Thesis: Creative music-making as a factor motivating younger students to study music at a music school. Problems of choosing repertoire in the piano class

Methodical development

"Selection musical repertoire-factor of maintaining the motivation of music-making"

Lecturer MBOU DO "Nizhnesortymsk Children's Art School"

Kruglova Elena Ivanovna

1. INTRODUCTION

1. Theoretical analysis of the term "Repertoire"

1. The value of the repertoire in the development of the musical interests of students and the preservation of their motivation for playing music.

1. Age features of the development of musical interests in children of primary and secondary school age.

1. Methodological bases for the selection of repertoire in the development of the musical interests of students of music schools.

1. Bibliography

INTRODUCTION

Our pedagogical practice shows that the composition of the repertoire is mainly built by the colleagues of the Children's Music Schools:

1. with a focus on the requirements of the program;
2. on the basis of the existing repertoire experience of the teacher;
3. the musical needs of the child are taken into account formally on the basis of the available repertoire (when the teacher does not bother to search for musical works that take into account the musical preferences and characterological characteristics of students).

So, for example, melancholic and emotionally receptive natures like lyrical, romantic music. And choleric, sanguine people are impressed by dance-moving works, etc.

Or, for example, anxious and suspicious natures of children may demand musical-therapeutic, compensatory functions of works, etc.

The frequent discrepancy between the repertoire proposed by the teacher and the claims of students often leads to a loss of interest in musical and performing activities. This is especially often observed when students complete their studies in the music departments of the Children's School of Arts.

TARGET: To study the psychological, pedagogical and methodological possibilities of using a student-centered repertoire for students of the Children's School of Art in preserving their motivation for playing music.

1. Analysis of the literature on the problem of choosing a musical repertoire for pupils of the Children's School of Art.
2. The choice of methods for studying musical interests, tastes, preferences.
3. Modeling of pedagogical actions for compiling the repertoire of students on the basis of a student-centered approach.

If students select the repertoire on the basis of a student-centered approach, based on real musical abilities, then it is possible to ensure the preservation of the motivation for playing music in musical performance.

Theoretical analysis of the term "Repertoire"

An analysis of the musical, pedagogical and psychological literature gives grounds to assert that at present there is no consensus among scientists on the question of what a “repertoire” is.

“Repertoire”(French Repertoire, from lat. Repertorium - list, inventory) is a set of works performed in a theater, concert in which an actor performs, or musical plays performed by the musician.

“Repertoire” should include three features:

First sign is a collection, a complex, a system of works.

Second sign- this is an ideological orientation, a circle, a spectrum value orientations subject.

Third sign- technical possibilities of performance of works.

personally-oriented(humanistic) an approach(in learning) - an approach in which learning is seen as meaningful, self-initiated, aimed at mastering meanings as elements of personal experience. The main task of the teacher is to stimulate meaningful learning. The founders of the humanistic concept of the school: V.A. Sukhomlinsky, Sh.A. Amonashvili, in foreign psychology - K.R. Rogers.

personal an approach- the principle of psychology: individual approach to a person as a person with an understanding of its reflective system, which determines all other mental phenomena.

According to Yakimanskaya I.S. personally-oriented education- this is such training, where the personality of the child, its originality, intrinsic value is put at the forefront, the subjective experience of which is first revealed, and then coordinated with the content of education.

Thus, the “Repertoire” is a collection of works that determine the subjective ideological orientation, the range of value orientations, as well as the technical capabilities of the performer, who is able to express his ideological preferences through the complex of works being performed.

In this definition of the concept of “repertoire”, attention is focused on at least two aspects:

1) the nature of the content of the music and technical means expressiveness;

2) the subjective capabilities of the performer, both in terms of the technical aspects of making music, and his readiness (or unreadiness) to assimilate the ideological and figurative content piece of music.

It is the second aspect that is often ignored in pedagogical practice in the selection of repertoire.

By “music-making motivation”, we will understand as an internal state characterized by attraction, desire, the desire of an individual to satisfy the needs of playing music that is personally significant and attractive to him.

The value of the repertoire in the development of musical interests

students and the preservation of their motivation

playing music.

The basis of work in music schools and art schools is individual training in a specialty class, which allows teachers not only to teach a child to play an instrument, but also to develop artistic thinking, teach them to understand music, and enjoy it; to educate in the student the qualities necessary for mastering this type of art, as well as to exercise a direct influence on his pupil, to combine in his work education - the identification and development of the student's best inclinations and training, that is, the transfer of knowledge, skills, techniques of performing work to the student.

The educational process should be organized in such a way that it contributes to the development of students' love for music and the expansion of their general musical horizons.

The modern pedagogical repertoire of the children's music school is truly boundless. It includes a variety of music from pre-Bach times to the present day, from folk songs to modern folk arrangements. Preserving its classical “golden” fund as an unshakable foundation - from Bach to Prokofiev and Bartok - the pedagogical repertoire is constantly updated for all musical instruments. The main sources of its replenishment are the works of contemporary composers, created especially for children's music-making, arrangements of folk songs, pop works, as well as new publications of works by ancient masters. Each teacher studies the pedagogical repertoire throughout his creative life. The individual plan of a DShI student is made up of works of various eras and styles - it is this attitude that contributes, according to experienced teachers, the most intensive musical and technical development of beginning musicians. One should turn to the music of various national schools, to the work of both ancient composers and our contemporaries. A fairly wide range of material is intended, in our opinion, to form the taste of young pianists in the most effective and versatile way, to contribute to the accumulation of aesthetic impressions.

When choosing a new material, we are guided, on the one hand, by its artistic value, and, on the other hand, by its accessibility (in terms of figurative content and technical complexity) for the student. Encounters with the music of the old masters invariably bring genuine creative joy; the high aesthetic and instructive qualities of this music, tested by time, do not need recommendations. A stream of children's piano music, owned by the pen contemporary composers, is very heterogeneous.

The material chosen by the teacher to work with the student must meet the following requirements: to be, of course, of good quality in artistic terms, to meet the methodological requirements at different stages of the student's development, to be accessible to the student not only in terms of content.

The works that the student encounters must have the concreteness and figurativeness of the musical material. Usually these are songs, dances, fairy tales, program works. It was this path that Tchaikovsky, Schumann, Maykapar, Gedike, Kabalevsky, Kosenko and others followed in their collections for children. Gradually, complicating the material, the teacher must always remember the need to match the content of the work to the age of the student. It is necessary to ensure that the repertoire that meets our requirements is intelligible and understandable to students, so that by performing it, the children convey the content to their listeners. And this is possible only if the students are armed with the necessary performing skills and skills to work on the text of musical works.

The duty of the teacher is not only to arouse interest in music and instill a love for it. He must, which is much more difficult, instill an interest and love for the serious work that music requires. If the teacher manages to achieve this, then this will solve the problem of educating certain character traits of the student: independence, responsibility, attention, patience, will, discipline, which in turn leads to more effective work on a piece of music.

One of the most important tasks facing musicians of our time is to promote the formation of a sufficiently high musical taste among students, the ability to distinguish good-quality music from poor-quality music, the ability to understand with their mind and heart the difference between serious music, on the one hand, and light music, on the other.

Serious musical education should be received not only by gifted, but also by average students. After all, each of them can become a true music lover - an active listener, participant home music making or musical performance.

The importance of choosing the right repertoire when learning to play the piano is recognized by all teachers. Numerous manuals, methodological developments and theoretical works have been written about the requirements for its selection.

All educators agree that the repertoire for primary education should meet the “logic of assimilation and development of the material by the child”, which should be taken into account individual characteristics specific student that music, “strictly and severely” selected for teaching, should be “albeit the simplest, ... but talented.”

The high repertoire level encourages creative search for artistic images. And the gray repertoire, which does not correspond to the level of intelligence, reduces the desire to make music.

The repertoire for beginners should be more diverse in order to interest the child in new tasks, to quickly expand the circle of his musical performances and develop a variety of motor skills.

Along with melodious pieces, it is important to introduce all kinds of characteristic compositions. Gradually, the student moves on to compositions with a more complex melody and developed accompaniment, including pieces of a polyphonic warehouse. From the first grades of the school, the student must get acquainted with all types of polyphonic writing - subvocal, contrast, imitative - and master the elementary skills of performing two, and then three contrasting voices in light polyphonic works of various nature. An important role in the polyphonic education of the student is played by arrangements of folk songs. They help to comprehend the expressive meaning of polyphony more easily, introduce them to the polyphonic features of folk music. Practice shows that students brought up with early age on samples of folk polyphony, later they reproduce polyphony much better in the works of Russian composers.

Of great importance for the development of the student is the work on the sonata - one of the most important forms musical literature. In this form, works of various styles are written. The preparatory stage for the sonatas of Haydn, Mozart, Beethoven are classical sonatinas. They acquaint students with the peculiarities of the musical language of the period of classicism, bring up a sense of classical form, rhythmic stability of performance.

Classical sonatinas are extremely useful for cultivating such qualities as clarity of playing and accuracy in the execution of all details of the text.

The systematic passage of etudes is necessary for the successful development of the student. The significance of this genre lies in the fact that etudes allow one to focus on resolving typical performance difficulties and that they combine specifically technical tasks with musical tasks. Thus, the use of etudes creates the prerequisites for fruitful work on technique.

The repertoire does not educate by itself, it is only a means in the hands of the teacher; it depends on the latter in what light the work will appear before the student, what will go the ways work on it, what the student will learn as a result of this work.

If the teacher managed to captivate the student with a genuine work of art - let it be, for a start, a folk song in a monophonic presentation - this means that he picked up the key to his soul, that he touched his best feelings. The use of artistically valuable works enriches the student's musical development, his musical performances, and develops his musical taste.

Truly talented music does not involve the division of listeners into age categories. Its impact on human emotions, feelings, moods, way of thinking is always beneficial. This is proved, in particular, well known fact that most people, as they grow older and grow spiritually, tend to increase towards “serious”, classical music.

With age, a person gradually prefers more calm rhythms and a balanced emotional tone, which is inherent mainly in classical music, without completely abandoning light pop music. This can also be explained by the spiritual maturation of the individual, the development of a high artistic and aesthetic taste, which determines the preference for music that gives true spiritual pleasure.

The artistic and aesthetic sense and taste, having arisen and developed under the influence of meetings with truly high examples of art, stimulate a person's interest in art, the spiritual side of his life.

In the course of a person's life, his innate biorhythms undergo changes. Therefore, the marked transition of a person's interest from light, entertaining music to serious music corresponds to deep life patterns. As a person grows older, life experience enriches, his spiritual criteria change towards achieving greater satisfaction with his position in the world.

As for musical preferences, in this matter, as well as in religious beliefs, it is necessary to give each person freedom of choice. After all, any prohibition leads to directly opposite results, because "the forbidden fruit is sweet." Disputes about what kind of music is better go on constantly: some propose to ban youth music in general and are ready to forcibly impose only classical music on contemporaries. Others, on the contrary, argue that only in youth music there is a life that is absent in classical music. Still others propose removing opera and ballet music from the classics; others advocate hard rock and heavy metal, and so on.

The most important and most effective factor in preparing new generations of people for a creative life is to provide conditions for free, unconstrained, voluntary entry young man into culture and civilization. This means that the adults around the child - parents and teachers - must skillfully change the spiritual, moral atmosphere in which he is formed, trained, brought up, and educated.

A person's attitude to music largely depends on the musical environment in which he was formed, "what was not so much his musical education as his musical upbringing."

D. B. Kabalevsky said that “the main task of mass education ... is not so much the teaching of music in itself, but the impact through music on the entire spiritual world of students, primarily on their morality.”

We must not forget that the teacher-teacher-educator bears full responsibility for the spiritual life of children. The music teacher should be keenly aware of the musical interests of children and, relying on this, lead them along, instantly respond to all positive changes in tastes in society.

Children's music schools and children's art schools remain the center of musical upbringing and education of children. The task of music school teachers is to make it easier for children to enter the world of music, taking into account the realities of the modern world. Tastes, preferences, musical language are changing, the whole sound atmosphere in which our children grow up has changed. The music that they hear around them, that they play, determines their taste, forms spiritual inclinations. Therefore, it is so important to reveal to children the dialectical relationship between the musical heritage of the past and modern music, to show and help comprehend the development of traditions and genres, to teach them to select true values, which undoubtedly exist in any kind of music, to contribute to the ability to understand with the mind and heart the difference between serious music, on the one hand, and light music, on the other.

Traditionally, pedagogical thinking in compiling a repertoire for children is focused only on already composed music, most often already known authors. At the same time, in the scientific and methodological literature, we find a different approach, which is quite justified from the standpoint of creative pedagogy. The essence of this approach is to include in the repertoire of students and works composed by the children themselves.

In this case, the motivation for the performance of their works is projected onto the works of the program repertoire.

The most important pedagogical task is the need to select such a repertoire for each student, which would ensure the preservation of motivational readiness and its further development with a focus on highly artistic samples of music.

AGE CHARACTERISTICS OF THE DEVELOPMENT OF MUSICAL

OF INTEREST IN YOUNGER AND MIDDLE CHILDREN

SCHOOL AGE.

In mental development, the child goes through a number of periods, stages, each of which is distinguished by a certain originality. Each age period is distinguished by a special characteristic; it is prepared by the previous period, arises on its basis, and in turn serves as the basis for the onset of the next period.

A child entering school automatically occupies a completely new place in the system of human relations: he has permanent responsibilities associated with educational activities.

A feature of a healthy psyche of a child is cognitive activity. The curiosity of the child is constantly directed to the knowledge of the world around him and the construction of his own picture of this world. cognitive activity the child, aimed at examining the world around him, organizes his attention on the objects under study for quite a long time, until interest dries up.

Educational activity requires from the child not only developed cognitive abilities(attention, memory, thinking, imagination), not only volitional qualities and cognitive interests, but also a sense of responsibility.

Cognitive interests develop gradually, over a long period of time, and cannot arise immediately upon entering school, if sufficient attention was not paid to their upbringing at preschool age.

The role of the school is to give the child the knowledge and skills necessary for various types of specific human activity (work in different areas of social production, science, culture), and to develop the appropriate mental qualities.

The first years of schooling are years of very noticeable development of interests. And the main one is a cognitive interest, an interest in knowing the world around us, an avid desire to learn more. In connection with the formation of interests and inclinations, the abilities of schoolchildren begin to form.

Childhood is a time of development that is unique in its possibilities. This is a time in which there are special opportunities for learning, a special age sensitivity. A special sensitivity and direction of activity, changing from one stage of childhood to another, a combination, combination of properties of different age periods - these are necessary conditions, prerequisites for the formation and flourishing of a child's abilities.

A normal, healthy child is usually inquisitive, inquisitive, open to external impressions and influences: almost everything interests him, attracts attention. This “lever”, created by nature itself, should be constantly used in teaching in general and in music classes in particular.

Educational activity requires new achievements in the development of speech, attention, memory, imagination and thinking from the child, creates new conditions for the personal development of the child.

Primary school age is an important stage in the comprehensive development of the child. At primary school age, opportunities for the development of artistic abilities are formed. Younger students are very interested in drawing, modeling, singing, and on this basis they develop aesthetic feelings and tastes.

Primary school age is that important and unique period in the overall development of the child, which has a decisive influence on the entire subsequent formation of his physical, mental, artistic and creative abilities.

