2.1. The concept of a person as an individual A person as an individual appears in his natural, biological characteristics as a human body. The concept of the individual, according to Leontiev, is based on the fact of indivisibility, the integrity of a person, the presence of inherent

3.1. The concept of a person as a subject Another projection of a person is his existence as a subject. B. G. Ananiev pointed to such subjective manifestations as the ability to be the manager and organizer of activities, communication, knowledge, and behavior. Man as subject

4.1. The concept of personality Today in science, the word "personality" means a special quality or characteristic of a person (individual). Personality characterizes a person from the side of his social connections and relations, i.e., relationships with other people. Therefore, the concept of personality

4.3. The concept of human individuality A special and unlike other personality in the fullness of its spiritual and physical properties characterized by the concept of "individuality". Individuality is expressed in the presence of different experiences, knowledge, opinions, beliefs, in differences

The highest body of the collective (general meeting, gathering, conference) In a normal democratic state, the highest body is representative power. Voters entrust the right to pass laws to their elected representatives (deputies of parliament, Legislative

7.4. The development of creative abilities in younger students school age in music education There are examples in history early manifestation children's musical abilities: the musical talent of W. A. ​​Mozart manifested itself when he was three years old, J. Haydn - in

9.1. General understanding of the psychophysical foundations of the formation of performing technique In professional and pre-professional musical education, learning to play a musical instrument occupies a significant place. It begins preparation not only

the child, or rather, the degree of his development, greatly affects the achievements in teaching music. After all, images always express emotions, and emotions are the main content of almost any music.

Unfortunately, very rarely a child's game is interesting in an emotional and figurative sense, most often you can hear a dry, academic set of sounds. Well, if these are exactly the sounds that the composer intended. It is even better if the durations of the notes are calculated accurately.

Well, and if the pace is close to the present, then what more could you want? All tasks are solved. That's just listening to such a game is incredibly boring. Sometimes you think: “It would be better if something was wrong, but with a lively emotional reaction.”

But in order for this reaction to appear, the child needs a very sincere interest in what he is doing at the piano. In this matter, the main task is to achieve a vivid emotional reaction to music. Such a reaction that the child is simply “bursting” with impatience to tell with sounds about all the vivid images that live in music.

And for this it is extremely important that he first hears these images in music. But children of the age at which they begin learning music have not yet developed abstract thinking, so sounding music does not always evoke in them an associative series of images close to those with which they are already familiar from their childhood life.

In this regard, it is extremely important to push the child to consciously build bridges between the emotional content of the music he plays and those images, emotions, impressions that he receives from his life experience and from contact with others, related species arts.

Literature is one of such related and very close to music types of arts. Especially when it comes to literary and poetic recitation.

There are terms in music: "sentence", "phrase". We also use the concepts: “punctuation marks”, “caesuras”. But the most important thing that unites music with expressive speech and that is one of the main foundations of expressive performance of music is intonation.

Meaning literary work expressed in words, so it is easy for a child to understand the content of the text. In music, this content is manifested much more abstractly, it is hidden behind sounding symbols, and in order to understand the meaning, you need to know the decoding of these symbols.

Expressive intonation is one of the main symbols that convey the emotional context in music. Where did these intonation symbols come from and why are they more or less the same for all peoples (which makes the musical language universal)?

The reason is that they came from our colloquial speech, more precisely, from the intonations that accompany expressive speech. Accordingly, in order for a child to learn to hear these intonations in music, one must first teach him to hear them in ordinary human speech.

Since music is the language of emotions, then the speech from which the intonations are “removed”, copied, must necessarily be emotional. Thus, in order for a musician's playing to be expressive, he must learn expressive, emotional recitation.

Of course, at school everyone is asked to memorize poems, there are tasks for expressive reading prose texts. But will the teacher try? More precisely, will he be able to work out this skill with each child? After all, it can take a lot of time to correct inaccurate, “false”, or even simply mournful intonations.

No one will bother with each child when there are more than a dozen of them in the class. This can only be done by a mother who is interested in the child receiving a good education and

In this case, we are talking “only” about the development of creative thinking, which is so necessary for any type of human activity and which is so rare (precisely because it was not developed in childhood)!

And at the same time, artistry and fluency in speech develop - such necessary qualities for adaptation in any society! But this is only if you do not just learn the text with your child, but teach him expressive intonation.

And the music teacher will find what to do with this skill in the lesson. In the elementary grades, a verbal subtext (“subtext”) is invented for each melody.

If a child knows how to pronounce words emotionally, with expressive intonation, then it will be much easier to bring this intonation into music, and the very meaning of music will become much closer and clearer.

Musical thinking

The purpose of the lesson: show in practice some methods of working on a piece of music that contribute to the development of the student's musical thinking.

Educational task: to form and improve the professional skills necessary for mastering the culture of musical performance.

Development task: to develop the student's musical and artistic thinking, creating conditions for the formation and development of the student in the lesson cognitive interests, creative activity; to promote the development of the intellectual, emotional and volitional spheres of the individual.

Educational task: develop a sustained interest in future profession, the desire for self-improvement (self-control, self-esteem, self-regulation) and creative self-realization.

Equipment: multimedia equipment for slide demonstrations, two pianos (for a student and a teacher), a book rack with literature on the problem.

