis of “the material” and involves the artistic interpretation as a mean of translation (transcribing) and evaluation of a preciseness of this translation. The last contains the “playing” component within – the composer “plays” roles of a performer and a listener in the perspective “projection”, while evaluating a cogency of piece’s future “sounding”. While a piece of music gains more “material” image in the text written down, the “playing” component rate decreases as the opposing, “labouring” one increases. Exclusion of “playing” component subverts the base of “composer – performer – listener” communicative system, in which an important role belongs to such features of “the game” as “the genuineness of play” (a cogency of performance and concert event) and “the withdrawal” of an audience from their reality to different world of music. In the composer’s art an exclusion of “the playing” component reduces the potential of interpretation process, which could lead to formal fixation of an artistic idea or invention of formal ideas. An audience “withdrawal” from the “real world” to domain of concert event (namely, the creating of a “playing” atmosphere of the concert with its own “rules”) also depends on a concert hall entourage. The role of narrator is especially important for the “attuning” of listeners to percept unfamiliar music for them. Thus, “playing” component is necessary for the system of “composer – performer – listener” integrity and is a mark of the musicians’ artistry.
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McKenzie, Christine. "The Inner Game of TennisThe Inner Game of Tennis Timothy Gallwey." Nursing Management 15, no. 2 (2008): 9. http://dx.doi.org/10.7748/nm.15.2.9.s12.

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Long-Nicholson, Cindy. "Mastering Your Inner Game." Sport Psychologist 17, no. 2 (2003): 242–43. http://dx.doi.org/10.1123/tsp.17.2.242.

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JONES, STOKES. "The ‘Inner Game’ of Ethnography." Ethnographic Praxis in Industry Conference Proceedings 2010, no. 1 (2010): 250–59. http://dx.doi.org/10.1111/j.1559-8918.2010.00022.x.

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Dissertations / Theses on the topic "The Inner Game of Music"

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Kurki, Saara. "How to let go : Different ways to detect and release tensions." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4186.

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The aim of my project was to find different ways to make playing easier and freer. What does it actually mean to let go and what could help to achieve more secure and relaxed feeling in your body when playing your instrument? I collected and experimented with exercises from a book The Inner Game of Music and Alexander Technique. I found out that knowing more precisely what to focus on and being more aware of the body can have a great effect. I discovered more gentle ways to teach myself and learned about the importance of how we are treating and using our bodies during practicing and in everyday situations.<br><p>The sounding part consists of the following recording; Esa-Pekka Salonen: Pentatonic Étude.</p>
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Safavi, Safoura. "The Inner Gaze In Artistic Practice." Thesis, Stockholms konstnärliga högskola, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-934.

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”A finger pointing at the moon is not the moon...” -Buddhist Quote ”...but it can point you in the right direction.” -Charles Tart, American psychologist In this Master’s Thesis I will be presenting the idea of an Inner Gaze as an inherent witnessing system used in artistic practice. I will be mirroring my own practice as a Musician/Artist/Sound-Designer in the teachings of Hypnosis and The Science of Consciousness. Further I will share and analyze the collected data gathered from interviews with artists from different artistic fields, in order to gain a better understanding of how they experience their creative and performing minds. Is there any coherence in how we experience creativity? How common are the sensations of altered states of consciousness among artists? Can other artists relate to the idea of an inner gaze? Is this something we long to further explore and develop and would such a concept be beneficial for the artist and its works?
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Choi, Sujung. "Norie (Game) /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/6640.

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Thesis (D.M.A.)--University of Maryland, College Park, 2007.<br>Thesis research directed by: Music. Title from t.p. of PDF. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Crathorne, Pieter Jacobus. "Video game genres and their music." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4355.