Younger students are emotional, impressionable, inquisitive, mobile and active, easily suggestible, conscientious in completing assignments, and quickly get tired of monotonous work. The age-related mental capabilities of children of primary school age make it possible to consider the initial period of study as the most favorable for the formation and development of both general and special musical abilities.

Adolescence - adolescence - the period of a person's life from childhood to adolescence in the traditional classification (from 11-12 years to 14-15 years).

During this same period, the adolescent passes great way in his development: through internal conflicts with himself and others, through external breakdowns and ascents, he can gain a sense of personality.

Adolescence is the period when a teenager begins to re-evaluate his relationship with his family. The desire to find oneself as a person gives rise to the need for alienation from all those who habitually, from year to year, influenced him, and first of all, this applies to the parental family.

Adolescence is the period when a teenager begins to appreciate his relationship with his family. The desire to find oneself as a person gives rise to the need for alienation from all those who habitually, from year to year, influenced him, and first of all, this applies to the parental family.

Adolescence is the period when a teenager begins to appreciate his relationships with peers. Communicating with those who have the same life experience as he has, enables a teenager to look at himself in a new way.

A special, priority place in adolescence is the perception of music. Entertainment music is in high demand.

Thanks to the expressiveness that calls for movement with its rhythm, this music allows the child to join the given rhythm and express his vague feelings through bodily movements. It turned out that teenagers and youth are the most sensitive to the effects of music.

It is this category of people who seeks to perceive music at the limit of the possible, strives for pop and rock music. Music immerses teenagers in dependence on rhythms, pitch, strength, etc., unites everyone with metabolic sensations of dark bodily functions and creates a complex range of auditory, bodily and social experiences. At the same time, the stronger the effect is exerted by the music, the more “buzz” the mass of teenagers immersed in music gets, the more each teenager renounces himself.

Along with the massive teenage immersion in pop - and rock - music, one can note the tendency of individual teenagers to perceive classical music.

The latter requires that they have three basic musical abilities. B.M. Teplov characterizes these abilities as follows:

1. Modal feeling, i.e. the ability to emotionally distinguish the modal functions of the sounds of a melody or to feel the emotional expressiveness of sound movement. This ability can be called differently - emotional or perceptual, a component of musical ear.

2. The ability for auditory representation, i.e. the ability to arbitrarily use auditory representations that reflect sound-altitude movements. This ability can be called the auditory or reproductive component of musical ear.

3. Musical-rhythmic feeling, a complex of basic musical abilities forms the core musical perception. A special ability formed on the perception of music is an ear for music.

A teenager, keen on listening to music and included in performing musical activities, is immersed in the development of his musical abilities - he seeks to develop harmonic hearing and the ability to sound representations. Developing an inner ear, he plunges into the flow of musical imagination and experiences a deep spiritual feeling.

The teacher “encourages students to be creative by creating certain situations. To activate the initiative of younger students, he offers them creative tasks in the form of a game. The game creates an atmosphere of ease, emotional responsiveness in the lesson. This is very important, because in such conditions the creative possibilities of children are most fully revealed.”

A student of primary school age is already able to understand the stable connection between sounds and notes and write down his improvisation. It could be called writing. Recorded improvisation differs from a genuine composition in the absence of a deep original idea, thoughtful content, verified form, and the desire to convey mature ideas.

The formation of interests in children and adolescents depends on the entire system of conditions that determine the formation of personality. Skillful pedagogical influence is of particular importance for the formation of objectively valuable interests.

CONCLUSION: 1) Thus, the peculiarity of musical preferences among younger schoolchildren (and even more so among preschoolers) is determined by their orientation towards musical preferences, tastes of adults (parents, teachers). They are more readily able to fulfill the proposals according to the repertoire plan of teachers.

2) While adolescents, due to their age characteristics, are more guided by the opinions and positions of their peers. Therefore, if by that time an interest in highly artistic works has not been formed, then the teacher is again forced to focus in the selection of repertoire on motivational readiness (unreadiness) for the performance of those proposed in the program. music school works.

Methodological bases for the selection of repertoire in development

musical interests of children music school students

The educational process of a children's music school should be organized in such a way that it contributes to the development of students' love for music and the expansion of their general musical horizons.

The task of the music school teacher is to be able to interest the child in the process of mastering the instrument, and then the labor necessary for this will gradually become a need. It is more difficult to achieve this for a beginner in music than in other branches of the arts, for example, in drawing, dancing, where it is easier for a child to show creativity and where he sees the concrete results of his work earlier.

The possession of the instrument is based not on any technical technique, but on the musical consciousness (hearing) of the student. At the first stages, the teacher's activity plays a decisive role in the educational process: he must systematically provide material, a kind of food for the student's independent work. The creation of the musical base on which the general musical education of the student will be built depends on the teacher.

One of the important features music pedagogy- identification and development in the process of teaching the individuality of the student.

The basis of work in music schools and art schools is individual training in a class in a specialty, which allows teachers not only to teach a child to play an instrument, but also to develop artistic thinking, teach them to understand music, enjoy it; to educate in the student the qualities necessary for mastering this type of art, as well as to exercise a direct influence on his pupil, to combine in his work education - the identification and development of the student's best inclinations - and training, that is, the transfer of knowledge, skills, and methods of performing work to the student.

Individual education and upbringing of students at the Children's School of Art is carried out on the basis of an individual student's plan, in which his development is traced and planned for all the years of study at a music school. When drawing up an individual program, the principle of pedagogical expediency is taken into account: the availability of presentation, conciseness and completeness of the form, the perfection of the instrumental embodiment. The program of each student should be diverse in styles and genres. Along with difficult compositions that require the exertion of all the forces of the student, are included in the plan and easier for him, which can be quickly learned.

The most concrete and easily fixable part of an individual plan is the choice of repertoire. In the works of methodologists, it is rightly emphasized that the main criterion for choosing musical material for students should be its ideological and emotional content, which has a profound influence on the formation of a musician. The younger generation, M. Feigin believes, should be educated on the basis of figurative, realistic, highly artistic music, which does not exclude the use of “instructive” material to a limited extent. Classical repertoire, proven by many years of collective experience, for all its high value not enough to educate a new generation of musicians. Teachers are obliged to study, select and include in the repertoire of students the best of what has been created and newly created by Soviet, Russian and foreign composers. This equally applies to music written specifically for children and youth, and to the most accessible part of music for adults included in the repertoire of students.

The program of each student - the musical food of a growing organism - should be more diverse, the student needs both easily digestible and demanding works. The student's program should always include at least one piece corresponding to his inclinations, which he can perform well in public, showing his best side. Along with this, there should be works in the work that make it possible to develop the qualities of performance that the student lacks so far, expand his musical horizons, educate his taste, and help him to comprehensively develop his mastery of the instrument.

On the importance of the selection of repertoire by students A.B. Goldenweiser writes the following: “What kind of literature should be given to children? You have to give good music. There are a number of works in children's classical literature, such as Clementi's sonatinas, light works by Bach, etc.; , Maikapara, Gedike and many others. If a performer is very inclined towards classical music, he should be given modern repertoire; if he is inclined towards modern repertoire, he should be given classical music”

Among the teachers there are supporters of the "classical" education of children, who argue: "Why do students need modern music, if there is Bach, Haydn, Mozart, Beethoven, Schumann, Tchaikovsky." The student's repertoire should be stylistically diverse. Artificial fencing off the established creative schools will not lead to anything good. Any repertory complex without contemporary music will be depleted and inferior.

The repertory complex should cover works of various styles, genres and periods - from ancient to modern music.

L. Barenboim in his writings argued that: “Contemporary music should be studied in parallel and simultaneously with the classics, but without overtaking or ahead of it.”

According to many teachers, a skillfully composed repertoire is the most important factor in the education of a musician.

The main criteria for choosing a repertoire are:

The artistic value of a work, where the main components of this concept are the depth of content and the perfection of the musical form;

Accessibility, interpreted as a dynamically developing concept that reflects the performance level of a particular student”.

The importance of the right choice when learning to play the piano is recognized by all teachers. Numerous manuals, methodological developments and theoretical works have been written about the requirements for its selection.

T.B. Yudovina-Galperina believes that “the repertoire for primary education should meet the “logic of the child’s assimilation of the material”, that the individual characteristics of a particular student should be taken into account, that the music “strictly and severely” selected for training should be “albeit the simplest, but talented” . When choosing a repertoire, it is necessary to take into account not only pianistic and musical tasks, but also the character traits of the child: his intellect, artistry, temperament, spiritual qualities, inclinations in which, as in a mirror, spiritual organization, innermost desires are reflected. If an emotional and moving play is offered to a lethargic and slow child, one can hardly expect success. But it’s worth playing such things with him in the classroom, but it’s better to take calmer ones to a concert. And vice versa: more restrained, philosophical works should be recommended to the mobile and excitable.

CONCLUSION: Along with the traditional program requirements for compiling a repertoire, it is pedagogically expedient to include in the repertoire also works that help preserve the motivation of students to play music, even if they go beyond the boundaries of the program requirements.

The attitude of the student to music is the motive for practicing it today, but many teachers are more likely to focus in their work on mastering the instrument than mastering the language of music. This position is the main reason for the widespread phenomenon that the vast majority of graduates of music schools never got involved in music during their studies.

Directions of work of the teacher in solving this problem:

1. Determination of musical knowledge, passions of the student, as a starting point for his further individual development.
2. Purposeful work of a teacher with a student on mastering the musical language - the figurative content and structural structure of works, trends, styles, genres, various forms, etc. Motivation for music lessons will naturally increase as the musical language is mastered. With the expansion of the range of musical interests, the formation of the student's taste, music becomes part of his inner, spiritual life; he no longer only practices the instrument, but also listens to musical recordings, attends concerts.
3. Normal can be considered a situation in which the level of mastering the musical language, and, consequently, the level of musical thinking is somewhat ahead of the instrumental, technical development of the student. The motivation for classes in such cases is of a spiritual nature and contributes to the optimal development of all the processes of the formation of a young musician.
4. The repertoire is the most important factor in cultivating a student's sustainable interest in music.

The main factors that positively affect the motivation for music lessons:

1. Passion for music:

a) Mastering the language of music and developing musical taste.

b) Accessible at the first stage, better familiar repertoire.

c) Listening to music in concerts, recordings, the game of the teacher.

d) Performances at concerts, in front of the class, parents.

e) Playing in an ensemble, group activities.

1. Student and teacher contact:

a) The interest and benevolence of the teacher.

b) Respect for the student, the desire to understand and study his personality.

c) Communication with the student on a variety of topics.

d) Extracurricular activities.

1. Psychological aspects of motivation:

a) Work for the result - the success of the work gives rise to interest and love for it.

b) Encouragement and assistance to the student in manifestations of initiative, creative self-expression.

c) The use by the teacher of factors that stimulate classes: pride, competitiveness of participation in competitions. Stimulation of younger students by the game of advanced seniors.

d) Encouragement of the student.

1. Working with parents:

a) A parent is a tutor in their child's homework. Therefore, his presence in the classroom is necessary.

b) The interest of parents in the child's activities is a benevolent home atmosphere that increases the student's interest in the activities, raising their prestige.

1. Love for your instrument.

Any way that allows you to stimulate music lessons will contribute to the successful development of the student, since the favorable psychological conditions that are created will not be slow to affect the quality of work.

Factors negatively affecting the motivation for music lessons.

b) indifference. The student's antipathy towards the teacher can easily develop into a similar feeling towards music, an instrument.

c) Forced learning. Usually it is a consequence of the teacher's ambitions, his desire to show himself. Those who do not cope with the volume and complexity of tasks lose self-confidence.

d) The formalized attitude of the teacher to the program requirements of the Children's School of Art.

The fact that music lessons are extremely serious, complex, but at the same time very interesting, the student must understand as early as possible. It is also important that the opinion about the prestige of studying music is strengthened in his mind, which is not so easy to do with today's attitude towards culture in our society. The professionalism of the teacher, the participation of parents, the creation of an artistic atmosphere in the classroom, as well as attending concerts, watching music on television, listening to recordings - all this should contribute to the formation of an interested attitude of students to music, understanding it as a significant phenomenon in the spiritual life of people. With this approach, music can become an integral part of a student's life.

CONCLUSION: REPERTOIRE is the most important factor in cultivating a student's sustainable interest in music, which, of course, is not disputed by any of the music teachers.

The traditional requirements for compiling a repertoire are focused only on highly artistic, classical samples of musical works, which obviously turns out to be outside the zone of motivation of students' musical interests.

1. Accessibility, both in terms of content and means of expression.
2. Playing in an ensemble, group lessons.
3. Communication with the student on a variety of topics, in order to identify the range of personal interests of students.
4. Ensuring the unconditional subjective success of students' work.

Thus, the purposeful activity of the teacher in compiling a personality-oriented repertoire makes it possible to ensure the preservation of the motivation for music-making among students of the Children's School of Art.

And vice versa, the selection of repertoire with a focus only on the program requirements for compiling the repertoire can lead to the destruction of the motivational aspect of the musical activity of students.

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The development of children's musical perception is carried out through all types of musical activities, so we will talk about the quality of the repertoire as a whole. The musical repertoire studied by children largely determines the content of musical education. That is why the assessment of the quality of musical works used in work with preschoolers is the most important issue of methodology.

The content of education is not only the knowledge, skills and abilities that children master. It should ensure the fulfillment of the tasks of the upbringing and development of the child in a complex. The success of solving the problems of musical education (development of musical abilities, fundamentals musical culture children) is largely predetermined by the musical repertoire itself. It is not so much important to teach children certain skills and abilities (singing, movements, playing musical instruments), but to introduce them to musical culture with the help of all these means. The same skills and abilities can be formed on a repertoire of different artistic value, so its selection is of paramount importance.

The musical repertoire used in working with children must simultaneously meet two requirements - artistry and accessibility. Let's take a closer look at these requirements.

Music has existed since ancient times. Mankind has preserved, selected, conveyed to our time all the most valuable, bright, talented, artistic. This is folk music and works created by composers in different historical eras in different countries. Modern man has the opportunity to study the heritage of world musical culture, to make it his spiritual heritage. Different people react differently to this possibility. Some prefer classical music, they have favorite composers, works; others are indifferent to it.

What is the reason for such a phenomenon that artistic masterpieces recognized by mankind have no value for many people?

Is music an elitist art, accessible to the perception of only a few, or can everyone fall in love with it, and then we need to talk about the costs of musical education?

The musical culture of a person, his tastes are formed in the process of learning the experience of cultural heritage. Where and when does a person acquire this experience? Learning it begins in childhood.

It is known that the child learns speech, being in a human environment. If he finds himself in an environment isolated from communication with people, then after the age of 3 it will be difficult for him to learn to speak. The musical language, which has an intonational nature common with speech, must also be acquired by a person from early childhood.

In not so distant times, when musical culture was an integral part of spiritual values ​​recognized by society, children, despite the difference in class, received rich, varied musical impressions.

In everyday life, the child heard mother's lullabies, folk music, among which he grew up. All folk holidays and rituals were accompanied by singing, dancing, and the sound of folk instruments.

In wealthy families, children could often listen to music performed by family members, and collective home music-making was widespread. Children were also taught to play musical instruments.

Religion had a great influence on the formation of the beginnings of musical culture. From childhood, the child heard music in the church during a solemn, majestic service, in an atmosphere of universal attention. Emotional impressions from music were deepened and intensified by the very sacrament of spirituality that the church preached.

As a result, despite the absence of radio and television in those days, and perhaps because of this, the child received aesthetically valuable musical impressions.