Music material used: I. Bach “Invention” (two-part C major), Bertini “Etude”, I. Blinnikova “Parma”, W. Mozart “Sonatas” (A minor, G major), S. Prokofiev “Morning”, “Fairy tale ”, P. Tchaikovsky “Waltz”, “Baba Yaga”, R. Schumann “The Bold Rider”.

Lesson Plan

1. Introduction.

2. Domestic musicology about thinking.

3. Musical thinking, its types and development.

4. Developing education as the basis for improving the “musical mind” (NG Rubinshtein).

5. Ideomotor preparation of a student.

6. Conclusions.

What is musical thinking?

What is its inner nature?

– What are the features of its development?

– What should a teacher do to develop the musical thinking of his students?

The answer to the questions that interest us, apparently, must be sought at the intersection of musicology, psychology and pedagogy. (showing the literature used in the preparation).

Question to those present: “What is more important in the process of musical education: to develop the emotional sphere of a student of music or his intellect?”. We will not rush to answer, but we will try to draw conclusions at the end of the lesson.

slide 1*

Some facts from historical development theories of musical thinking

For the first time the term musical thought” is found in the musical-theoretical works of the 18th century (historian Forkel, teacher Kvanz).

The concept of "m musical thinking”- I. Herbart (1776-1841).

The concept “ associative representations”- G. Fechner (1801-1887).

The concept “ musical logic”- G. Riemann (1849-1919).

The concept “ musical psychology- E Kurt (1886-1946).

____________________________

* slide texts are in italics

RUSSIAN MUSIC KNOWLEDGE ABOUT THINKING

Among the creators of concepts related to musical thinking, one of the first places belongs to B.A. Asafiev. The essence of his teaching is as follows: musical thought manifests itself and expresses itself through intonation. intonation like base element musical speech is the concentrate, the semantic foundation of music. Emotional reaction on intonation, penetration into its expressive essence - the starting point of the processes of musical thinking.

Research in the field of musical thinking was continued by B.L. Yavorsky, L.A. Mazel, V.V. Medushevsky, V. A. Zukkerman and others.

Scientist P. P. Blonsky wrote: "An empty head does not reason: the more experience and knowledge, the more capable it is of reasoning." And to teach to reason, to develop the musical thinking of future music teachers in the lessons of the main musical instrument is the primary task of the teacher.

The process of musical education brings together the two main areas of a student's mental activity - intellect and emotions.

slide 2

V. G. Belinsky"Art is thinking in images."

G. G. Neuhaus“The teacher of playing any instrument should be, first of all, teacher, i.e. elucidator and interpreter of music. This is especially necessary at the lower levels of the student's development: here it is necessary complex method teaching, i.e. the teacher must bring to the student not only the “content” of the work, not only infect him with a poetic image, but also give him a detailed analysis of the form, structure in general and in detail, harmony, melody, polyphony, piano texture, in short, it should be both a music historian and a theorist, a teacher of solfeggio, harmony and piano playing.”

MUSICAL THINKING, ITS TYPES AND DEVELOPMENT

Musical thinking– rethinking and generalization of life impressions, reflection in the human mind musical image, representing the unity of the emotional and rational.

Conclusion:"Music is a reflection of life."

Musical thinking includes analysis and synthesis, comparison and generalization. Analysis and synthesis make it possible to penetrate into the essence of the work, to understand its content, to evaluate the expressive possibilities of all means of musical expression. The ability to generalize is based on the principle of systematic knowledge. The method of comparison activates the existing system of associations and, as a mental operation, carries a contradiction between the available knowledge and the knowledge necessary to solve the tasks. This technique is the basis for acquiring new knowledge.

On the example of the previously performed “Waltz”, the main mental operations in relation to music are considered: analysis - division into components (accompaniment and melody), comparison - juxtaposition (waltz for listening and waltz for dancing), generalization - unification according to common ground(genre - triple meter in all waltzes, chord texture of accompaniment, etc.).

slide 3

Intensive development of thinkingis carried out when the student acquires knowledge:

• about the composer's style;
• about historical era;
• O musical genre;
• about the structure of the work;
• about the features of the musical language;
• about the composer's intentions.

The effectiveness of the development of the student's intellectual abilities is facilitated by the phased work on the lessons on a piece of music ( 3 stages):

1. Coverage as a whole of its content, character, logic of the development of musical thought (style, genre, historical era). Recommended: Method holistic analysis piece of music, method comparative characteristics, the method of generalization and the method of historical-stylistic deduction (genre).

2. Replenishment of knowledge in the field of musical form and means of musical expression through the method of differentiated analysis.

3. Emotional perception of a musical work and its embodiment in a sound image. At this stage for more effective development figurative thinking of the student, it is advisable to systematically replenish his knowledge in the field of related arts. Recommended: the method of complex analysis of the historical era, the method of verbal interpretation of the artistic image, the method of artistic comparison.

Step-by-step work on a piece of music intensively affects the development of professional and intellectual qualities of students and allows you to successfully carry out independent study musical material.

In practice, all three stages often occur simultaneously.

Exists two main working methods with a student in the practice of teaching musical performance:

1. Display, i.e. demonstration of how to play something on an instrument ( illustrative method).

2. Verbal explanation.

Question to those present:

Which of these methods should prevail? Opinions differ.