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Thesis (MMus (Music)) --University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT: This thesis’s main focus is the connection video game genres have to the music used within them. The thesis starts by going back to the origins of music and its connection to movement. This leads to a better understanding of why visual presentations through the ages have always been accompanied by sound. Next, different types of sound are studied, as well as how they are implemented in various media today. This leads a discussion of genre, and care is taken to differentiate between genres in video games and in music. This is then applied to the sphere of video game music, which is then observed from the perspective of the video game genre. Analyses of music excerpts from a specific video game are also included in this section. The reverse is then applied by approaching the issue of video game music from the perspective of the music genre. It is concluded that one needs to approach the matter of video game music genre from a new perspective, relying on the source of the music and the means of music integration, rather than on existing music norms.<br>AFRIKAANSE OPSOMMING: Hierdie tesis se hoofdoel is om die konneksie tussen videospeletjies, en die musiek wat daarin gebruik word, te ondersoek. Die tesis begin deur terug te gaan na die wortels van vroeë musiek, en hoe dit deur die jare ‘n noue verbintenis gehad het met beweging. Hierdie konneksie maak dit duidelik hoekom visuele produksies gewoonlik deur klank ondersteun word. Volgende word verskillende verskynsels van klank bestudeer, asook die maniere waarop klank vandag in verskeie media geïmplementeer word. Dit lei tot die kwessie van genre. Daar word onderskei tussen die genres van musiek en die genres van videospeletjies. Volgende word die area van videospeletjie-musiek bestudeer, uit die perspektief van die videospeletjie-genre. In hierdie seksie kan analises van musiekuittreksels uit ‘n videospeletjie gevind word. Die teenoorgestelde word dan toegepas, deur die kwessie van videospeletjie-musiek uit die oogpunt van die musiek-genre te bestudeer. Aan die einde word dit waargeneem dat videospeletjie-musiek nie deur die norme van musiek-genre bestudeer kan word nie, maar dat nuwe perspektiewe ingeneem moet word, naamlik die oorsprong van die videospeletjie-musiek, asook die manier waarop dit in die speletjie geïntegreer word.
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Åberg, Ellinor. "Game music: from composer to consumer." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27285.

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By conducting an experiment involving interviews with successful video game music composers about the emotions they wish to convey to the players with their music, and a survey questioning consumers about what emotions they actually experienced while listening to these musical pieces, this bachelor's thesis tries to provide a deeper understanding for music in games and the impact it has on the player and whether or not the three composers that has been interviewed has succeeded with conveying the emotions they wished to convey to their consumers. The results showed that each composer that has participated has been able to convey the music's intended emotions to their consumers more or less. Almost none of the musical pieces used stood out as wrongly perceived by the survey participants. The preconceptions we have about emotions in music, both generally and in video games, has become so deeply rooted that by only listening to a musical piece one can determine its emotive state and character.
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Chou, Lin-San. "Analysis of and Performance Suggestions for Astor Piazzolla’s Piano Solo Work, Three Preludes: Leijia’s Game, Flora’s Game, Sunny’s Game." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273250807.

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YANG, HEEYOUNG. "GAME FOR FOUR CELLO." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1151383279.

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Summers, Timothy Richard David. "Video game music : history, form and genre." Thesis, University of Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573894.

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This dissertation investigates video game music from a musicological perspective, considering the role, function and effect of music in games. I hypothesize that music's significance for the gamer is founded upon the way the player interacts with the game. The nature of this interaction is determined by what is termed the 'interactive genre' in question - the type of interaction typical for a particular class of games. Thus the musical analysis of game interactive genres is an appropriate and potentially rewarding way of understanding game music. These genres of interaction are distinct and historically established, which allows a survey of many games over a relatively long chronological period. Musical analysis of interactive genres, in turn, illuminates the way in which gamers play and understand games. After creating a contextual frame for the study of game music, the body of the dissertation focuses on a genre-by-genre examination. Each chapter considers the features of a particular genre (or genres sharing key features), and examines representative games to ascertain the relationship between the game and the music. Certain genres prioritize distinct modes of interaction and components of musical function because of the interactive mechanism of the game, and thus provide the opportunity for the examination of particular musical concerns. That this is so indicates the close relationship between music and gameplay /interaction in the video game medium. A case study is used to demonstrate a 'deep reading' of the musical concerns or issues that are seen to feature prominently in the game genre in question. The study concludes with a summary in the form of a chapter on action games that focuses on the aspects of game music that can be extracted from the preceding discussions. The epilogue explores how game music may reveal the playfulness of the human-music interaction in a more general way. ii
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Kamp, Michiel. "Four ways of hearing video game music." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709001.

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Ijas, Kaapo. "Finding the inner fiddler : Folk music influences in Sibelius’ 7th Symphony." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2489.

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Books on the topic "The Inner Game of Music"

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Green, Barry. The inner game of music. Anchor Press/Doubleday, 1986.

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Timothy, Gallwey W., ed. The inner game of music. Anchor Press/Doubleday, 1986.