In each historical era the favorite circle of images, themes, intonations was reflected in the music. “New people, new ideological aspirations,” wrote B. V. Asafiev, “a different “mood of emotions” evoke different intonations”1.

B. V. Asafiev emphasized that the music of different times has its own “intonation dictionary of the era”. This concept is used in different versions: “the existing dictionary of intonations”, “oral dictionary of intonations”, “sound-meaning accumulations”, “sound dictionary”, “intonation dictionary of its time”.

In the music of J.S. Bach, strict, sublime melodies often sound. The art of the French harpsichordists F. Couperin and J. Rameau reflected the gallant art of the Rococo era.

Romantic elation combined with lyricism, sincerity in expressing feelings is characteristic of the music of R. Schumann, F. Chopin. Contemporary classical music is more conflicted; full of sharp sounds.

Receiving a variety of musical impressions from childhood, the child gets used to the intonation language of folk, classical and modern music, accumulates experience in perceiving music of different styles, comprehends the "intonation dictionary" different eras. The famous violinist S. Stadler once remarked: “To understand a beautiful fairy tale in Japanese, you need to know it at least a little.” The acquisition of any language begins in early childhood. The musical language is no exception.

At preschool age, the child has not yet developed stereotypes of tastes and thinking accepted in society. Therefore, it is so important to educate children on the masterpieces of world art, to expand their understanding of music of all times and styles. The accumulation of various musical impressions allows children to form intonation musical experience. The intonations of folk and classical music are becoming more and more familiar to the ear, familiar, recognizable. And, as you know, recognition of favorite melodies, intonations, works causes positive emotions in a person.

B.V. Asafiev explains this phenomenon as follows: “In the minds of the listeners ... not entirely musical works are placed ... but a complex, very changeable complex of musical representations is deposited, which includes various “fragments” of music, but which, in essence, , makes up an "oral musical-intonational dictionary". I emphasize: intonational, because this is not an abstract dictionary of musical terms, but each person intoned (aloud or to himself ...) "stock" of expressive for him, "talking to him" musical intonations, live, concrete, always "lying by ear" sound formations, up to characteristic intervals. When listening to a new piece of music, comparison occurs along these well-known "roads"1.

It is preferable to lay these "roads" on highly artistic samples of musical art, creating standards of beauty in the child's imagination.

Thus, the repertoire that is used in the process of musical education has an impact on the formation of children's attitude to music. What kind of music do children hear today in kindergarten and family?

The repertoire of the kindergarten includes folk music, children's classics and contemporary music, but the overwhelming majority consists of works specially created by domestic composers for children (taking into account didactic purposes). Many of these works do not meet the high standards of artistry. They are written in a simplified, unartistic musical language, include primitive clichés of intonational turns and harmonizations, are boring and uninteresting. With the help of these works, “roads” are laid along which the child goes, comprehending the language of music.

Communication has a great influence on the assimilation of musical experience by children. What is valuable to other people acquires value for the child himself. In the family, kids, as a rule, hear mainly entertaining music. Classical music has no value in the minds of many parents who themselves grew up without it.

The music director forms an interest in music on the repertoire that is traditionally used in the work of the kindergarten. Children perceive the positive attitude of the teacher to these works, and thus, they form the standards of beauty on works of little art. As a result of activity and communication, children are brought up on a repertoire that is far from perfect. "The intonation dictionary of epochs" is assimilated by them to a very small extent. It is supplanted by the intonation vocabulary of specifically children's contemporary music (in kindergarten) and entertainment (in the family).

We emphasize once again: the repertoire used in working with children should include works of classical music from all eras.

In this regard, it is necessary to consider another requirement that applies to musical works - the requirement of accessibility. It is considered, as a rule, in two aspects: the availability of the content of musical works and the availability for children to reproduce them.

The accessibility of content is sometimes understood as the use of programmatic visual images close to children (nature, play, toys, fairy tales, images of animals and birds, etc.), which provide support for external objective images. The issue of accessibility of music content is much broader. It should be considered in terms of the possibility of perceiving emotional content, corresponding to the feelings that children are able to experience at the moment.

The share of visual music in the total musical cultural heritage is negligible, so children should not be taught to look for support in objective images when perceiving music. It is useful for children to listen to non-program music, to distinguish between the moods expressed in it, and to empathize with feelings. At the same time, emotional

experience - the ability to empathize with those feelings that are expressed in the work.

From an early age, children can perceive images that express calmness, joy, tenderness, enlightenment, and slight sadness. It is not necessary to offer works with pronounced anxiety, gloomy sound for listening. After all, music affects a person physiologically - it calms or excites (depending on its content). This fact was proved by his experimental work by the eminent physiologist V. M. Bekhterev. On the basis of experiments, he concluded that the child reacts to the sounds of music long before the development of speech (literally from the first days of life). V. M. Bekhterev points out the expediency of using works that evoke positive emotions in children: “Young children generally react vividly to musical works, some of which cause them to cry and annoy, others - joyful emotion and reassurance. These reactions should guide the choice of musical pieces for the upbringing of the child.

Observations indicate that young children enjoy listening to the ancient music of J. S. Bach, A. Vivaldi, the music of W. A. ​​Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful. They react to rhythmic music (dance, march) with involuntary movements. Children perceive folk music well with the same emotions.

Throughout preschool childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, the beginnings of musical taste and musical culture as a whole are formed.

The accumulation of musical impressions is the most important stage for the subsequent development of children's musical perception. Since the amount of attention of preschoolers is small - they can listen to music for a short time (1-2 minutes), it is advisable to select small works or bright fragments. With repeated listening, you can take a larger fragment, depending on the reactions of the children, their interest. At the same time, it is important to observe a sense of proportion, to focus on the desire of the children, the manifestation of interest.

Children need to be introduced to the sound of various musical instruments - folk, instruments of a symphony orchestra, a wonderful instrument - an organ, their expressive capabilities.

Thus, the range of musical works accessible by content to preschoolers is quite wide.

"Creative music-making as a factor motivating younger students to study music at a music school"

(graduate work)

Introduction

1.3 Ways of formation of educational motivation

2. Creativity in psychology

2.2 Traits creative personality

3.2 Test procedure

3.3 Measurement techniques

Conclusion

Literature

Application

Introduction

IN modern life there is a rapid reassessment of values, views on the decades-old state of affairs are changing. Of particular importance are the problems associated with a person, his inner world, a harmonious and happy existence.

As in any other field, initial musical training often determines the entire future relationship of a person with music.

The literature on music education states: “The situation that has developed in the field of primary music education in our country can be described as a crisis. This is evidenced by a number of facts: a decrease in motivation when teaching children to play musical instruments in music schools, a decrease in the general interest of parents in teaching children music.

You can also notice that many children leave music school after studying for 2-3 years in high school.

All these facts indicate the emergence of an urgent need for teachers and psychologists to search for new approaches, develop methods in the field of professional music education in order to increase interest in learning and increase student motivation.

Musical education in the understanding of society has ceased to fulfill only a narrowly specialized role: learning to play instruments and gaining musical knowledge. The current situation imposes changed requirements on primary musical education. Among his tasks, there were others that meet the urgent needs of man. The most significant of them can be defined as follows:

· creation of conditions, giving each person a chance to find and identify individual ways of communicating with music;

· creative development of his natural musicality;

release of primary creativity, creation of conditions for spontaneous creative manifestations;

Assistance in the formation of the inner world and self-knowledge (emotional and mental development and psycho-correction).

In addition, the understanding of the essence and meaning of musical education in the modern world, under the influence of various human sciences, is gradually shifting towards understanding it not as additional and little mandatory, but as necessary.

T.E. Tyutyunnikova writes in her book: “Today we can say that the musical and creative education of a person, the development of his natural musicality is not only a path to aesthetic education or a way of familiarizing with cultural values, but a very effective way to develop a wide variety of people's abilities, the way to their spiritualized happy life and self-realization as a person. In this regard, the initial stage of musical education, which has a lofty mission to open its own way to music, is of particular relevance.

Such an understanding of the goals and objectives of musical education follows from a new look at education and training in general, from the definition of its content from the point of view of the person himself and his needs.

Object of research: students of elementary grades of children's music school (DMSH).

Subject of study: the relationship of educational motivation of junior students music school classes And creative activity on the example of creative music making; the influence of creative music-making on the motivation for learning music.

Purpose of the study

To determine the influence of creative activity, on the example of creative music-making, on the educational motivation of students in the lower grades of the music school.

Research objectives:

1) conduct a literature review in order to define the concepts of educational motivation and creative music-making as a type of creative activity;

2) to develop a program of the subject "Creative Music Making" for students of junior classes of music school;

3) plan a pilot study;

4) to develop methods for measuring educational motivation for students of primary grades of children's music schools.

5) plan and conduct an empirical study aimed at testing the experimental hypothesis;

6) to find out the influence of creative activity, on the example of creative music-making, on the motivation of primary school students when teaching music in music schools, namely its internal component.

Theoretical hypothesis:

Creative activities, namely creative music-making, help to increase the internal motivation of elementary school students to learn music.

Experimental hypotheses:

1. Psychology of educational motivation and ways of its formation

1.1 The concept of learning motivation in the psychological literature

In the modern educational space, it is not just teaching students about subject knowledge, skills and abilities that comes to the fore, but the personality of the student as an active figure with the appropriate structure of the need-motivational sphere. It is the nature of the needs and motives underlying the activity that determines the direction and content of the individual's activity, in particular involvement/alienation, activity/passivity, satisfaction/dissatisfaction with what is happening.

Motive is the student's focus on certain aspects of educational work, associated with the student's internal attitude towards it.

At the same time, involvement in activity, activity (initiativity) in it, satisfaction with oneself and one's result provide an experience of meaningfulness, significance of what is happening, are the basis for further self-improvement and self-realization of a person. The experience of alienation, passivity and dissatisfaction leads to avoidance of activity and sometimes to destructive forms of behavior. These characteristics are relevant for any activity, including educational.

S.L. Rubinshtein noted: “In order for the student to really get involved in the work, it is necessary to make the tasks set in the course of educational activity not only understandable, but also internally accepted by him, i.e. so that they acquire significance and thus find a response and a reference point in his experience. The level of consciousness is essentially determined by how personally significant for the student is what is objectively, socially significant.

E. Fromm characterizes alienated and non-alienated (productive) activity. In the case of alienated activity, a person carries out some business (works, studies) not because he is interested and wants to do it, but because it must be done for something that is not directly related to him and is outside him. A person does not feel involved in the activity, but rather focuses on the result, which either has nothing to do with him, or has an indirect relationship, representing little value for his personality. Such a person is separated from the result of his activity.

One of the most important criteria of pedagogical skill in modern psychology is the effectiveness of the teacher's work, which is manifested in the performance of students and their interest in the subject.

In connection with the foregoing, the allocation of external and internal motives of educational activity is of particular importance.

External motives are not related to acquired knowledge and performed activities. In this case, teaching serves the student as a means to achieve other goals. According to N.F. Talyzina: “With internal motivation, the motive is the cognitive interest associated with this subject. In this case, the acquisition of knowledge acts not as a means to achieve some other goals, but as the very goal of the student's activity. Only in this case does the actual activity of teaching take place as directly satisfying the cognitive need; in other cases, the student learns for the sake of satisfying other, non-cognitive needs. In these cases, it is said that the students' motive does not coincide with the goal. N.F. Talyzina writes: “Teaching can have a different psychological meaning for a student:

a) respond to the cognitive need, which acts as a motive for learning, i.e. as the "engine" of his learning activity;

b) serve as a means to achieve other goals.

In this case, this other goal is the motive forcing to perform educational activities. Externally, the activity of all students is similar, internally, psychologically, it is very different. This difference is determined, first of all, by the motives of activity. They determine the meaning for a person of the activity performed by him. The nature of learning motives is a decisive link when it comes to ways to improve the effectiveness of learning activities.

1.2 Learning motivation in primary school age

A study of the motives for learning among younger schoolchildren, conducted by M. V. Matyukhina, showed that their motivational sphere is a rather complex system. The motives included in this system can be characterized along two lines: by content and by state, level of formation.

1) educational and cognitive, related to the content (studied material) and the learning process;

2) broad social, associated with the entire system of life relations of the student (sense of duty, self-improvement, self-determination, prestige, well-being, avoidance of trouble, etc.).

It turned out that educational and cognitive motivation does not occupy a leading place in the system of schoolchildren's educational motives. It makes up less than 22% of this system. At the same time, the motivation associated with the content is in second place compared to that which comes from the learning process.

Content-related motivation satisfies the student's need for new experiences, new knowledge. The depth of cognitive interest in this case can be significantly different: the child can be attracted by the simple entertainment of facts or their essence. To a large extent, it depends on the features of the construction of the subject. In the experimental classes, where the main attention was paid to revealing the essence of phenomena, the schoolchildren's educational and cognitive interests not only occupied a leading place, but were also of a theoretical nature. Students were interested in causal relationships, the origin of phenomena. Motivation by the procedural side of the teaching satisfies the child's need for activity. Similar to content-related motivation, this type of motivation can be associated either simply with the ability to perform some action, be a performer, or with the possibility of creative search.

Broad social motives occupy a leading place among children of primary school age. The first place is occupied by the motives for choosing a profession and self-improvement. In second place are the motives of duty, responsibility (in students I-II classes - in front of the teacher and parents, and for third-graders - in front of classmates).

A great place in the educational motivation of younger students is the desire to get good grades. At the same time, students do not realize the connection between assessment and the level of their knowledge, i.e., the objective role of assessment.

A.K. Markova in her article gives a more extended scheme of types of motives: “The types of motives include cognitive and social motives. If a student in the course of learning is dominated by the focus on the content of the subject, then we can talk about the presence of cognitive motives. If the student has a pronounced focus on another person in the course of learning, then they talk about social motives.

Both cognitive and social motives can have different levels. So, cognitive motives have levels:

1) broad cognitive motives (orientation towards mastering new knowledge - facts, phenomena, patterns);

2) educational and cognitive motives (orientation towards the assimilation of methods of obtaining knowledge, methods of self-acquisition of knowledge);

3) motives for self-education (orientation towards acquiring additional knowledge and then building special program self-improvement).

Social motives can have the following levels:

1) broad social motives (duty and responsibility, understanding social significance teachings),

2) narrow social, or positional, motives (the desire to take a certain position in relations with others, to get their approval),

3) motives for social cooperation (orientation to different ways of interacting with another person).

Motivation for learning in primary school age develops in several directions. Broad cognitive motives (interest in knowledge) can already be transformed into educational and cognitive motives (interest in ways of acquiring knowledge) by the middle of this age; the motives of self-education are represented so far in the simplest form - interest in additional sources of knowledge, episodic reading of additional books. Broad social motives develop from a general undifferentiated understanding of the social significance of learning, with which a child comes to first grade, to a deeper awareness of the reasons for the need to learn, which makes social motives more effective. Positional social motives at this age are represented by the desire of the child to obtain mainly the approval of the teacher. The motives for cooperation and teamwork are widely present among younger students, but so far in the most general manifestation. Goal-setting in learning intensively develops at this age. Thus, the younger student learns to understand and accept the goals coming from the teacher, keeps these goals for a long time, and performs actions according to the instructions. With the proper organization of educational activities, a younger student can develop the ability to set goals independently. The ability to correlate the goal with one's capabilities begins to take shape.