When the center of gravity in learning shifts to the development of the student, the formation of his intellect, the enrichment of his artistic and mental potential, the method of verbal explanation turns out to be the most effective.

A performance on an instrument can only give a direct emotional impulse to the student.

Creative task for a student: mentally compose (choose the means of musical expression - mode, tempo, dynamics, texture, register, etc.) two pieces with the names “Morning” and “Fairy Tale”. A student in the role of a composer talks about what means she would use to write these program pieces.

The teacher performs two plays by S. Prokofiev - "Morning" and "Fairy Tale". At comparative analysis We find much in common between the author's and the music composed by the student in the set of certain means of musical expression.

Conclusion: a certain program, laid down in the title of the work, gave impetus to the creative imagination of the student, brightly revealed her artistic and mental potential.

slide 4

Types of musical thinking:

1. Visual-figurative thinking (listener);

2. Visual-effective thinking (performer);

3. Abstract-logical (composer).

ARTISTIC IMAGE

In modern psychology, an artistic image is considered as a unity of three principles - material (melody, harmony, metrorhythm, dynamics, timbre, register, texture), spiritual (moods, associations, various figurative visions) and logical (formal organization of a musical work - its structure, sequence parts).

The student performs the play “The Bold Rider” by R. Schumann.

Teacher. In what form is this piece of music written? What signs can be used to determine the number of parts in this music?

Student. The play is written in a three-part form, because each part has a complete look, accompanied by a change in mood, a change in tonal plan.

Conclusion: the structure of the work contributes to the disclosure of the figurative content of music. Only with the understanding and unity of all these principles of the musical image in the mind of the performer (listener) can one speak of the presence of genuine musical thinking. Feelings, sounding matter and its logical organization.

DEVELOPMENT OF MUSICAL THINKING

The initial impetus for turning on the processes of thinking is often a problematic situation in which the existing knowledge does not meet the new requirements. Problem situations in relation to the tasks of music education can be formulated as follows:

1. To develop thinking skills in the process of perceiving music:

o identify the main intonational grain;

o determine the style of the work by ear;

o select works of art and literature in accordance with the figurative structure of a musical work;

o find a piece of music by a certain composer among others, etc.

2. To develop thinking skills in the process of performing:

o compare the performance plans of musical works in their various editions;

o draw up several performance plans for one work;

o perform the same work with different imaginary orchestration, etc.

Let's illustrate this with another example. The performance of the student sounds "Invention" by J. Bach.

Conclusion: the subjective factor of the performer (editor) leaves its mark on the understanding of this or that piece of music.

DEVELOPING EDUCATION AS A BASIS FOR IMPROVING THE “MUSICAL MIND”

Foundation developing learning in modern education music are the following main musical and pedagogical principles.

slide 5

Principles of developing music education:

1. Increase in the volume of musical material used in educational practice (expansion of the repertoire);

2. Accelerating the pace of passing a certain part of the educational material;

3. Increasing the measure of the theoretical capacity of musical performance classes (general intellectualization of the lesson in the musical-performing class);

4. Departure from passive - reproductive (imitative) ways of activity (encouragement of students to activity, independence and creative initiative);

5. Introduction of modern technologies, in particular - information;

6. Awareness by the teacher of the main strategic objective The student must be taught to learn.

Musical thinking is a specific intellectual process awareness of originality, patterns of musical culture and understanding of works of musical art.

The specificity, originality of musical thinking depends on the degree of development of musical abilities, as well as the conditions of the musical environment in which a person lives and is brought up.

Let us especially note these differences between Eastern and Western musical cultures.

Oriental music is characterized by monodic thinking.: the development of musical thought horizontally using numerous modal inclinations /over eighty/, quarter-tone, one-eight-tone, glissanding melodic turns, richness of rhythmic structures, non-tempered sound ratios, timbre and melodic diversity.

European musical culture is characterized by homophonic-harmonic thinking: the development of musical thought along the vertical, associated with the logic of the movement of harmonic sequences and the development on this basis of choral and orchestral genres.

Musical thinking has been studied since ancient times. So the system of correlation of musical tones, discovered by Pythagoras in the course of his experiments with the monochord, can be said to have laid the foundation for the development of the science of musical thinking.

2. Types of thinking. Individual characteristics thinking

In the art of music visual-realistic thinking can be attributed to the activities of the performer, teacher, educator.

Visual-figurative thinking associated with specific listener perception.

Abstract / theoretical, abstract-logical / thinking is associated with the activities of the composer, musicologist. In connection with the specifics of musical art, one more type of thinking can be distinguished, which is characteristic of all types of musical activity - this is creative thinking.

All these types of musical thinking also have a socio-historical character, i.e. belong to a certain historical era. This is how the style of different eras appears.: the style of ancient polyphonists, the style of the Viennese classics, the style of romanticism, impressionism, etc. We can observe even greater individualization of musical thinking in creativity, in the manner of expressing musical thought, which is characteristic of a particular composer or performer. Every great artist, even if he acts within the framework of the stylistic direction proposed by society, is a unique individuality / personality /.

Musical thinking is directly connected with the birth of an artistic image. In modern musical psychology, the artistic image of a musical work is considered as the unity of three principles - material, spiritual and logical. The material element includes:

– music text,

acoustic parameters,

Melody

harmony

metrorhythm,

dynamics,

Register,

Invoice;

to the spiritual beginning:

- sentiments,

associations,

Expression,

Feelings;

to the logical beginning:

When there is an understanding of all these principles of the musical image in the mind of a composer, performer, listener, only then can we talk about the presence of genuine musical thinking.