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Green, Barry. The inner game of music. Pan, 1987.

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The inner game. Macmillan, 1993.

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Gallwey, W. Timothy. The Inner Game of Tennis: The Classic Guide to the Mental Side of Peak Performance. Random House, 1997.

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Gallwey, W. Timothy. The inner game of golf. Random House, 1998.

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Gallwey, W. Timothy. The inner game of tennis. Bantam Books, 1988.

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Gallwey, W. Timothy. The Inner Game of Stress. Random House Publishing Group, 2009.

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Moormann, Peter, ed. Music and Game. Springer Fachmedien Wiesbaden, 2013. http://dx.doi.org/10.1007/978-3-531-18913-0.

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Havey, Jonathan Harvard. Blue Dragon: Inner dragon. VIZ Media, 2009.

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Book chapters on the topic "The Inner Game of Music"

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Göknar, Evren. "The Inner Game." In Major Label Mastering. Focal Press, 2020. http://dx.doi.org/10.4324/9781315164106-15.

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Sergeant, David. "Ted Hughes’ Inner Music." In Ted Hughes: From Cambridge to Collected. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137276582_5.

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Fritsch, Melanie. "History of Video Game Music." In Music and Game. Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_1.

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Pasdzierny, Matthias. "Geeks on Stage? Investigations in the World of (Live) Chipmusic." In Music and Game. Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_10.

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Strötgen, Stefan. "P(l)aying Music and Games." In Music and Game. Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_11.

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Liebe, Michael. "Interactivity and Music in Computer Games." In Music and Game. Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_2.

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Paul, Leonard J. "Droppin’ Science: Video Game Audio Breakdown." In Music and Game. Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_3.

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Strank, Willem. "The Legacy of iMuse: Interactive Video Game Music in the 1990s." In Music and Game. Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_4.

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Rauscher, Andreas. "Scoring Play – Soundtracks and Video Game Genres." In Music and Game. Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_5.

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Mundhenke, Florian. "Resourceful Frames and Sensory Functions – Musical Transformations from Game to Film in Silent Hill." In Music and Game. Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_6.

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Conference papers on the topic "The Inner Game of Music"

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Lieberman, David. "Game enhanced music manuscript." In the 4th international conference. ACM Press, 2006. http://dx.doi.org/10.1145/1174429.1174472.

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Heerema, John, and J. R. Parker. "Music as a game controller." In 2013 IEEE International Games Innovation Conference (IGIC). IEEE, 2013. http://dx.doi.org/10.1109/igic.2013.6659147.

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Liu, Lei. "Analysis on Cultivation of Children Inner Music Ability." In International Conference on Education, Management, Computer and Society. Atlantis Press, 2016. http://dx.doi.org/10.2991/emcs-16.2016.99.

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Lee, Huei-Min. "Battle for Peace Music Game Research." In 3rd Eurasian Conference on Educational Innovation 2020 (ECEI 2020). WORLD SCIENTIFIC, 2020. http://dx.doi.org/10.1142/9789811228001_0044.

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Yan, Zhengyu. "A Preliminary Study of Inner Hearing in Music Performance." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.027.

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Zhu, Jichen, Santiago Ontañón, and Brad Lewter. "Representing game characters' inner worlds through narrative perspectives." In the 6th International Conference. ACM Press, 2011. http://dx.doi.org/10.1145/2159365.2159393.

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Rossoff, Sam, George Tzanetakis, and Bruce Gooch. "Adapting personal music for synesthetic game play." In the Fifth International Conference. ACM Press, 2010. http://dx.doi.org/10.1145/1822348.1822370.

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Sumitomo, Souma, and Yuta Sugiura. "VR Music Game Considering Range of Arm Motion." In 2020 IEEE 2nd Global Conference on Life Sciences and Technologies (LifeTech). IEEE, 2020. http://dx.doi.org/10.1109/lifetech48969.2020.1570619307.

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Scirea, Marco, Peter Eklund, Julian Togelius, and Sebastian Risi. "Evolving in-game mood-expressive music with MetaCompose." In AM'18: Sound in Immersion and Emotion. ACM, 2018. http://dx.doi.org/10.1145/3243274.3243292.

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Wang, Hongyan. "The Study on the Entrepreneurship Direction College Music Majors of Inner Mongolia." In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.9.

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Reports on the topic "The Inner Game of Music"

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

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Abstract:
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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