1.3. Ways of formation of educational motivation

1. Ways of formation of educational motivation suggested by N.F. Talyzina: “Observation of the work of teachers shows that this necessary condition for the success of education is not always given due attention. Many teachers, often without realizing it themselves, proceed from the fact that once a child has come to school, he must do everything that the teacher recommends. There are also teachers who primarily rely on the negative emotions of students. In such cases, the activity of students is driven by the desire to avoid various kinds of trouble: punishment from the teacher or parents, bad grades, etc. If the learning activity does not bring joy, this is a signal of trouble. Even an adult cannot long time work on negative emotions.

The task of the teacher elementary school and the music school, including, first of all, consists in “opening the heart of the child”, awakening in him the desire to assimilate new material, to learn how to work with it.

In psychology, it is known that the development of learning motives proceeds in two ways: 1) through the assimilation by students of the social meaning of learning; 2) through the very activity of the student's teaching, which should interest him in some way.

On the first path, the main task of the teacher is, on the one hand, to bring to the consciousness of the child those motives that are socially insignificant, but have a sufficiently high level of effectiveness. An example is the desire to get good grades. Students need to be helped to realize the objective relationship of assessment with the level of knowledge and skills. And thus, gradually, the motivation coming from the assessment is transformed into the motivation associated with the desire to have a high level of knowledge and skills. This, in turn, should be recognized by children as a necessary condition for their successful, useful to society activity.

On the other hand, it is necessary to increase the effectiveness of motives that are perceived by students as important, but do not really drive their behavior. This way of formation of educational motivation is directly related to the peculiarities of the organization of the educational process. In psychology, quite a lot of specific conditions have been identified that arouse the student's interest in learning activities. N.F. Talyzina highlights some of them:

1) Studies have shown that the cognitive interests of schoolchildren significantly depend on the way the subject is taught. When the study of the subject goes through the disclosure to the child of the essence underlying all particular phenomena, then, relying on this essence, the student himself receives particular phenomena, learning activity acquires a creative character for him, and thereby arouses his interest in studying this subject. At the same time, as V. F. Morgun's study showed [quoted from 33 p. 99], both its content and the method of working with it can motivate a positive attitude towards the study of a given subject. In the latter case, there is motivation by the learning process: students are interested in learning, for example, the Russian language, independently solving language problems.

2) The second condition is connected with the organization of work on the subject in small groups. V. F. Morgun discovered that the principle of selecting students in the recruitment of small groups is of great motivational importance. If children with a neutral attitude to the subject are combined with children who do not like given subject, then after joint work, the former significantly increase their interest in this subject. If, on the other hand, students with a neutral attitude to the subject are included in the group of those who love this subject, then the attitude of the first to the subject does not change.

The same study shows that the group cohesion of students working in small groups is of great importance for increasing interest in the subject being studied. In this regard, when completing groups, in addition to academic performance, general development, the desire of the student was taken into account.

In groups where there was no group cohesion, the attitude to the subject deteriorated sharply.

3) In another study by M. V. Matyukhina, it was found that it is also possible to successfully form educational and cognitive motivation using the relationship between the motive and the purpose of the activity.

The goal set by the teacher should become the goal of the student. There is a very complex relationship between motives and goals. The best way to move is from motive to goal, that is, when the student already has a motive that prompts him to strive for the goal set by the teacher.

Unfortunately, in practice, such situations are rare. As a rule, the movement goes from the goal set by the teacher to the motive. In this case, the efforts of the teacher are aimed at ensuring that the goal set by him is accepted by the students, i.e., motivationally provided. In these cases, it is important, first of all, to use the goal itself as a source of motivation, to turn it into a motive-goal. At the same time, it should be taken into account that elementary school students have poor goal-setting skills. Children usually put the goal associated with learning activities in the first place. They are aware of this purpose. However, they are not aware of the private goals leading to it, they do not see the means to achieve this goal. The presence of a hierarchy of goals and their prospects takes place only among individual primary school students. Most students do not keep the goal that is set before them by the teacher.

4) N.F. Talyzina writes: "For the transformation of goals into motives-goals, it is of great importance for the student to realize his successes, to move forward."

5) One of the effective means of promoting cognitive motivation is the problematic nature of learning.

2. In our work, we also want to give a small fragment of an exemplary program for the formation of motivation for the learning of schoolchildren, proposed by A.V. Markova:

“The general meaning of the formation program is that it is desirable for the teacher to transfer students from the levels of a negative and indifferent attitude towards learning to mature forms of a positive attitude towards effective, conscious, responsible learning. If we consider the program for the formation of motivation for learning as a maximum program, which is carried out purposefully by all teaching staff, then we can say that all components of the motivational sphere (motives, goals, emotions) and all aspects of the ability to learn should be made the object of formation.

In general, it is advisable for a teacher to include, according to A. V. Markova, social and cognitive motives, their content and dynamic characteristics, goals and their qualities (new, flexible, promising, stable, non-stereotypical), emotions (positive, stable , selective, regulating activity, etc.), the ability to learn and its characteristics (knowledge, the state of educational activity, learning ability, etc.), their various parameters.

“The general way of forming the motivation for learning is to help the transformation of the broad motives that a student starting to learn (sketchy, impulsive, unstable, determined by external stimuli, momentary, unconscious, ineffective, adjacent) into a mature motivational sphere with a stable structure, i.e. with the dominance and predominance of individual motives and selectivity, which creates the individuality of the individual, which includes effective, delayed, promising and conscious motives, goals, emotions, mediated by a holistic "internal position of the student" - says A. V. Markova.

1. Techniques of the teacher's activities that contribute to the formation of motivation for learning in general. The general atmosphere in the school and classroom contributes to the upbringing of positive motivation for learning; involvement of the student in the collectivist forms of organization of various activities; the relationship of cooperation between the teacher and the student, the teacher's help not in the form of direct intervention in the performance of the task, but in the form of advice that prompts the student himself to make the right decision; the teacher's involvement of students in evaluation activities and the formation of adequate self-esteem in them.

In addition, the formation of motivation is facilitated by the entertaining presentation (entertaining examples, experiments, paradoxical facts), an unusual form of presenting the material that surprises students; emotionality of the teacher's speech; educational games, situations of dispute and discussion; analysis life situations, clarification of the social and personal significance of the teachings and uses school knowledge in the future life; skillful use of encouragement and censure by the teacher. Of particular importance here is the strengthening of all aspects of the student's ability to learn, ensuring the assimilation of all types of knowledge and their application in new conditions, independent implementation of learning activities and self-control, independent transition from one stage of educational work to another, the inclusion of students in joint educational activities.

2. Special tasks to strengthen certain aspects of motivation. Using a variety of methods for the formation of motivation for learning, the teacher must remember that external, even favorable conditions affect the motivation for learning not directly, but only in refracting them through the internal attitude of the student himself to them. Therefore, it is necessary to provide a system of measures (situations, tasks, exercises) aimed at the formation of certain aspects of this internal position of the student, his open, active, stable and conscious attitude to the influences of the teacher.

The teacher's work, directly aimed at strengthening and developing the motivational sphere, includes the following types of influences:

1) actualization of the positive motivational attitudes already formed by the student, which should not be destroyed, but strengthened and supported;

2) creating conditions for the emergence of new motivational attitudes (new motives, goals) and the emergence of new qualities in them (stability, awareness, effectiveness, etc.);

3) correction of defective motivational attitudes, a change in the child's internal attitude both to the current level of his abilities and to the prospect of their development.

3. Speaking about learning motivation, one cannot but touch on the basic ideas about the learning process and its motivation in foreign psychology.

In foreign psychological and pedagogical science, there are different approaches to the definition of learning as the interaction of two activities - the learning activities of students and the professional activities of the teacher. A.B. Orlov in his article highlights the following approaches:

1) One of them is that learning is the assimilation of knowledge, skills and abilities. In accordance with this approach, the teacher demonstrates the correct answers to the students, the students imitate them (i.e., reproduce, repeat and learn), and the teacher at the same time reinforces and strengthens these correct answers using a variety of means, ensuring the strength of the assimilation of knowledge, skills and abilities .

2) Representatives of another approach proceed from the fact that the student is a kind of passive perceiving device, which the teacher fills with knowledge, information in much the same way as an empty glass is filled with water from a full jug.

3) The third approach is that the student is an active subject in the process of constant, active interaction with his environment. The teacher's task is to create the most favorable conditions for this interaction.

A.B. Orlov believes that in their daily work, teachers, as a rule, do not adhere to any one of these approaches. However, if the first two of them are to some extent provided with scientific psychological knowledge describing the processes and regularities of the formation of knowledge, skills and abilities, the processes of translation, perception and reproduction of information, the third approach in scientific research is presented relatively poorly.

A.B. Orlov writes that the motivation for learning cannot be trained in students directly, as, for example, calligraphy skills. It is impossible to learn motivation, like a multiplication table, it can only be stimulated, developed, improved, etc.

All directions and programs of motivational training in foreign educational psychology proceed from this understanding of the nature of behavior motivation, i.e., from ideas about the initial activity of a person as a subject of behavior and learning.

A.B. Orlov notes that the motive is external if the main, main reason for the behavior is to get something outside of this behavior itself. An internal motive is, in principle, a state of joy, pleasure and satisfaction from one’s work that is inalienable from a person. Unlike external, internal motive never exists before and outside of activity. It always arises in this activity itself, each time being a direct result, a product of the interaction of a person and his environment. In this sense, the inner motive is unrepeatable, unique and always present in direct experience. Unfortunately, notes A.B. Orlov, modern psychology knows much more about how children learn to read and count than about how children (from a very early age) learn to enjoy the very process of learning and how this important ability can be strengthened. There is practically no research in this area of ​​educational psychology.

For intrinsic motivation, writes A.B. Orlov, the following features are characteristic:

All these seven indicators, or signs, of the subjective state of internal motivation in activity, equally inherent in both children and adults, according to the American psychologist Michali Ksikzentmihali [quoted from 19 p. 168], can be observed in any activity and do not depend neither from the cultural, nor from the racial, nor from the social and professional affiliation of people. This psychologist introduced a special term into the scientific psychological lexicon, denoting that special subjective state of internal motivation, which is characterized by all these seven above-mentioned signs. He called this state "feeling the flow," using the most common metaphor of his subjects.

A “feeling of flow” arises in a person whenever he begins to enjoy the activity itself, whether it be solving chemical problems or composing chess studies, a surgical operation or composing music, cultivating a garden or mountain climbing. Potentially, a “feeling of flow” can occur in any business and in any person.

M. Ksikzentmihaly [cit. on 19 p. 169] indicates that the “feeling of the flow” occurs only in those cases when “must” and “can” are balanced in a person’s activity, when what needs to be done (or the requirements of the activity) is brought into harmony, and then what a person can do (or a person's ability). If in the perception of a person these two parameters of activity - requirements and abilities - correspond to each other, then the necessary conditions are created for the internal motivation to arise in the activity, which a person experiences in the form of this kind of “feeling of the flow”. The dynamic balance of requirements and abilities is the most important characteristic and condition of this subjective state. This is what psychologists see main reason differences between the "feeling of the flow" and two other subjective states that often accompany human activity - states of boredom and anxiety. In the first case, the requirements of the activity are below the abilities of a person (this is a situation where, for example, a capable student is forced to solve simple tasks together with the class); in the second case, on the contrary, the requirements of the activity exceed the level of abilities (for example, when the student does not have enough time to properly prepare for a difficult exam).

A.B. Orlov writes: “As you know, the traditional forms and content of schooling are focused on the so-called “average student”. Therefore, uniform requirements that are set by students in the course of mastering one or another training course, do not coincide, as a rule, with the real and very different levels of abilities of the vast majority of students. One (smaller) part of the schoolchildren begin to suffer from boredom in the classroom by the end of primary school, and the other (large) part begins to experience overload and constant anxiety. As we all know, only a very few students enjoy classes. For them, the requirements and complexity of classes are in accordance with the level of abilities and opportunities. That is why most students perceive school as a source of either boredom or anxiety. In addition, the situation is quite typical for most schools when such subjects as work, singing, physical education, drawing, which for the majority of students may well become a source of internal motivation, a source of self-development, are in the position of second-class subjects. This practice obviously needs to be reconsidered.

A.B. Orlov also notes in his article some particular conditions for the development of intrinsic motivation:

1. Students' experience of their own autonomy or personal causation. When students experience personal causation in their studies, they perceive their activities as intrinsically motivated. On the other hand, if learning is perceived as conditioned by external factors and circumstances (the presence of control, rewards, punishments, etc.), then it gradually loses its internal motivation;

2. Students' sense of their own competence. So, for example, when learning situations there are positive feedbacks (praise, approval, experience of success, etc.) from the activity itself, its intrinsic motivation is enhanced. If negative feedback prevails ( critical situations and grades indicating the failure and incompetence of students), then intrinsic motivation is reduced. A similar effect has unstable and random (not due to the real achievements of students) feedback in the process of learning activities.

It is not the pedagogical influence in itself that is responsible for the strengthening or weakening of intrinsic motivation, but its functional significance or meaning (informational or controlling) for the student.

This psychological mechanism mediates any pedagogical influences on intrinsic motivation for learning, although it can be assumed that some of them are more likely to be perceived by students as having informational meaning, while others (for example, rewards and punishments) are much more likely to be interpreted as controlling factors and, therefore, often have a negative, lowering effect on the intrinsic motivation of learning.

In this regard, teachers should be very careful about the correct understanding of the school marks system by students. One or another school mark and even an elementary value judgment of a teacher can have a different (informational or controlling) meaning for students.

3. Situations free choice(factors that positively affect intrinsic motivation).

The choice made by the students themselves gives them the opportunity to experience freedom and self-determination in their studies. Psychological research show that giving students the opportunity to make free choices in the learning process (for example, choosing tasks for homework or choosing poems for memorization) not only stimulates their intrinsic motivation, but also significantly improves the quality of learning.

4. In addition to rewards and punishments, as a rule, factors such as time pressure, the need to complete a particular work by a strictly fixed deadline, and constant supervision of its implementation have a negative effect on the internal motivation of learning. All these factors are usually interpreted by students as various manifestations of external control over their behavior. Naturally, under these conditions, they begin to perceive their studies as forced, conditioned from the outside, that is, as externally motivated.

Among the conditions that have a negative impact on the internal motivation of learning, one should also include situations in which students begin to perceive themselves as if from the outside (for example, situations of answers in front of the whole class, in open lessons, etc.). Such situations are relatively easily perceived and tolerated by students with developed extrinsic motivation, but are usually avoided in every way by students who are characterized by intrinsic motivation. The conditions of public speaking actualize feelings of control, loss of autonomy and self-determination and, as a result, strengthen the external and weaken the internal motivation for learning. Therefore, in particular, the transition from frontal to group teaching methods usually has a stimulating effect on the internal motives of students, improves their general attitude to classes.

Summing up the consideration of various factors and conditions affecting the internal motives of educational activity, A.B. Orlov concludes: “Circumstances that give students autonomy, support their competence and self-confidence, increase intrinsic motivation, while circumstances that put pressure on students, control them, emphasize their incompetence, do not provide clear and adequate information about their progress in learning. weaken intrinsic motivation.

A literature review on learning motivation shows that there are different points of view on this issue.

In our study, we will rely on the definition of motivation and the allocation of external and internal motives for educational activity, proposed by Talyzina N.F. , Orlov A.B. and Markova A.M.