In musical activity, thinking is concentrated mainly on the following aspects:

Thinking through the figurative structure of the work - possible associations, moods and thoughts standing above them;

Thinking about the musical fabric of a work - the logic of the development of thought in a harmonic construction, the features of melodies, rhythm, texture, dynamics, agogics, shaping;

Finding the most perfect ways, methods and means of embodiment on an instrument or on music paper thoughts and feelings.

According to many musicians-teachers, modern music education is often dominated by the training of students' professional playing abilities, in which the replenishment of knowledge of an enriching and theoretical nature is slow.

Conclusion: The expansion of the musical and general intellectual outlook, actively contributing to the development of musical thinking, should be the constant concern of a young musician, because this increases his professional capabilities.

3. The logic of the development of musical thought

In the very general view logical development musical thought contains, according to the well-known formula of B.V. Asafiev, - initial impulse, movement and completion.

The initial impetus is given in the initial presentation of a topic or two topics, which is called an exposition or exposition.

After the exposition, the development of musical thought begins and one of the simple examples used here is repetition and comparison.

Another example of the development of musical thought is the principle of variation and alternation.

Promotion- this is a type of comparison in which each of the neighboring sections retains an element of the previous one and attaches a new continuation to it according to the formula ab-bc-cd.

progressive compression- this is when the dynamics increases, the tempo accelerates, the more frequent change of harmonies towards the end of a part or the whole work.

Compensation- when one part of the work compensates, balances the other in character, tempo and dynamics.

4. Development of musical thinking

According to the general pedagogical concept of a well-known teacher M.I. Makhmutova, for the development of students' thinking skills, it is important to use problem situations. PS can be modeled through:

Collision of students with life phenomena, facts that require theoretical explanation;

Organization of practical work;

Presenting to students life phenomena that contradict the previous worldly ideas about these phenomena;

Formulation of hypotheses;

Encouraging students to compare, compare and contrast their knowledge;

Encouraging students to a preliminary generalization of new facts;

Research tasks.

With regard to the tasks of musical education, problem situations can be formulated as follows.

To develop thinking skills in the process of perceiving music, it is recommended:

Reveal the main intonational grain in the work;

Determine by ear the stylistic directions of a musical work;

Find a piece of music by a certain composer among others;

Reveal the features of the performing style;

Identify harmonic sequences by ear;

Match the taste, smell, color, literature, painting, etc. to the music.

To develop thinking skills in the process of performing, you should:

Compare the performance plan of different editions;

Find leading intonations and strong points on which musical thought develops;

Draw up several performance plans for the work;

Perform a work with various imaginary orchestrations;

Perform the work in a different imaginary color.

To develop thinking skills in the process of composing music:

Melodically develop harmonic sequences based on general bass, bourdon, rhythmic ostinato;

Pick up familiar songs by ear;

Improvise pieces of a tonal and atonal character for a given emotional state or artistic image;

The embodiment of speech, everyday dialogues in musical material;

Improvisation for different eras, styles, characters;

Stylistic, genre diversity of the same work.

5. Pedagogical prerequisites for the formation of musical thinking in adolescent schoolchildren (in the context of music lessons)

Musical thinking is an important component of musical culture. Therefore, the level of its development largely determines the musical culture and adolescent students. The tasks put forward by the music program:

Use music in the development of the emotional culture of students;

To form in them the ability to consciously perceive musical works;

Think creatively about their content;

To influence the subject through music;

Develop student performance skills.

In accordance with this, the requirements for a music lesson are also formulated (in a general education school, in music school etc.), which should be holistic, aimed at emotionally meaningful communication of students with music.

The perception of musical works by adolescent students involves:

- their awareness of their emotional observations, experiences;

- clarification of the degree of their compliance with the content of the musical work, i.e. its comprehension, evaluation based on the assimilation of a certain system of knowledge and ideas about music as an art.

Based on the analysis of music programs, taking into account the psychological and pedagogical aspects of the musical activity of adolescent schoolchildren, a number of factors can be identified that in a certain way determine the levels of formation of their musical thinking skills.

1. Psychological and pedagogical factors:

Natural abilities (emotional responsiveness to music, sensory abilities: melodic, harmonic and other types of musical ear, a sense of musical rhythm, allowing students to successfully study musical activity;

Individual-characterological features of the child, contributing to the identification of the quality of his emotional and volitional sphere (the ability to concentrate, the skills of logical and abstract thinking, receptivity, impressionability, the development of ideas, fantasy, musical memory);

Features of the motivation of musical activity (satisfaction with communication with music, identification of musical interests, needs);

2. Analytical and technological factors:

The presence of a certain amount of musical-theoretical and historical knowledge among students, the skills of understanding the features of the musical language, the ability to operate with them in the process of musical activity.

3. Artistic and aesthetic factors:

The presence of a certain artistic experience, the level of aesthetic development, sufficient maturity musical taste, the ability to analyze and evaluate musical works from the standpoint of their artistic and aesthetic value and significance.

The presence of certain components of musical thinking in adolescent students, the levels of its formation can be established using in the process of research pedagogical activity the following criteria.