In the context of the problem we have posed, we have identified the following especially important ways to increase learning motivation (here is a very brief summary of them):

1) The activity of the student's teaching should interest him in something

2) The cognitive interests of schoolchildren essentially depend on the way the subject is taught. When the study of the subject goes through the disclosure to the child of the essence underlying all particular phenomena, then, relying on this essence, the student himself receives particular phenomena, learning activity acquires a creative character for him, and thereby arouses his interest in studying this subject.

3) Organization of work on the subject in small groups and group cohesion of students.

4) Using the relationship between the motive and the purpose of the activity.

The goal set by the teacher should become the goal of the student. Of great importance is the student's awareness of his successes, moving forward.

5) Students' experience of their own autonomy or personal causation. When students experience personal causation in their studies, they perceive their activities as intrinsically motivated. On the other hand, if learning is perceived as conditioned by external factors and circumstances (the presence of control, rewards, punishments, etc.), then it gradually loses its internal motivation;

6) Students' feeling of their own competence (positive feedback in learning situations).

7) Situations of free choice (factors that positively affect intrinsic motivation). The choice made by the students themselves gives them the opportunity to experience freedom and self-determination in their studies.

8) The transition from frontal to group teaching methods usually has a stimulating effect on the internal motives of students, improves their general attitude to classes.

2. Creativity in psychology

2.1 The concept of creativity in the psychological literature

Creativity is the highest form of mental activity, independence, the ability to create something new, original. The disposition to creativity can appear in any sphere of human activity: scientific, artistic, industrial, technical, economic, etc. The scale of creativity can be very different, but in all cases there is an emergence, the discovery of something new.

Creativity created science and art, all the inventions of human civilization, the very forms of human life. Creativity in labor is not a rarity, not an exception, but the most natural, full-fledged expression of human capabilities.

Psychological studies have shown that creativity is favored by the development of observation, the ease of combining information retrieved from memory, sensitivity to the appearance of a problem, readiness for volitional tension, and much more. It is believed that scientific creativity associated with the focus on the search for "logically possible" (as opposed to "logically necessary"), which allows you to come to unexpected results. At the same time, it was established that no abstract cognition is possible in complete isolation from the sensual. Therefore, imagination is of great importance in the process of creativity - in any field of activity, i.e. mental representation of images and operating them. It is also known that creative possibilities depend not only on abilities, intelligence, but also on certain character traits.

The novelty that arises as a result of creative activity can be both objective and subjective.

IN AND. Petrushin writes: “Objective value is recognized for such products of creativity, in which hitherto unknown regularities of the surrounding reality are revealed, connections between phenomena that were considered unrelated to each other are established and explained, works of art are created that had no analogue in the history of culture. The subjective value of creative products takes place when the creative product is not new in itself, objectively, but new for the person who first created it. These are for the most part the products of children's creativity in the field of drawing, modeling, writing poems and songs. The efforts of scientists studying the creative process are concentrated mainly on the study of creativity, the products of which have an objective value, i.e. one that has an impact on the development of science or culture as a whole. But at the same time, one should take into account the importance of children's subjective creativity in the sense that it is one of the indicators of the growth of the creative capabilities of a person who has received this result. Creative activity is always associated with personal growth, and this is precisely the subjective value of children's creativity products.

The creative act is preceded by a long accumulation of relevant experience, knowledge, skills, careful consideration of what a person wants to embody. The accumulation of knowledge and experience can be characterized as a quantitative approach to the problem, when they try to solve the problem that has arisen with the help of habitual, stereotyped operations of thinking that have been repeatedly used before. The creative act is characterized by the transition of the number of all kinds of ideas and approaches to solving a problem into their original new quality, which is the solution to this problem.

Going beyond the routine, the appearance of even a grain of novelty is a creative act. Passing an exam, getting married, moving to a new place of residence, starting work and changing jobs - in all these cases, a person acts as the creator of his destiny, the creator of his personality, the creator of public relations and labor achievements.

IN AND. Petrushin writes: “According to the concept of the personality of the American psychologist Eric Erickson, a person goes through a number of personality crises during his life, from which he needs to be able to get out for further steady development. The way out of the crisis is associated with a creative solution to the problem that has arisen. Vygotsky pointed out that creativity is always based on the moment of poor adaptation, from which needs, aspirations and desires arise. The desire to change the situation makes a person strain mental efforts aimed at improving the situation. This is where the creative act comes from.

The manifestation of the creative act, according to L.S. Vygotsky, historically and socially conditioned. Thanks to the continuity of the development of culture, what in previous eras was achieved only by an outstanding person, in our time naturally enters the school curriculum.

IN AND. Petrushin notes: “The essence of creativity lies not in the accumulation of knowledge and skill, although this is very important for creativity, but in the ability of a person, whether he is a scientist or an artist, to discover new ideas, new ways of developing thought, to draw original conclusions. The whole difficulty in the implementation of creative activity lies in the fact that although knowledge is the basis of creativity, nevertheless, completely different mental processes occur at the moment of assimilation already known knowledge and creating new ideas, new images, new forms. With approximately the same levels of skill, works of art that are completely incomparable in their value are created.

Modern psychology and pedagogy recognize that the degree of general creative development a person has its limits, the boundaries of which are established by the genetic features of the structure of the nervous system, i.e. that there are people by nature more or less creatively gifted, and that each person can and must develop his creative abilities to the levels that nature allots him. And you can determine these levels only by engaging in the activity in which a person can manifest himself in one way or another. As L. Vygotsky noted, although it is impossible to teach the creative act of art, this does not mean at all that the educator cannot contribute to its formation and appearance.

2.2 Creative personality traits

People who have a creative mindset, in whatever field they work, have a lot of common features, in the aggregate of which they differ significantly from less creative people. The traits of a creative personality, according to the American psychologist C. Taylor [cit. according to 25 p. 71], are: the desire to always be at the forefront in their field; independence and independence of judgment, the desire to go their own way; risk appetite; activity, curiosity, indefatigability in search; dissatisfaction with existing traditions and methods, and hence the desire to change the existing state of affairs; non-standard thinking; the gift of communication; foresight talent. Other researchers note such traits of a creative personality as a wealth of fantasy and intuition; the ability to go beyond the usual ideas and see objects from an unusual angle; the ability to resolve impasses in cases where they do not have a logical solution, in an original way. Contributing greatly to social progress creators of the new in art and science, as a rule, have extensive knowledge and depth of insight into the essence of the problem under study, a wealth of feelings and, above all, a sense of the new; strong will helps them achieve their own goals. They are well aware of the needs of social development and well understand the feelings of other people. With high sensitivity, creative people they pick up weak signals in the reality around them and build on this the development of their inherent gift of foresight. To find the truth, they do not shy away from hard and exhausting work, finding great satisfaction in its very process.

Creative people in their activities are not inclined to rely on authorities. Having studied at the beginning of their creative path everything that was done before them by their predecessors, they then go their own way, not paying much attention to criticism addressed to them. So it was with all the innovative composers who paved new paths in musical thinking - Beethoven, Liszt, Stravinsky, Schoenberg, Shostakovich.

IN AND. Petrushin notes: “Creativity is greatly influenced by the ability to show a vivid imagination, to approach a problem from different points of view, sometimes mutually exclusive, to question what seems obvious to many. Naturally, such traits of a creative personality make her not very accommodating with other people, which causes an unfriendly attitude towards her. The creator has to have a lot of courage in order to follow his life path, defend his principles, take risks, realizing that his innovative ideas may not be accepted by the public, and show exceptional perseverance in achieving the intended goal.

2.3 About the stages of the creative process

In domestic psychology, the most holistic concept of creativity as a mental process was proposed by Ya.A. Ponomarev. He developed a structural-level model of the central link in the psychological mechanism of creativity. Studying the mental development of children and solving problems by adults, Ya.A. Ponomarev came to the conclusion that “the results of experiments ... give the right to schematically depict the central link of psychological intelligence in the form of two spheres penetrating one into the other. The outer boundaries of these spheres can be represented as abstract limits (asymptotes) of thinking. From below, intuitive thinking will be such a limit (beyond it the sphere of intuitive thinking of animals extends). Above - logical (behind it lies the sphere of strictly logical thinking - modern electronic computers).

The criterion of a creative act, according to Ponomarev, is a level transition: the need for new knowledge is formed at the highest structural level of the organization of creative activity, and the means of satisfying this need are at the lower levels. They are included in the process taking place at the highest level, which leads to the emergence of new knowledge. Thus, a creative product involves the inclusion of intuition (the role of the unconscious) and cannot be obtained on the basis of a logical conclusion.

The basis for the success of the solution creative tasks, according to Ponomarev, is “the ability to act in the mind” (SDU), determined by a high level of development of the internal plan of action (IPA). This ability is perhaps the content-structural equivalent of the concept of general ability, "general intelligence". Creativity is associated with two personal qualities namely, the intensity of search motivation and sensitivity to secondary formations that arise during the thought process.

Ya.A. Ponomarev writes: “In the history of the psychology of creativity, many different phases of the creative process have been identified and described. The classification of phases proposed by different authors differs to some extent from each other, but in the most general form they have approximately the following content:

1) the first phase (conscious work) - preparation - a special active state, which is a prerequisite for an intuitive glimpse of a new idea;

2) the second phase (unconscious work) - maturation - unconscious work on the problem, incubation of the guiding idea;

3) the third (the transition of the unconscious into consciousness) - inspiration - as a result of unconscious work, the idea of ​​​​a solution enters the sphere of consciousness, for example: discoveries, inventions, the creation of a new masterpiece of literature, art, etc.) first in the form of a hypothesis, the principle of design;

4) the fourth phase (conscious work) - the development of the idea, its final formation and verification.

Ya.A. Ponomarev in his classification distinguishes the following phases:

1. arbitrary, logical search;

2. intuitive decision;

3. verbalization of an intuitive solution;

4. formalization of the verbalized solution.

2.4 Creativity in preschool and primary school age as a factor in personality development

The origins of human creative forces go back to childhood - to the time when creative manifestations are largely non-arbitrary and vital. This is often written and spoken about in relation to preschoolers.

The child instinctively strives to cognize the objective world around him, and at the first stages, the child includes all analyzers in independent cognition: he pulls all the objects that fall into his hands into his mouth, feels, shakes, and throws them in order to hear their sound. L.B. Ermolaeva-Tomina writes: “Such a “voluminous”, comprehensive acquaintance with the objective world continues when mastering the skills of walking. Discovering the world “for himself”, the child also discovers “himself”, his capabilities and abilities, especially during the period when “manual thinking” is turned on, when he begins to analyze objects, breaking them down and taking them apart in order to understand their structure and essence. As scientists rightly assert, “discovery for oneself” is an indispensable social and psychological condition for “discovery for others” .

An equally important indicator of natural creativity is the child's need from within to independently perform any activity and actions, to master them freely. It manifests itself in the fact that the child strives to do everything “by himself”: dress, fold and design something from sand, cubes, draw.

The child's spontaneous desire for self-knowledge, knowledge and mastery of the world around him, for independent, creative activity is proof that the creative process enters the child's life apart from his consciousness. “It is based on the process of mastering the creative potential of the entire human race. Therefore, it is possible to evaluate the procedural side of creativity by identifying the features and levels of its development by children.

“In addition to the need for creativity, children show specific abilities for it, which cannot be measured by the standards of adult creativity, but in it a kind of “semantic key” appears in a naked form to everything that mankind has invented over the centuries,” writes L. IN. Ermolaev-Tomin.

The same universal key to understanding the development (or more precisely, to the maintenance) of creativity in adults are needs. A child cannot be forced to do something in which he does not experience it. In adults, it is possible to actualize creative potential only if there is an internal need and need for it.

Moments of creativity are quite noticeable even at primary school age, when children introduce elements of fantasy into cognition: elementary school students are characterized by unexpected comparisons, unusual proposals. We must not forget what an important place in the life of a junior schoolchild continues to be occupied by games based on imagination.

Rapidly developing in preschool and junior school years, visual-figurative thinking plays an important role not only at these stages of development - it can become a prerequisite for the creative activity of an adult: worker, engineer, scientist, artist. Thus, much in the creative possibilities of a person depends on how expressed and what place was taken in the future by those properties of the psyche that distinguish periods of childhood.

All mental properties of the child are formed and developed in the course of his interaction with the outside world, under the influence of training and education in the broadest sense of these words.

According to sociological theories, creative activity appears in a person as a result of the influence of favorable or "creative" factors surrounding the child from early childhood. These include, first of all, the adult environment, which acts as a model and standard for the child to follow. The most favorable is the active, active position of adults, as well as the position of the child in the family in relation to other children and adults. The optimal position of the eldest in the family, and not the "youngest", "only" or "late" child. The democratic style of relationships between parents and children is more correlated with the manifestation of creative activity than "authoritarian" or "permissive". Rigid control over children or complete lack of control are equally unfavorable for creativity. The school plays an important role in the education of creative activity. Specialized and urban schools are more conducive to the formation of creative activity. The position of the child in the team is most favorable for the awakening of creativity, either when he is rejected by fellow students, or becomes a leader.

An important factor in the formation of a person's creative activity is early involvement in creativity through visiting circles, to the joy of knowing the world through one's own experience, travel, etc.

Due to age, maturation, the features of a growing person are unique stages of development. At these stages, the formation of certain mental properties occurs more easily than in the future, and each of the stages brings with it new possibilities for the formation of personality. It is in certain years of childhood that age-related prerequisites for creativity are revealed.

Preschool and primary school age is characterized by favorable conditions for the development of artistic imagination - these are:

3) the most important psychological prerequisite for the development of the imagination, is formed in various games, which for a long time remain the main and favorite pastime of children.

However, these prerequisites for creativity are not sufficiently used in music and art education and often turn out, as A.A. Melik-Pashaev and Z.N. Novlyanskaya, only something coming.

Very few continue to engage in artistic and musical creativity - mainly those who early felt an inner need to devote their whole lives to this, or those for whom such a decision was made by the parents, making sure that the child has the necessary qualities for this. And the vast majority of people from childhood are excommunicated from artistic or musical creativity.

So, we can conclude that preschool and primary school age are the most favorable for the development of the child's creative potential, and it is during this period that it is necessary to awaken in him such an attitude to life, which is characteristic of real artists and musicians, and develop his creative imagination.

The main goal of universal artistic and musical development is not at all that each child develops some purely special abilities to a high level or that he connects his professional destiny with art.

A.A. Melik-Pashaev and Z.N. Novlyanskaya believe that the main goal is for every person, regardless of his future profession, to acquire the ability to treat life, nature, another person, the history of his people, the values ​​of culture in such a way, as the present relates to all this, great artist. Without the experience of such an attitude, it is difficult for a child to become a harmoniously developed person.

2.5 Making music as a kind of creative activity

One of the types of creative activity in the field of musical pedagogy is playing music.

Based on my ten-year practice of working in a music school, using knowledge in the field of psychology, I developed a program for elementary grades of music schools on the subject of “Creative Music Making”, on the basis of which our research will be conducted.

The study should answer the question: is creative activity, in this case, creative music-making, a factor that increases the motivation of younger students when learning music at a music school?

Before dwelling on the program in detail, we would like to clarify the concept of "creative music making", because. the word "music-making" is not in the academic dictionaries of the Russian language.

The concept of "music making" is very multifaceted and has its own history. There are several main types of "music-making":

1) playing music according to the models of oral and written tradition;

2) reproductive and creative music making;

3) home and concert music-making.