1. Characteristics of the reproductive component of musical thinking:

Interest in musical activities;

Knowledge of the specific elements of the musical language, their expressive possibilities, the ability to operate with musical knowledge in the process of perception and performance of musical works (as directed by the teacher).

2. Characteristics of the reproductive and productive component of musical thinking:

The presence of interest in the performance of folk and classical works song genres;

The ability to adequately perceive and interpret the artistic image of the song;

The ability to create your own plan for its execution, arrangement;

The ability to objectively evaluate their own performance of the song;

The ability to holistically analyze a musical work from the point of view of its dramaturgy, genre and style features, artistic and aesthetic value.

3. Characteristics of the productive component of musical thinking:

The need for creativity in various types of musical activity;

Development of a system of musical and auditory representations, the ability to use them in practical musical activities;

Special artistic ability(artistic and figurative vision, etc.);

The ability to operate with the means of musical language (speech) in the process of creating their own musical samples.

Literature

1. Belyaeva-Instance S.N. On the psychology of music perception - M .: Publishing house Russian knizhnik, 1923. - 115 p.

2. Berkhin N.B. General problems of the psychology of art. - M.: Knowledge, 1981. - 64 p. - (New in life, science, technology; Series "Aesthetics"; No. 10)

3. Bludova V.V. Two kinds of perception and features of the perception of works of art // Problems of ethics and aesthetics. - L., 1975. - Issue. 2. - S. 147-154.

4. Vilyunas V.K. Psychology of emotional phenomena / Ed. O.V. Ovchinnikova. - M .: Publishing House of Moscow. un-ta, 1976. - 142 p.

5. Witt N.V. About emotions and their expression // Questions of psychology. - 1964. - No. 3. - S. 140-154.

6. Vojvodina L.P., Shevchenko O.O. Pedagogical rethinking the formation of musical thought among schoolchildren of the junior age // Bulletin of the Luhansk State Pedagogical University named after. T. Shevchenko Scientific journal No. 8 (18) (According to the materials of the All-Ukrainian Scientific and Methodological Conference "Artistic Culture in the System of Higher Education" 20-23 January 1999). - Lugansk, 1999. - S. 97-98.

7. Galperin P.Ya. Psychology of thinking and the doctrine of the phased formation of mental actions // Studies of thinking in Soviet psychology - M., 1966.

8. Golovinsky G. On the variance of the perception of the musical image // Perception of music. - M., 1980. - S.

9. Dneprov V.D. On Musical Emotions: Aesthetic Reflections // The Crisis of Bourgeois Culture and Music. - L., 1972. - Issue. 5. - S. 99-174.

10. Kechkhuashvili G.N. On the role of attitude in the evaluation of musical works // Questions of Psychology. - 1975. - No. 5. - S. 63-70.

11. Kostyuk A.G. The theory of musical perception and the problem of musical and aesthetic reality of music // Musical art of a socialist society: Problems of spiritual enrichment of the individual. - Kyiv, 1982. - S. 18-20.

12. Medushevsky V.V. How are artistic means music // Aesthetic essays. - M., 1977. - Issue. 4. - S. 79-113.

13. Medushevsky V.V. On the regularities and means of the artistic influence of music. - M.: Music, 1976. - 354 p.

14. Medushevsky V.V. On the content of the concept of "adequate perception" // Perception of music. Sat. articles. / Comp. V. Maksimov. - M., 1980. - S. 178-194.

15. Nazaikinsky E.V. On the psychology of musical perception. - M.: Music, 1972. - 383 p.: hell. and notes. ill.

16. Sokolov O.V. On the principles of structural thinking in music // Problems of musical thinking. Sat. articles. - M., 1974.

17. Teplov B.M. Psychology of musical abilities. - M., 1947.

18. Yuzbashan Yu.A., Weiss P.F. Development of musical thinking junior schoolchildren. M., 1983.

Municipal budgetary educational institution

"Children's School of Arts"

Report

"Musical Thinking"

Compiled by:

piano teacher

MBOUDOD "DSHI"

Thinking- the highest level of human knowledge of reality.

Through the sense organs - these are the only channels of communication between the body and the outside world - information enters the brain. The content of information is processed by the brain. The most complex (logical) form of information processing is the activity of thinking. Solving the mental tasks that life puts before a person, he reflects, draws conclusions and thereby cognizes the essence of things and phenomena, discovers the laws of their connection, and then transforms the world on this basis.

Thinking is not only closely connected with sensations and perceptions, but it is formed on their basis.

The transition from sensation to thought. Thinking operations are varied. These are analysis and synthesis, comparison, abstraction, concretization, generalization, classification. Which of the logical operations a person will use will depend on the task and on the nature of the information that he subjects to mental processing. Thinking activity is always aimed at obtaining some result. Among the creators of concepts related to musical thinking, one of the first places belongs to. The essence of his teaching is as follows: musical thought manifests itself and expresses itself through intonation. Intonation as a basic element of musical speech is the concentrate, the semantic fundamental principle of music. An emotional reaction to intonation, penetration into its expressive essence is the starting point for the processes of musical thinking.