1) In the history of music-making, two traditions have always been intertwined - amateur, public and professional, closely related to the talent and skill of individual individuals. This division was outlined in the times of primitive communal system and is preserved in folklore today. Music-making was originally oral, it was distinguished by an applied character (domestic or aesthetic communication, organization of work), non-professionalism and the resulting universal accessibility. Everyone had the opportunity to participate in it, since it did not require special abilities and special training. It is known that in the primitive cultures that have survived in certain parts of Africa, Australia and Oceania, all the inhabitants of the village, children and adults, take part in playing music, and skillful talents help in organizing the holiday, without opposing themselves to the rest.

Music-making based on the written tradition, which became widespread in the 17th-19th centuries as chamber performance and now exists in various “salon” forms, inevitably involves the division of audiences into listeners and performers, into those who know how to play music and who came to listen. This type of music making real life gives rise to amateur musical movements based on the models of written culture.

However, the very concept of making music as a special form of human existence in music, science today tends to refer more to its oral types. So M. Saponov, who studied the minstrel tradition of Europe, considers the “situation of making music”, together with the type of music used (folklore) and the methods of transferring skills (in the process of musical communication), to be significant for a certain type of culture.

2) Reproductive music-making usually means the individual or collective performance of composed and recorded music, the finished “product” of someone’s creativity.

The creative nature of music-making is the most important feature of oral music-making, since it is an immanent property of all non-written cultures. Orality is due to its initial simplicity: there is no need to memorize texts, to accurately reproduce them. Expediency exists only in the creative process. “Creative music-making is more the process of creativity than a product, more communication than learning, more a subjective state than its objective expression,” writes T.Yu. Tyutyunnikov. It is based on improvisation, interpretation, variational renewal, free combination. Production musical ideas for spontaneous communication of partners is its meaning. Such music-making exists in the folklore of all peoples of the world, both European and non-European.

The defining property of creative music-making is creativity. Its basis in modern pedagogy is made up of well-known author's musical and creative concepts that have become the cornerstone of learning through creativity - Jacques-Dalcroze, Carl Orff, Zoltan Kodai, Shinitsi Suzuki, combined with various forms of theatrical activity.

In the process of developing the idea of ​​creative music-making, different types of music (not only elementary or classical) were included in real pedagogical practice, as well as different types experience (not only musical), the expediency of using which was determined by two factors:

the need to find individual ways of communicating with music for everyone;

· the desire to expand and enrich the musical experience.

Creative music-making opens up the opportunity for every person to find their own path to music and continue it further in proportion to their own desires and capabilities. But first he will discover it as a satisfaction from self-expression in sounds, which only in this case has a chance to become a need.

The very revival of creative music-making in the modern world as an educational and pedagogical practice and a form of leisure testifies to the desire to bring music closer to a person, to “make” it the subject of personal experience, primarily the experience of spontaneous self-expression. It can be seen as an effective expression of the human need for emotional and motor self-expression.

In our work, creative music-making is understood as a form of oral musical practice. The basis of creative music-making is elementary (simple) music-making as a combination of music, movement, speech and drawing.

The inclusion of these forms of music-making is due to the desire to expand, as far as possible, the musical and creative experience of children, to interest them, to reveal the inner creative potential of each child. Some forms of music-making, being essentially educational, include elements of theory and harmony.

T.E. Tyutyunnikova writes: “Creative music-making is the acquisition of diverse experience in connection with music - the experience of movement and speech as the forefoundations of music; experience of the listener, composer, performer and actor; the experience of communication and direct experience, creativity and fantasizing, self-expression and spontaneity, the experience of experiencing music as joy and pleasure. It provides a natural and complete accumulation of subjective musical experience and the experience of creative activity.

Improvisation.

Improvisation dominated music for dozens of centuries, being the basis of folklore music-making even today. For many centuries it was the only way for the birth and existence of music. We can say that it was also a condition for its birth: a person had to be able to capture his inner music and immediately make it audible - play, sing, dance.

For a long time, during the 16th-18th centuries, improvisation also permeated pedagogy, when the education of a musician meant not only the education of a composer, performer, but also an improviser. In the 19th century, musical pedagogy, for a number of reasons, lost the tradition of studying musical speech by involving the student in the element of musical communication. Only in the 20th century did she begin to feel a craving for the universality of creative learning in all areas of pedagogy.

About musical improvisation in European culture In our time, an almost mystical conception has developed as an ability that only selected talents are endowed with. However, according to folklorists, even the babbling of babies has the first experiences of musical improvisation: “Musical improvisation is a natural need not only for a musician, but for any person to reproduce musical sounds. It can be observed in young children, since neither musical abilities nor knowledge of music are needed for improvisation” [Goshovsky 1971, cit. according to 137]. Even very young children are able to improvise their music.

There are several types of improvisation in the program:

1) selection by ear and transposition (transfer to another key) using a socially significant repertoire. It should consist of works that are in demand by the social environment of the child, which are necessary for holding various events in a comprehensive school, from songs that are sung by his classmates, which are preferred in the family circle. Children will enjoy performing themselves, accompanying friends and parents at home holidays. Playing music can help a child become the soul of the company, gain the respect of people, and feel their social significance.

2) composing various compositions of a tonal and atonal character, on a given topic and arbitrarily, free use all registers, tempos, nuances, articulation, dissonant and consonant consonances and other musical expressive means.

3) joint creative creation of musical, fairy tale.

This type of work includes:

a) musical improvisation based on a plot that the children themselves come up with;

b) composing a fairy tale context for works learned in the specialty.

In the works of L.S. Vygotsky on the study of children's imagination, it is emphasized that the preferred means for learning should be a speech means. In addition, this means should be motivationally adequate - rely on the activity already mastered during the previous period of mental development, as well as set a broader in relation to music cultural aspect. In this sense, such an external means of mastering a musical work can be the composition of a fairy tale.

Writing a fairy tale is adequate to a role-playing game, which, as a leading activity of senior preschool age, has already been mastered by students. In addition, the game, as N.S. Leites [quoted from 20 p. 24], continues to occupy an important place in the life of younger schoolchildren, because "removes the contradiction between the real position of the child among those around him and his motivations for activity and communication." L.S. Vygotsky called fantasy "the successor to children's play" [op. on 20 p.24].

During the entire preschool period, when the perception of a fairy tale has an expanded form, and at school age, when it is a folded activity, a generalized representation of the structure and patterns of a fairy tale as a whole is formed - an example of a fairy tale through which this cultural layer is mastered and which serves as a support. when writing a story. Thus, the fairy tale sets a wider cultural context, where music acts as one of the art forms and in interconnection with them.

The writing of a fairy tale is one of the forms of literary, verbal creativity, which, according to L.S. Vygotsky, is "the most characteristic of school age" . It compensates for the “discoloration and difficulty of oral speech” in the younger schoolchild in the transition to writing, removes the contradiction between the remaining globalism of the syncretic picture of the world and the process of becoming realistic thinking, mastering the means and standards cognitive activity.

V.V. Petukhov and T.V. Zelenkova conducted a formative experiment, as a result of which they proved that a fairy tale is one of the adequate external means of learning at the initial stages and contributes to the effectiveness of learning.

4) musical and motor improvisation

This form of improvisation involves free improvised movement to music.

An ancient Chinese proverb says, "People may forget the words you said to them, but they will never forget the feelings you made them feel."

Emotional experience in teaching music does not act as a subject of special assimilation, although it is precisely this experience that is the meaningful meaning of music. Meanwhile, human musicality gets its development only if it is directly connected with emotional experience. According to B. Teplov's definition, musicality is the ability to experience music as some kind of content that cannot be comprehended in a non-emotional way. In this regard, one of the main tasks in the perception of music by a person is the ability to understand the emotional meaning contained in it. We can say that the perception of music is to the greatest extent an emotional cognition, the existence of which psychologists say: “We believe that a sufficient amount of data has been accumulated in psychology, indicating the existence special kind emotional cognition, in which the subject reflects reality in the form of emotional images.

V. Medushevsky writes: “The basis for comprehending music is the “spiritual-corporeal alphabet”, which means the totality of folded emotional-physical sensations. “Musical intonation is bodily already in its form: it is thought through by breathing, chords, facial expressions, gestures - an integral movement of the body; ... the highest spiritual abstractions of music do not lose touch with corporality: the torments of thought turn into torments of the body” [cit. by 28].

“Emotional and bodily comprehension of music is understood as intuitive knowledge based on the unity of perception of music with movement, which is born while listening to it as a direct intuitive response, with the direct participation of emotional imagination. Improvisational movement becomes a living perception of music (in this case, we are talking about fundamentally non-concert forms of movement). It makes visible and felt what is usually a hidden emotional process,” writes T.E. Tyutyunnikov.

To understand the semantics of music, personal spontaneous improvisational motor reactions to music are very important, as they reinforce diverse emotional and psychological models. The perception of music at the moment of movement is its bodily cognition and bodily understanding, which occupy an intermediate, middle position between the mental and the unconscious, establishing a connection between feeling and mind in the process of perceiving music.

The formation of musicality as the ability to perceive music and understand its intonational content is a process of gradual interiorization, which can be conditionally represented as three main steps:

a) complete external deployment of the process of perception in the procedural motor movement as a necessity for a consistent motor-emotional experience of music;

b) gradual curtailment of external kinestics and its transfer to internal, during which all types of movement are transformed into micromovements and microgestures;

c) internal deployment of movement when perceiving music as an external process, based on micromovements and microgestures. At the same time, the motor link of perception retains its function of “converting” simple hearing into emotional experience, and external movements acquire the character of internal “mental gestures”.

5) drawing to music, both individual and group.

6) organization of space for creative initiative, when the student is free to choose concert performances by the time during the school year, when the student himself expresses a desire to perform (concert on demand). This contributes to the development of a desire to perform on stage, the disappearance of stage fear.

The specifics of studying at a music school involves a number of student performances predicted in advance to calendar dates: control lessons, technical tests, academic concerts, exams, reporting concerts, selections for various competitions and (all kinds of) competitions themselves. A number of planned performances, on the one hand, mobilize and stimulate students, but on the other hand, they squeeze students into a very rigid framework. The main negative aspects of this series are the rigid mechanical planned performances of students that do not coincide with the subtle or individual frequency and need for performance. Svyatoslav Richter was very fond of and welcomed the spontaneous performances of students.

Highest point of active need for public speaking is the desire to play what you want, when you want.

Here is a summary of the highlights of the program.

Based literature review we can highlight the main points related to the concept of creativity and creative music-making:

1. Creativity is the highest form of mental activity, independence, the ability to create something new, original.

2. Creative activity is always associated with personal growth, and this is precisely where the subjective value of children's creativity products lies.

3. An important indicator of creativity is the child's need, which comes from within, to independently perform any activity.

4. In addition to the need for creativity, children show specific abilities for it, which cannot be measured by the standards of adult creativity, but in it a kind of “semantic key” appears in a naked form to everything that mankind has invented over the centuries.

5. Preschool and primary school age is characterized by favorable conditions for the development of artistic imagination - these are:

1) increased sensitivity to the direct influences of the environment, which opens up the potential opportunity for the child to use the "material means" of this or that art: rhythm, color, sound, etc., to express their own emotional and evaluative attitude;

2) heightened emotional sensitivity to everything that the world affects his senses - to color, light, shape, sound, rhythm, etc.

3) the most important psychological prerequisite for the development of imagination, is formed in various games, which for a long time remain the main and favorite pastime of children.

Preschool and early school age are the most favorable for the development of the child's creative potential, and it is during this period that it is necessary to awaken in him such an attitude to life, which is characteristic of real artists and musicians, and to develop his creative imagination.

It is necessary to help the child to understand that the possibilities of color and line, sound and rhythm, words and gesture serve in art to express feelings and evoke feelings, and not just to describe objects or events; help to realize their expressive possibilities and learn how to use them as a means of organic expression of their ideas.

The main goal of universal artistic and musical development is that every person, regardless of his future profession, acquires the ability to relate to life, nature, another person, the history of his people, the values ​​of culture, as the present relates to all this, great artist.

Making music is one of the types of creative activity in the field of musical pedagogy. In our work, creative music-making is understood as a form of oral musical practice. The basis of creative music-making is elementary (simple) music-making as a combination of music, movement, speech and drawing.

Creative music-making is the acquisition of a diverse experience in connection with music - the experience of movement and speech as the ancestral foundations of music; experience of the listener, composer, performer and actor; the experience of communication and direct experience, creativity and fantasizing, self-expression and spontaneity, the experience of experiencing music as joy and pleasure. It provides a natural and complete accumulation of subjective musical experience and the experience of creative activity.

The program "Creative Music Making" consists of several main blocks based on the principle of improvisation, freedom of choice and student activity.

“Musical improvisation is a natural need not only for a musician, but for any person to reproduce musical sounds.

Improvisation lessons emphasize the development of imagination, independence of thinking, the ability to invent and find new unexpected ways to solve emerging problems.

Improvisation not only forms an active attitude towards life in general and the music lesson in particular. One of deepest meanings improvisational music-making lies in the fact that it forms the position of a doer, creator, researcher, and not a consumer. “The internal morphology of improvisation gives rise to a particularly active attitude towards life, a sense of freedom, both psychological and technological” [Saponov 1996, op. according to 28 p.138].

Therefore, it can be assumed that creative music-making will lead to independent creative activity, students will become subjects of their own musical activity.

Elementary improvisation based on variation, transformation, recomposition, most of all corresponds to the child's model of cognition of the world. It is possible in a special atmosphere of communication and under the condition of "creation" in the group of states of spontaneity. Improvisational training has not only a purely musical meaning, its meaning is much wider and affects the sphere of the formation of the internal qualities of the individual.

Musical improvisation begins with a person’s inner feeling of the very possibility to say with sounds: “This is me.” The essence of the methodological approach to children's improvisations is most accurately expressed by the motivating words: "Play or sing as YOU want." The road to musical improvisation for children lies through their free involuntary handling of what is very easy and simple, which can be handled by manipulating and then combining.

Since improvisation (as the basis of creative music-making) is an active own attitude students, spontaneous self-expression, a need for creative activity coming from within, then we can say that creativity is motivated from the inside and it can be assumed that creative music-making can help increase the internal motivation of elementary school students to learn music at a music school.

3. An empirical study of the influence of creative music-making on the motivation for learning music in a music school

3.1 Experimental hypotheses

educational motivation music making learning

1. As a result of creative music-making, the internal motivation of primary school students to learn music will increase.

2. Classes in creative music-making will lead to the development of interest in independent composition, selection by ear, that is, to independent creative activity;

3. As a result of creative music-making, children's music school students will become interested in music lessons “for themselves”, “for the soul”, they will become more subjects of musical activity;

4. As a result of creative music-making, the attitude of students to music lessons will become more positive;

5. As a result of creative music-making, students will develop an attitude towards music as a means of self-expression and communication.

3.2 Test procedure

To test the hypothesis put forward, a formative experiment was conducted on the basis of the Siberian pre-gymnasium "Childhood" with the participation of teachers and students of Children's Music School No. 10.

The experiment was carried out according to plan with preliminary and final testing and a control group. It consisted of several parts:

1. Preliminary testing of educational motivation was carried out at the end of the 2nd quarter.

2. During the 3rd and 4th quarters, classes were held according to the above program "Creative Music Making" once a week for 30 minutes in the experimental group with subgroups of 4 people.

3. At the end of the experiment, at the end of the academic year, the final re-testing of educational motivation was carried out;

Piano and flute students aged 7 to 10 took part in the experiment. The experimental group included 16 people, the control group - 16 people. Each group was divided into subgroups of 4 people. Students of different music school teachers took part in the experiment.

3.3 Measurement techniques

1. Questionnaire for the student "My attitude to teaching music";

2. Projective drawing "I'm in a music school";

3. Questionnaire "I and music lessons";

4. Questionnaire for parents "My child in a music school";

5. Questionnaire for teachers "Student in my music classes."

Measurement methods for students: the method of unfinished sentences and the projective drawing "I am in a music school" are projective methods.

Projective methods are based on the principle of psychological projection, according to which the subject projects, i.e. reflects (or expresses) on a rather unstructured (disordered) stimulus material (colors, fairy-tale characters, spots of indefinite shape, etc.) their unconscious or hidden needs, complexes, repressions, experiences, motives. Such projection manifests itself in the form of subjective ordering of stimulus material or giving it a personal meaning.

Researchers identify a number of features of projective techniques:

1) relative freedom in choosing the answer and tactics of the subject's behavior;

2) the absence of external indicators of the evaluative attitude towards the subject on the part of the experimenter;

3) a generalized assessment of the relationship of a person with his social environment or an integral diagnosis of a number of personal properties, and not a measurement of any individual mental function.

Projective methods are difficult to interpret, they are criticized for the difficulty of validation, low reliability, however, according to A.A. Bodalev and V.V. Stolin, many of these criticisms take on a different meaning when these techniques are used as a tool for diagnosing the motivational sphere of a person, because they help to reveal deep motivational formations, unconscious motives.

Questioning based on unfinished sentences is aimed at identifying:

1) external or internal educational motivation;

2) a possible zone of conflict.

The questionnaire (for students) refers to scale techniques that involve the evaluation of certain objects (verbal statements specific persons etc.) according to the expression of qualities in them, given by the scale.

Example from the questionnaire:

Study at a music school:

Like 3 2 1 0 1 2 3 dislike

Usually 3, 5 and 7 point scales are used.

We used a 7-point scale, as giving the greatest spread to students for assessment.

In our opinion, the use of such a questionnaire is a good addition to the described projective methods (which reveal the qualitative side of motivation), because with the help of such a questionnaire it is possible to assess the quantitative side of the phenomenon under study.

The use of questionnaires for parents and questionnaires for teachers is an addition to the methods listed above. They are compiled as scale methods and have a 7-point scale. The involvement of parents and teachers in the experiment allows for a higher control of the dependent variable and allows you to see if there are any changes in the motivation of students "from the outside", reveals external and internal motives, albeit indirectly. In the survey, both given statements and open statements (on the principle of unfinished sentences) are used.

3.4 Analysis of the study results and conclusions

1) Quantitative analysis of questionnaires for parents in the experimental and control groups showed an increase in learning motivation in the experimental group (see table No. 1, No. 2).

It should be noted that in the questionnaires of parents in the experimental group there are significant increases in learning motivation, which is not found in the control group. Table 1 shows that in five questionnaires there were sharp jumps of more than four points.

After analyzing the issues on which there were changes, we found that parents noticed:

1) an increase in interest in studying at a music school (Appendix No. 3, question 6, 11) - 14 people;

2) children began to select popular songs, compose at the instrument (Appendix No. 3, question 7) - 13 people;

3) seven parents pointed out that in the second half of the year they had less to force to do music lessons (Appendix No. 3, question 4);

4) five parents noted that their children began to cope better with the program of the music school (Appendix No. 3, question 9);

5) four people pointed out that not only they need their child to study at a music school (Appendix No. 3, question 10).

All this shows that students have undergone changes in their internal motivation, their own interest in learning music has appeared, they began to compose more, select by ear, and became more subjects of musical activity.

Table No. 1: Changes in the motivation for teaching music to students Jr. classes of the experimental group (according to parents).

No. p / p	Surname, name of the student			Change
1	Veronica W.	5	18	+13
2	Sasha O.	30	31	+1
3	Olesya F.	23	25	+2
4	Gleb Ya.	18	12	-6
5	Eldar Sh.	23	26	+3
6	Zhenya S.	29	29	0
7	Julia B.	-4	-1	+3
8	Alina M.	16	17	+1
9	Lena S.	19	28	+9
10	Sergei K.	11	13	+2
11	Anya S.	14	16	+2
12	Zhenya I.	20	24	+4
13	Augustine S.	11	11	0
14	Alena D.	26	28	+2
15	Julia Ch.	10	20	+10
16	Anya L.	18	20	+2
Total points	48
Average __ value(M1)	3

Table No. 2: Changes in the motivation for teaching music to students Jr. control group classes (according to parents).

No. p / p	Surname, name of the student	Preliminary testing (number of points)	Final testing (number of points)	Change
1	Regina D.	5	0	-5
2	Victoria K.	11	12	+1
3	Katya T.	13	15	+2
4	Lisa S.	12	13	+1
5	Daniel L.	14	12	-2
6	Dasha B.	25	26	+1
7	Nikita W.	13	15	+2
8	Nikita S.	21	18	-3
9	Roman D.	7	7	0
10	Anya S.	20	22	+2
11	Lena B.	25	25	0
12	Masha K.	26	29	+3
13	Tanya L.	21	23	+2
14	Sonya I.	21	20	-1
15	Inessa I.	20	21	+1
16	Zhenya N.	12	14	+2
Total points	6
Average __ value(M2)	0,375

The results of the questioning of teachers also show an increase in learning motivation in the experimental group, compared with the control group (see tables No. 3, No. 4).

Table No. 3: Changes in the motivation for teaching music to students Jr. classes of the experimental group (as assessed by teachers).

No. p / p	Surname, name of the student	Preliminary testing (number of points)	Final testing (number of points)	Change
1	Veronica W.	25	30	+5
2	Sasha O.	26	26	0
3	Olesya F.	13	20	+7
4	Gleb Ya.	26	29	+3
5	Eldar Sh.	24	30	+6
6	Zhenya S.	23	17	-6
7	Julia B.	14	22	+8
8	Alina M.	19	24	+5
9	Lena S.	9	10	+1
10	Sergei K.	22	25	+3
11	Anya S.	17	13	-4
12	Zhenya I.	13	18	+5
13	Augustine S.	19	18	-1
14	Alena D.	29	30	+1
15	Julia Ch.	-9	-2	+7
16	Anya L.	-8	-12	-4
Total points	36
Average __ value(M1)	2,25

According to teachers, in the questionnaires we see a significant change in motivation in the final testing of ten students in the experimental group, which is not observed in the control group.

It should be noted that eight teachers took part in the experiment, students of the control and experimental groups, in the specialty (piano and flute), who work with children individually, in direct contact and therefore can objectively assess the changes that have occurred by the final test.

In the questionnaires of the experimental group, the teachers highlighted an increase in interest in the lessons, the emergence of greater activity, and also noted that in the second half of the year, children are doing better than in the past (Appendix 4, question 1, 3, 10).

No significant changes were observed in the control group.

Table No. 4: Changes in the motivation for teaching music to students Jr. control group classes (according to teachers)

No. p / p	Surname, name of the student	Preliminary testing (number of points)	Final testing (number of points)	Change
1	Regina D.	15	15	0
2	Victoria K.	4	-2	-6
3	Katya T.	14	14	0
4	Lisa S.	0	-2	-2
5	Daniel L.	15	14	-1
6	Dasha B.	22	22	0
7	Nikita W.	16	14	-2
8	Nikita S.	13	13	0
9	Roman D.	17	20	+3
10	Anya S.	19	19	0
11	Lena B.	11	10	-1
12	Masha K.	20	21	+1
13	Tanya L.	-9	-9	0
14	Sonya I.	2	2	0
15	Inessa I.	11	12	+1
16	Zhenya N.	26	25	-1
Total points	-8
Average __ value(M2)	-0,5

An analysis of the questionnaire for students in the experimental and control groups showed a slight increase in learning motivation in the experimental group (see Tables No. 5, No. 6).

Table No. 5: Changes in the motivation for teaching music to students Jr. classes of the experimental group (as assessed by students)

No. p / p	Surname, name of the student	Preliminary testing (number of points)	Final testing (number of points)	Change
1	Veronica W.	14	14	0
2	Sasha O.	15	15	0
3	Olesya F.	15	15	0
4	Gleb Ya.	8	13	+5
5	Eldar Sh.	14	13	-1
6	Zhenya S.	11	15	+4
7	Julia B.	9	15	+6
8	Alina M.	15	15	0
9	Lena S.	11	13	+2
10	Sergei K.	15	15	0
11	Anya S.	12	14	+2
12	Zhenya I.	10	11	+1
13	Augustine S.	0	3	+3
14	Alena D.	10	13	+3
15	Julia Ch.	8	10	+2
16	Anya L.	12	13	+1
Total points	28
Average __ value (M1)	1,75

Table No. 6: Changes in the motivation for teaching music to students Jr. classes of the control group (as assessed by students).

No. p / p	Surname, name of the student	Preliminary testing (number of points)	Final testing (number of points)
1	Regina D.	8	10	+2
2	Victoria K.	10	13	+3
3	Katya T.	15	15	0
4	Lisa S.	13	15	+2
5	Daniel L.	12	12	0
6	Dasha B.	14	15	+1
7	Nikita W.	14	15	+1
8	Nikita S.	11	13	+2
9	Roman D.	13	15	+2
10	Anya S.	14	14	0
11	Lena B.	13	15	+2
12	Masha K.	15	15	0
13	Tanya L.	15	14	-1
14	Sonya I.	14	14	0
15	Inessa I.	15	15	0
16	Zhenya N.	6	1	-5
Total points	9
Average __ value(M2)	0,56

Comparing the data of all three methods (Diagram No. 1), you can see that the control and experimental groups in the final testing differ significantly from each other. In the control group, changes within (0 ± 2) prevail and do not exceed (±5, -6) - in isolated cases, and in the experimental group there are significantly more changes of more than +4 points and the maximum reach from +6 to +13.

According to diagram No. 1, you can clearly see that for all three methods of changing learning motivation in the control group are approximately at the same level and their indicators are significantly lower than in the experimental group.

In the experimental group, the maximum changes were noticed by the parents, and this is understandable, because. they communicate the most, know their child and therefore can quickly notice the changes that have occurred to him.

Diagram #1.

Using the parametric Student's method (t-test), which is used to test hypotheses about the significance of the difference between the means for two samples, we calculated the value:

1. t1 according to the results of the questionnaire for parents (see tables No. 1, No. 2);

2. t2 according to the results of the questionnaire for teachers (see tables No. 3, No. 4);

3. t3 according to the results of the questionnaire for students (see tables No. 5, No. 6).

Having consulted the table of t values, we can come to the following conclusions: the value we received is t1=2.19 and t2=2.37 Furthermore, which corresponds to a confidence level of 0.05 for 30 degrees of freedom (η=32); therefore, the obtained differences can be considered significant (with a probability of 5%).

The value of t3=1.92 obtained by us is greater than that which corresponds to a confidence level of 0.1 for 30 degrees of freedom (η=32), therefore, the obtained differences can be considered significant.

Based on the data verified using the parametric Student's method, we saw that, as a result of creative music-making, the internal educational motivation of primary school children to learn music really increased, which confirms our hypothesis.

2) A qualitative analysis of questionnaires for students and parents in the experimental and control groups also showed significant differences between these groups.

We provide in the analysis only those answers that allow us to understand the changes regarding the hypotheses put forward by us.

After analyzing the questionnaires of the experimental group in the preliminary and final testing, we saw that the answers are very similar, repeating, there were no new answers in the final testing. This can be seen in tables #7 and #8.

Table No. 7. Answers of the parents of the control group during the preliminary and final testing.

Unfinished sentences	No. p / p	Answers
	1	The attitude of the teacher to the students, music. Specialty, playing an instrument. Performances. Calm, kind teachers, interesting subjects Specialty lessons Communication with a teacher in the specialty, the desire to play well Communication with acquired friends, positive assessments of teachers
	2
	3
	4
	5
	6
	7	Opportunity to perform on stage Subjects: specialty and solfeggio Specialty and choir lessons She enjoys going to this school. She is proud to go to this school
	8
	9
	10
	11
	12
	1	Perform on stage Learn to play the piano Perform at concerts. Specialty lessons Play the piano when he gets it right Study in the classroom, not at home play an instrument Sing and perform. play the piano Specialist teacher. Play good music
	2
	3
	4
	5
	6
	7
	8
	9

Table No. 8. Answers of students in the control group during the preliminary and final testing.

Unfinished sentences	No. p / p	Answers
1. If I were (a) a teacher at a music school		Then I would be kind I would teach (a) children, (students) I would give everyone the necessary grades that they have earned I would teach children to become real musicians I would give everyone fives and fours
2. I like music school the most		Solfeggio lesson piano lesson Teachers who taught me all the good things play the piano Teachers who teach me for one five Kind teachers How does the piano sound?
		I love Very interesting It's good and nice Very good He sounds great

The answers of parents and students in the experimental group differ significantly in the preliminary and final tests. The answers of the experimental group in the preliminary testing are similar to the answers in the control group (table No. 9, No. 10), however, in the final testing, answers appear regarding the subject of music, its positive assessment and directly what the students were doing in these classes (table No. 11 ).

Table No. 9. Answers of the parents of the experimental group in the preliminary testing.

Unfinished sentences	No. p / p	Answers
12. My child is attracted to music school	1	Interesting lessons, good teachers. Communication with children, concerts. The music itself, the world of art. He dreams of becoming a great musician Playing the flute, participating in concerts. Performances, participation in concerts. The opportunity to stand out.
	2
	3
	4
	5
	6
	7	Friendly attitudes of teachers. Studying musical notation, learning new works. Choir lesson, specialty, solfeggio
	8
	9
13. My child especially likes the music school.	1	Perform at concerts learned works, sing. Chorus, specialty. Contests When he receives an A from him, a diploma for the competition, he directly shines with happiness. He also likes teachers (kind, reserved). Participation in competitions, concerts. Teachers. To get good marks. Chorus, piano.
	2
	3
	4
	5
	6
	7
	8

Table 10. Answers of the students of the experimental group in the preliminary testing.

Unfinished sentences	No. p / p	Answers
1. If I were (a) a teacher at a music school		I would teach my students excellently. Played scales. I would only give good ratings. I would rate them by the material they made at home. I would love to teach children. I would buy a lot of toys That would allow me to play one piece in the exam I would give everyone two Don't yell at your students Arranged contests I would be a violin teacher.
2. I like music school the most		My teacher. Chorus, specialty. Music teacher. That I learn a lot of new things. Choir lesson, where I learn a lot of interesting songs. Learn the flute. That when I learn new play, parents ask her to play and they and I love it. Various concerts and performances.
8. Play a musical instrument		I'm interested. He sounds great. Interesting, great. I love it because it sounds nice. I (very) love

Table 11. Answers of students and parents of the experimental group in the final testing.

From the table below, you can see that the students and parents of the experimental group began to highlight something new in the questionnaires that they had not previously identified:

1) there was an interest in writing, the selection of popular, modern melodies;

2) learning melodies for yourself, for the soul, and not according to the program. That is, here we can say that the students felt themselves subjects of musical activity, took more active position in learning, felt significant, they had an interest in music lessons;

3) understanding each other in music lessons, communication. The appearance of this item indicates that students began to find some new ways of communication through music. Collaborative writing on several different instruments allowed students to feel, hear each other, learn to communicate in a new way.