The Soviet sociologist A. Sohor, identifying the main patterns of musical thinking as a social phenomenon, rightly believes that in addition to “ordinary concepts expressed in words and ordinary visual representations that materialize in visible expressions, the composer necessarily – and very widely – uses specifically musical “concepts” , "ideas", "images"

Musical thinking is carried out on the basis of the musical language. It is able to structure the elements of the musical language, forming a structure: intonational, rhythmic, timbre, thematic, etc. One of the properties of musical thinking is musical logic. Musical thinking develops in the process of musical activity. Musical information is received and transmitted through the musical language, which can be mastered by directly engaging in musical activity. The musical language is characterized by a certain "set" of stable types of sound combinations (intonations) that obey the rules (norms) of their use. It also generates texts of musical messages.

Text structure musical message unique and inimitable. Each era creates its own system of musical thinking, and each musical culture generates its own musical language. Musical language forms musical consciousness exclusively in the process of communication with music in a given social environment.

Works play an important role in understanding the problem of musical thinking. In his works, he reveals the fundamental position of the theory of musical thinking: all the values ​​that art contains are spiritual values. To understand their meaning is possible only through self-improvement, through the development of one's spiritual world, striving for the knowledge of beauty and truth.

The structure of musical thinking must be considered in unity with the structure of artistic thinking. The changes taking place in the socio-cultural life of the country are adequately reflected in pedagogical theory and practice. Musical thinking as a process of knowing one's own soul is initiated by an external factor for the individual - a piece of music. External cause internal psychological experiences turns out to be a channel of communication between the inner world of the individual and the spiritual experience of mankind.

Musical thinking is a real mental activity, with the help of which a person joins the heights of musical art, comprehends the meaning of the spiritual values ​​contained in it. In this case, a number of independent problems can be identified:

1. Musical thinking as a process of comprehension of a musical work by a person;

2. Musical thinking as a way of human thinking when it comes into contact with music as an art form;

3. Musical thinking as one of the ways of human communication with the World.

Musical thinking- this is the process of modeling a person's relationship to reality in intoned sound images. It arises in the process and as a result of active, aesthetically colored interaction with sound reality. Aesthetically colored can be the attitude to the whole world (nature, life). However, for the formation of musical thinking, the primary role is played by sound reality, which already carries an aesthetic organization. This is musical art.

Art in general is the most complex system. Since the content of a musical work is not reducible to purely acoustic game sound forms, but is always a generalized expression human feelings and reflections, insofar as musical thinking is based not only on the actual musical, but also on the entire psychological experience of the individual.

The images of the surrounding reality, the experienced collisions of self-determination of one's "I", the values ​​and norms of behavior of the immediate social environment, the mastered methods of social activity - all these components of personal experience are organically present in the process of musical thinking along with musical experience. Researchers argue that in other areas of thinking, for example, in mathematics, chess, knowledge becomes the property of the individual only when the process of obtaining it is "lived", felt emotionally. But we are talking about the process, and the result is still abstract, not having a specific relationship to the spiritual world of the individual. As a result of musical thinking, a person ultimately receives knowledge about himself, his soul. And this is the special psychology of musical thinking.

called music the art of intoned meaning. This means that the understanding of a piece of music is a thoughtful search for the meaning, the meaning of the sounding intonations.

First stage- the beginning of thinking - the act of accepting a mental task. This is rational thinking or, in other words, objective thinking.

In musical thinking, this stage appears as a complex of elements of the musical language involved in a given work.

This requires not only subtle differentiated "hearing", but also considerable theoretical knowledge. In this sense elementary theory music can be considered the key to the successful flow of this stage. Most important result research, as a rule, is the conclusion about the insufficiency of the information received. And then a person turns to the available knowledge, his past experience. Interestingly, in doing so, he does not remember everything that is stored in memory, but only what can, in one way or another, contribute to the decision. In every single thought process specific gravity the knowledge used is different. It depends on the task, and on the personality of the person, and on the external situation in which it is solved. At the same time, according to the theory, a person constructs the meaning of a work of art from the associations and analogies of his experience. Thus, past experience in musical thinking is used in two ways: on the one hand, knowledge from the field of music theory is updated, on the other hand, images of previously experienced psychological situations emerge.

Until a specific process of musical thinking, they are "stored" separately. Simultaneous update of two different parties past experience during the perception of new musical information leads to the manifestation of the semantic meanings of individual elements. As a result, with the development of musical thinking, certain sound combinations receive fairly stable meanings in understanding. this person. at the next stage, a person studies the elements of the task or situation that has become the subject of reflection. Both the properties of individual elements and the most obvious connections between them are considered. The study does not have a clear direction: from the main elements to the secondary ones, then to their relationships, or vice versa. It can be both planned and chaotic, and a holistic coverage of all the most essential elements and relationships is possible.

In the process of human communication with a piece of music, several important points can be noted:

1. The impossibility of simultaneously doing two actions, pronouncing or writing two sentences, due to which the habit of thinking sequentially is developed, does not exist for music. The simultaneity of different things is natural here. Therefore, with the help of music one can develop such important qualities thinking as non-linearity and simultaneous versatility.

2. A holistic view of a piece of music is possible only when the last sound has ceased. Prior to this, the ear inevitably snatches out individual elements of the musical fabric, which immediately receive an initial, albeit vague, interpretation.

3. Analysis of individual elements without determining their place in the structure of the whole in musical thinking is impossible, since the elements of the musical language do not have a rigidly fixed out-of-context meaning. The meaning of each element can only be determined through the entire context and common sense the whole work

In addition to the main stages of thinking in general psychology, it is customary to single out operations. An operation can be considered an elementary unit of the thought process, since it involves the performance of one completed action. Following traditional logic, the psychology of thinking will highlight the following main operations. And Keywords: definition, generalization, comparison and distinction, analysis, abstracted grouping and classification, judgment, conclusion.

Most of them are present in the process of musical thinking in more or less specific quality. The special fluidity and irreversibility of the musical text necessitates constant structuring of the sound flow. The grouping operations of comparison and distinction can be called "permanent" deployed for the entire duration of the sound of the work. musical knowledge necessarily involves a comparison of what is currently sounding with the previous sounding, and this mechanism operates at all levels of musical syntax:

1. comparison of sounds in height and duration gives an idea of ​​the modal and rhythmic organization of intonations and motives;

2. comparison of motives and phrases allows us to perceive the scale of the structure;

3. comparison of parts and sections leads to an understanding of the form and type of development;

4. comparison of this work with others reveals genre and stylistic features.

Already from the second level of syntax, comparison and distinction require the inclusion of a grouping operation. It is possible to compare two phrases only when the boundaries of each of them are clear, if the individual sounds are combined, grouped into phrases.

A curious detail is that the very mood of the music and its changes are felt by a person on a sensual level. However, if musical thinking is not connected, then at the end of the sound, he is not able to characterize even the most significant changes. The music that has just sounded seems to be “erased” from memory and psychological experience.

Even more specific in musical thinking are the operations of judgment and inference.

Judgment- endows a certain object with a certain quality. However, judgments like “this music is fun” are only indirectly related to musical thinking. This statement is a verbal expression of an experienced emotional state. The results of musical thinking were realized, curtailed and clothed in a communicative speech form by another, subsequent mental act, for which music was not an essence, but a starting point. Here the regularities of ordinary rather than musical thinking acted. Outside of a concrete human perception, music is not at all conceivable in emotional and moral categories, therefore, the very perception of it as joyful or tragic is already endowing the sound with a certain quality.

Therefore, the emotional experience of music is a musical judgment.

Of course, along with such specific ones, in musical thinking there are also more traditional forms of judgments related to the acoustic parameters of sound, musical theoretical information, the situation of perception, etc., etc. But they are not identical with verbal expression and often with more difficult to verbalize. In addition to temporary components - stages and operations, thinking has a certain composition. It simultaneously involves several levels of the psyche, several of its layers. Conscious and unconscious levels are the most important components of this "vertical".

There is also such a component of mental activity as unconscious motor activity. The specific type of activity is determined by the type of task. Tasks presented in graphical form cause oculomotor activity; tasks related to verbal formulation - motor speech; tasks for practical intelligence (Piaget) - fine motor skills of the limbs.

The unconscious is the invisible denominator of musical thinking. It nourishes with the necessary mental material all the stages and operations of the mental process of the soul, that is, he realizes in himself something that was previously a mystery to himself.

Therefore, the unconscious is also an important part end result the process of musical thinking, the most important component of the cognizable artistic meaning.

The child's thinking, his psychological experience, emotional, motivational and other spheres of personality differ from the psyche of an adult.

According to a number of psychological indicators, the early school age can be recognized as optimal for the beginning of pedagogical guidance in the development of musical thinking. It is for primary school age that learning activity becomes the leading one.

At this age, a whole complex of necessary psychological prerequisites is formed.

It can be said that at this age the whole complex of “mental building material” becomes active, which is necessary for the formation of musical thinking: sensory-perceptual activity provides a rich auditory perception; motor activity allows you to live, "work out" the metro-rhythmic and, more broadly, the temporal nature of music with movements of various types and levels; emotional and expressive activity is the key to the emotional experience of music; and, finally, intellectual-volitional activity contributes both to the emergence of internal motivation and the purposeful "going all the way" of the process of musical thinking.

The process of developing independent thinking is long and complicated. The ability to think independently is not given to a person by itself, it is brought up through a certain training of will and attention.

It is important to focus on the lessons as much as possible. If the teacher takes on the main work, then the students will remain passive, their initiative will not develop.

It is necessary that the main mental activity fall on the student. Using small tasks, give the opportunity to reach the solution of problems on your own, that is, develop a child's creative initiative. To do this, for example, invite him to compose a melody for a given rhythmic pattern, for a poetic text, “finish” the end of a musical phrase, pick up a familiar melody, play it from different sounds, read a new play (excerpt) from a sheet and guess from which movie or TV shows this music, put down your own fingering, etc.

It is obvious that the problems of learning and creative development should be closely related. The process of creativity, the very atmosphere of search and discovery at each lesson makes children want to act independently, sincerely and naturally. "Ignite", "infect" the child with the desire to master the language of music - the main of the initial tasks of the teacher.

Plays a key role in the learning process Homework. Help your child make a daily schedule

Skill Development independent work proceeds successfully only if the student understands what artistic goal is pursued by the teacher's instruction - From this, the tendency to repeated repetitions, to what we call "the ability to work," should arise.