3) Analysis of the drawings “I am in a music school” allows you to test such hypotheses as:

1) as a result of creative music-making, the attitude of students to music lessons will acquire a more positive connotation;

2) as a result of creative music-making, students will develop an attitude towards music as a means of self-expression and communication.

Analyzing the drawings of the control and experimental groups, we relied on the books of A.L. Wenger and K. Mahover. We have identified the following criteria:

1) brightness, colorfulness;

2) the size and location of the drawing on the sheet;

3) colors in the drawings;

4) fullness of the sheet;

Analyzing the drawings, we understood that this diagnostic method is, on the one hand, very informative, and on the other hand, a very subjective method. The indicators taken into account when interpreting drawing tests are not unambiguous. The most difficult thing in the analysis is to be able to highlight the signs that relate directly to the hypotheses put forward in the study, so we assumed that the listed criteria can be used to judge the confirmation or refutation of the above hypotheses.

The drawing "I'm in a music school" is additional method and will be considered in conjunction with other data.

An analysis of the drawings according to the selected criteria showed that the drawings in the control group during preliminary and final testing have minor differences: they are made in similar colors, the size and location of the figures are close, there is no significant increase in colorfulness, many drawings are similar.

When analyzing the drawings of the experimental group, the differences between the experimental and final testing were revealed:

1) in eight drawings in the final testing, a brighter color scheme appeared;

2) in one drawing, the image of the figure from the back is replaced by a drawing in full face;

3) there was a shift of the images of the figure to the center or even more to the right in five figures in the final testing (example: Fig. No. 3 and No. 4; No. 5 and No. 6);

4) the image in the final testing of the landscape - "this is me composing music in a music lesson";

5) in four drawings in the preliminary testing, the hands were not drawn, in the final, the hands were drawn (example: Fig. No. 1 and No. 2; No. 3 and No. 4; No. 5 and No. 6);

6) in four figures, the figure in the final testing is shown larger (example: Fig. No. 4, No. 6);

7) in five figures, there is a large fullness of the sheet (example: Fig. No. 4).

Examples of drawings are given in the appendix.

In the drawings of two students, we want to dwell in more detail.

1. In the figure A.S. in preliminary testing (Fig. No. 3), the face is not depicted, there are no hands, legs, the drawing is framed, a bold outline, shading - all this indicates problems associated with communication, ineptitude in social contacts, anxiety.

The second drawing made during the final testing (Fig. No. 4) is very different from the first. This drawing is brighter, more festive, the figure is larger, there is no frame, the face is drawn and there is a smile on the face, hands and feet appear. Compared to the first drawing, the sheet is completely filled out, the drawing is colorful and makes a good impression.

This figure shows that significant changes have taken place with the child: a more positive attitude towards music has appeared, self-esteem has increased, and communication resources have appeared.

2. In the figure, V.V. in experimental testing (Fig. No. 1) we see chopped off arms and legs, pressure, shading, blackened eyes. A very high chair and a piano (with significant shading) may indicate problems with music lessons.

The second drawing (Fig. No. 2) is very similar to the first, but hands appear here; the chair is no longer so huge, you can already sit on it; eyes are drawn, so we can talk about the emergence of a more positive attitude towards music, the emergence of opportunities for self-expression for the child.

And so, based on the analysis of the drawings, we can say that in the drawings of the experimental group in the final testing, a more positive attitude towards the music school and new resources of self-expression and communication appear.

Comparing the data obtained from the analysis of the drawings with the data of the questionnaires, we can conclude that in the experimental group many students had a more positive attitude towards learning music. They began to show interest in composing, in the selection of popular, modern melodies, and were more actively interested in music lessons and creativity both at the music school and at home. There was a desire to play “for myself”, “for the soul”, to express something of my own through music, to communicate with other people, to hear and listen.

Based on all the above, we can conclude that the hypotheses put forward in the study can be considered proven.

Conclusion

In this paper, we analyzed the situation that has developed in the field of primary music education in our country and identified the problem associated with a decrease in the learning motivation of children in music schools.

We have developed a program of the subject "Creative Music Making" for students of primary school children's music school, in which we relied on the principle of improvisation, freedom of choice and activity of students, as well as on ways to increase motivation proposed by Talyzina N.F., Orlov A.B., Markova A.M.

This thesis in the theoretical part reveals such concepts as creativity, creative music-making, improvisation, internal and external educational motivation, and shows a close relationship between internal motivation and the principle of improvisation.

Based on the analysis of psychological literature, we suggested that creative activity, using the example of creative music-making, can be a factor that can increase the internal motivation of primary school students to learn music, as well as contribute to the development of interest in independent composition, selection by ear, that is, to independent creative activity, to music lessons “for oneself”, “for the soul”.

We also put forward hypotheses that the attitude towards music lessons, as a result of creative music-making, acquires a more positive connotation and students will develop an attitude towards music as a means of self-expression and communication.

We have developed methods for measuring learning motivation for primary school students and conducted an empirical study to test the hypotheses put forward. Analyzing the data obtained, we came to the conclusion that our hypotheses were confirmed, so we can say with confidence that joint creative music-making has a great potential for emotional, psychological and social impact.

It can not only increase the internal motivation of students to study music at a music school, but also have a powerful influence on the development of children's personal qualities, which can be formed in joint musical and creative activities. First of all, these include the ability to improvise, spontaneity, expressiveness, flexible and subtle emotionality, non-verbal communication skills, the ability to cooperate and interact, solve problems and problems creatively, the need, and then the ability to find in music a means of harmonizing one's inner world.

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Annex 1

QUESTIONNAIRE "My attitude to teaching music"

Instructions: The beginning of the sentences are written in front of you, please complete the sentences to the end.

1. If I were (a) a teacher at a music school _______________

_____

2. What I like most about the music school is ________________

_____________________________________________________________

_____________________________________________________________

3. Studying at a music school, I always wanted (a) ________________

_____________________________________________________________

_____________________________________________________________

4. My communication at the music school _____________________

_____________________________________________________________

_____________________________________________________________

5. The least interesting thing for me in a music school is ______________

_____________________________________________________________

_____________________________________________________________

6. At the music school, my teachers ____________________________

_____________________________________________________________

_____________________________________________________________

7. I would be more willing to study music if _____________________

_____________________________________________________________

_____________________________________________________________

8. Play a musical instrument __________________________

_____________________________________________________________

_____________________________________________________________

9. I would like to have a music school ___________________

_____________________________________________________________

_____________________________________________________________

10. On stage, I __________________________________________

_____________________________________________________________

_____________________________________________________________

11. If I get a bad mark at a music school ________

_____________________________________________________________

_____________________________________________________________

12. After graduating from music school _____________________________

_____________________________________________________________

_____________________________________________________________

Annex 2

QUESTIONNAIRE "Me and music lessons"

Instructions: You are presented with a series of statements. After carefully reading each of them, choose from the 7 possible answers one that is most appropriate, in your opinion, and circle it.

Study at a music school

1. like 3 2 1 0 1 2 3 dislike

2. want 3 2 1 0 1 2 3 don't want

3. I want myself (s) 3 2 1 0 1 2 3 want me to study (s), my

parents

4. interesting 3 2 1 0 1 2 3 not interested

5. happy 3 2 1 0 1 2 3 bored

Appendix 3

QUESTIONNAIRE "My child in a music school"

Instructions: Dear parents, you will help us a lot in organizing more effective learning in our school if you answer these questions. Please mark with a cross on the scale the place closest to the statement that, in your opinion, is more suitable for the answer.

1. My child enjoys going to music school

(always) (usually) (often) (sometimes) (rarely) (very rarely) (never)

2. To practice the instrument my child always sits down by himself 3 2 1 0 1 2 3

3. My child enjoys performing on stage 3 2 1 0 1 2 3

4. I have to force me to do music lessons 3 2 1 0 1 2 3

5. To my music school baby goes with pleasure 3 2 1 0 1 2 3

6. This year my child has become less interested in music 3 2 1 0 1 2 3

7. Very often my child picks up popular songs,

composes behind the instrument 3 2 1 0 1 2 3

8. My child enjoys performing the learned

specialty works 3 2 1 0 1 2 3

9. My child is struggling with the program

music school 3 2 1 0 1 2 3

10. Sometimes it seems to me that only I need to

my child went to music school 3 2 1 0 1 2 3

11. This semester, my child is doing a lot of

interest in music school than in the past 3 2 1 0 1 2 3

Instructions: Please complete the sentences.

12. My child is attracted to the music school by _______________

_____________________________________________________________

_____________________________________________________________

13. My child especially likes the music school _________

_____________________________________________________________

_____________________________________________________________

14. My child does not like music school at all _________

_____________________________________________________________

_____________________________________________________________

Appendix 4

QUESTIONNAIRE "Student in my music classes"

Instruction: Please describe how the child showed himself in your lessons during the first half of the year. Circle the number on the scale closest to the statement that best matches the child's typical behavior.

1. F.I. Student ____________________________________________

Annex 5

1. Drawing by student V.V. "I'm in a music school" experimental group in pre-testing;

2. Drawing by student V.V. "I'm in a music school" of the experimental group in the final testing;

3. Drawing by student A.S. "I'm in a music school" experimental group in pre-testing;

4. Drawing by student A.S. "I'm in a music school" of the experimental group in the final testing;

5. Drawing by student S.A. "I'm in a music school" experimental group in pre-testing;

6. Drawing by student S.A. "I'm in a music school" of the experimental group in the final testing.

The subject "Piano Musical Instrument" involves individual lessons (their main form is a lesson). This type of training creates the necessary conditions for monitoring the student in order to comprehensively study and develop his abilities, personal qualities, and allows you to differentiate the volume and complexity of tasks. In pedagogical practice, there are no identical students: each student requires the use of individual methods of pedagogical work. The main advantage of individual and differentiated learning is that they allow you to fully adapt the content, methods and pace of the child's learning activities to his characteristics, monitor his every action, progress from ignorance to knowledge, and make the necessary corrections in the student's activities in time.

The importance of choosing the right repertoire in the piano class is generally recognized. The repertoire must comply with the logic of assimilation and development of the material by the student, take into account the individual characteristics of a particular student. When choosing a repertoire, the teacher is obliged to "look into the face" of the child, listen to his reaction, questions, comments. A correctly composed repertoire develops the student's musical thinking, encourages him to creative search, and develops independence in the student. And the gray repertoire, which does not correspond to the level of musical abilities and intelligence of the child, reduces his desire to study music.

When choosing a repertoire, it is necessary to take into account not only pianistic and musical tasks, but also the child’s character traits: his intellect, artistry, temperament, spiritual qualities, inclinations, in which spiritual organization, innermost desires are reflected like in a mirror. If an emotional and moving play is offered to a lethargic and slow child, one can hardly expect success. But it’s worth playing such things with him in the classroom, but it’s better to take calmer ones to a concert. And vice versa: a mobile and excitable student should be recommended more restrained, philosophical works.

The desire of the student to play this or that work should be supported, even if it does not correspond to the level of his musical development and technical capabilities. If a student wants to play some work, it means that it corresponds to his psychological and emotional state. Let him play if it is in tune with his spiritual strings! Very soon, by expressing himself and throwing out emotions, the child will cool down. But what benefit will he get from it! And the teacher, observing, will see in the student a lot, perhaps before that he had not yet understood. It is clear that such pieces do not need to be studied in the classroom, much less prepared for a concert. But the child must be given freedom of choice.

Wide familiarization of the student with music of different times and styles, the choice of works in accordance with the set pedagogical goals and tasks, the individual orientation of the repertoire, the ability to choose for a given student exactly the piece of music that will develop and advance his abilities - these are the main tasks of a teacher-musician when choosing a repertoire.

The choice of repertoire is preceded by an analysis of the student's capabilities. An important factor influencing the optimal technical development of a student is pedagogical diagnostics, which makes it possible to determine which types of technology are developed by the student to one degree or another.

Pedagogical analysis is one of the main starting points in the selection of repertoire that contributes to the optimal technical improvement of the student.

There are two main aspects of repertoire selection related to pedagogical diagnostics. The first is the establishment of the individual technical capabilities of the student at the beginning of classes with the teacher. The following points are defined here:

• whether the student has any natural technical inclinations;
• how easy it is to learn certain techniques;
• what technical skills he has, and what types of technology he has less developed (or not at all developed).

The second aspect is the pedagogical observation of the student's technical development, the study of his individuality from this point of view - a period of long studies.

Starting the selection of repertoire, the teacher must clearly understand the purpose for which this or that work is chosen for the student. There are three main tasks that are pursued in this case:

• Education of a performing and creative understanding of music, education of the student's musical thinking. At the same time, we are not talking about the education of musical thinking “in general”, but about certain specific aspects of this thinking.
• Education of the piano skill of the student.
• Repertoire accumulation.

When working on each piece of music, both the musical thinking and the piano technique of the student are brought up; having learned a piece of music, he enriches his repertoire, and in this respect, these tasks are closely intertwined.

One of the main forms of planning classes in the "Piano" class is the preparation of individual plans for each student (taking into account his abilities) for each semester. The individual plan includes works of Russian, foreign and contemporary music that are diverse in form and content. When working on the repertoire, the teacher must achieve varying degrees of completeness in the performance of a musical work, given that some of them must be prepared for public performance, others for display in the classroom, and others in the order of familiarization. All this must be recorded in the individual plan of the student.

Drawing up "individual plans" of students is one of the most responsible and serious parties pedagogical activity and requires constant careful work of the teacher on himself. For an expedient choice of repertoire, the teacher must not only be able to outline areas of work with the student, not only constantly enrich their knowledge in the field of piano literature, but also learn to understand the difficulties of piano works for a particular level of advancement.

Individual work plans drawn up by the teacher should be based on the psychological and pedagogical characteristics of the student, allow you to see the prospect of each child's development and serve as a kind of guideline in joint activities teacher and his student.

So, we can distinguish the following principles for the selection of repertoire in the piano class:

1. Accounting for individual musical abilities (ear of music, sense of rhythm, musical memory etc.).
2. Accounting for individual psychological characteristics (attention, logical thinking, reaction, temperament, etc.).
3. The repertoire should be commensurate with the age of the student, i.e. it is necessary to take into account the psychological and pedagogical age characteristics of the child (psychological characteristics of the cognitive sphere, the leading activity corresponding to this age).
4. The selected repertoire must comply with the existing program requirements for the selection of musical material. As you know, the program requirements (tests, exams, academic concerts) provide for a generally accepted model for the selection of works. These include: polyphonic works, works large form, etudes, virtuoso pieces, cantilena pieces.
5. The selected works should be aimed both at the formation of the artistic and intellectual level of the student's training, and at the development of his performing technique.
6. The selected repertoire must meet the criteria of artistry and fascination, pedagogical expediency, and taking into account educational tasks. Educational musical material is the main carrier of the content of educational knowledge, so it must have a high degree of content, capacity, versatility, artistic significance, as well as volume and diversity.
7. The principles of the significance of musical material for the personality (cognitive, aesthetic, practical), the artistic diversity of the repertoire, the concentric organization of artistic and technical tasks, the planning of students' independent activities.
8. The principle of system. By selecting musical material according to the principle of gradual complication, conditions are created for the parallel development of both the student's performing technique and his musical thinking.

Teaching children music is a complex and multifaceted process, and the problem of choosing a repertoire plays a huge role in it. Skillfully compiled, taking into account all the individual qualities of the student, the repertoire is the most important factor in the education of a pianist student.