The success of independent work is a habit of self-control. Should be developed careful attitude to the text, to suggest that without the exact implementation of the composer's instructions, it is impossible to achieve the exact author's intention. It is important that the student not only knows how to listen to himself, but also knows that during work he needs to be checked, most often there are false notes, inaccuracies in voice leading, changes in tempo are not appropriate. It is very useful from time to time to learn a small work on your own without the help of a teacher. This improves the quality of the student's independent work.

From the very first steps, a young musician must share with others what he has acquired - in any form that is available to him: play with friends, relatives, play at auditions and concerts, and play in such a way that you feel the maximum responsibility for the quality of performance. And it is necessary that the student himself felt this responsibility.

The result of musical thinking can also be knowledge of an abstract nature, reflecting the patterns of sound reality. But that's not the point. If we keep in mind the comparison of the "spiritual information" of a musical work with personal psychological experience, then the very possibility of abstract knowledge seems problematic.

Psychology of thinking- a fairly developed branch of general psychology, which has accumulated rich theoretical and experimental material. On the basis of the regularities studied by her, we will try to identify the musical specifics of thinking. As a result of comparing new data with existing experience, a new formation arises, which in psychology and philosophy is called new knowledge. It usually has some degree of abstractness, abstraction. The result of musical thinking can also be knowledge of an abstract nature, reflecting the patterns of sound reality. But that's not the point. If we keep in mind the comparison of the "spiritual information" of a musical work with personal psychological experience, then the very possibility of abstract knowledge seems problematic. In fact, speculative knowledge about a feeling or an idea is not knowledge of this feeling or idea.

Knowledge of a feeling arises only when it is lived, felt (you can read a lot about love, but you won’t know it without really falling in love). And the idea gained through suffering, the feeling lived through is always concrete, psychologically extremely real.

During the sounding, the piece seems to “plunge” into the personality, and all psychological events unfold exactly there, in the inner world of a person. At the end of the sound, these events that occurred in himself, the person naturally associates with the sounded music.

This is where the mechanism of perception of music as a revelation lies. The most true, the most intimate is brought into a person as if from outside, the soul opens up, accepting the spiritual experience that belongs to other people, humanity. This is the most valuable form of communication through art.

Another important feature of musical communication is the "vagueness" of the addressee. A person in this communication constantly “slips” from the Author to Humanity, to himself or to another person who is nearby.

The communicative aspect of musical thinking is inextricably linked with practical musical activity.

In fact, speculative knowledge about a feeling or an idea is not knowledge of this feeling or idea. Knowledge of a feeling arises only when it is lived, felt (you can read a lot about love, but you won’t know it without really falling in love). And the idea gained through suffering, the feeling lived through is always concrete, psychologically extremely real. The division into composer, performer and listener is an essential factor, and many researchers base the classification of musical thinking on it, subdividing thinking into composer, performer and listener. This implies that composing thinking is the most creative, productive kind, and listening thinking acts as a more passive kind of reproductive thinking.

However, as a well-known researcher of thinking notes: “Any division of cognition into reproductive and productive is unjustified already because it excludes any possibility of passing from the first to the second. There is a gap between them that cannot be filled. Thus, he concludes: “Thinking is always creative.”

It is unjustified to attribute the most creative character to the composer's musical thinking, less creative to the performer's thinking, and the least productive to the listener's thinking only on the grounds that in the first case a specific material product arises - a musical work, in the second - it is "rebuilt anew", and in the third - is taken for granted and no outwardly noticeable product is produced.

In all cases, the initial conditions and the ultimate goal of the thought process will be different, but not its very creative nature. Moreover, works of art “can be perceived only if the laws by which musical perception is carried out correspond to the laws of musical production. In other words, music can only exist if, in some very important part, the laws musical creativity and musical perception will coincide ... "

The evidence presented makes it possible to important conclusion about the essence of musical thinking: musical thinking has a fundamentally creative character, it is productive even in those forms that seem passive to an outside observer.

In musical thinking, insight can be considered the comprehension of the meaning of the entire piece of music. Perhaps that is why music is considered one of those activities that especially require inspiration, and at the same time especially develop it. During the “extended” insight, consciousness has time to connect to sensory experience and fix the depth of one of the most exalted states of the human psyche.

Let's summarize:

1 . Musical thinking, being a part of general thinking, naturally obeys the main laws of the latter. At the same time, its specificity is manifested in the operation of musical information units, due to the intonational nature of musical art, imagery, the semantics of the musical language, compositional and dramatic logic, etc.

2 . The mental activity of a person is not limited to the processes of analysis and generalization of sensory impressions, it is also connected with practical activities. Musical thinking, cognizing reality, creates a new reality in the form of material intellectual products - musical and acoustic texts, which become the property of musical culture.

3 . Musical thinking, which realizes the knowledge and creation of musical being, covers inner world person. It takes place spiritual process search for meanings. Musical informational elements that make up the content of musical thinking determine its functioning, but are not the main goal of its activity. Cognizing and creating the musical world, a person creates and cognizes, first of all, himself. So, he creates his own spiritual world. Thus, the modern cultural understanding of musical thinking consists in considering it as a unity of reflection and creation.

Reflection represents only one side of the activity of consciousness, where the appropriation by the individual cultural property. But thinking also has a significant productive, creativity. Moreover, through the creative activity of thinking, a person creates not only material artifacts of musical culture, but also himself. Both represent for musical culture special value and significance.

Exactly creative activity musical thinking is the true guarantee of the formation and development of musical culture.