The concept of developing music education L. V

MODERN ARTISTIC AND DIDACTIC APPROACHES IN MUSIC EDUCATION

N. N. Grishanovich,

Institute of Modern Knowledge. A. M. Shirokova (Minsk, Republic of Belarus)

Annotation. The article defines and substantiates artistic and didactic approaches to the organization of the musical and educational process that are relevant to the modern paradigm of art pedagogy: value-semantic, intonation-activity, dialogic, systemic, polyartistic. It is shown that the approach performs the functions of a toolkit for the implementation of the principles of music education in the educational process and requires the use of a certain technology. Being the central, emphasized principle, it incorporates other principles and methods of teaching music.

Key words: artistic and didactic approach, value, meaning, intonation, activity, dialogue, system, polyintonation, motivation, development, method.

summary. In the article five artistic-didactic approaches to organizing music education process are defined and substantiated. They are actual for modern paradigm of pedagogy of art: value-sensible, intonation-active, dialogic, systematic and poly-artistic. It "s shown that the approach performs the functions of instrumentality during the implementation of principles of music education and requires application of new technology. Being the central, accentuated principle, the approach aggregates a whole number of other artistic-didac- 23 tic principles and methods of teaching music.

Keywords: artistic-didactic approach, value, sense, intonation, activity, dialogue, system, poly-intonation, motivation, development, method.

The didactic approach is the central principle of structuring the content of education and the choice of methods for achieving its goal, which groups a number of other principles around itself and relies on them. Since music education is based on the specific principles of artistic didactics, the approaches to it should be artistic and didactic. Under-

the course performs the functions of a toolkit (technology) in the implementation of the principles of music education in the educational process.

Pedagogical research emphasizes that the cultural paradigm of education calls for student-centered and activity-based approaches. Culture is based on creativity and lively interaction, developing according to the norms

communication and cooperation. Therefore, in a culturally appropriate school, children are introduced to culture not so much on the basis of assimilation of cultural information, but in the process of specially organized creative activity of their own. The principle of relying on the laws of the musical-cognitive process and their practical implementation requires the choice of adequate artistic and didactic approaches to the organization of the developing musical education of students.

At the center of the value-semantic approach is the development of the motivational side of the musical-cognitive activity of students and the ability of the spiritual understanding of music (V. V. Medushevsky). The main work of the child's soul is the appropriation of universal human values. A person acquires his spiritual essence, becomes a part of humanity, comprehending culture and creating it. Therefore, the spiritual person as the epicenter of culture, its highest spiritual value (P. A. Florensky) is both the result and the main criterion for assessing the quality of education (E. V. Bondarevskaya). From these positions, the epicenter of musical education is the student: the development of his musicality, the formation of individuality and spirituality, the satisfaction of musical needs, interests, and creative possibilities. The musical education of a personality is manifested not only in its special development, the ability to interact with the musical culture of society - it is the process of the formation of its worldview.

The artistic content of serious music embodies the sublime and beautiful life of man.

chesky spirit. Therefore, the comprehension of the spiritual truth, value and beauty of music is the semantic core of musical education. The goal of musical knowledge is not the acquisition of musicological knowledge, but the depth of penetration into the high essence of a person, the harmony of the world, understanding oneself and one's relations with the world. The intonation-semantic analysis of musical works as the leading method of musical education requires the ascent of both the teacher and the students to the perception of beauty and truth, to the spiritual heights of the human soul. In the musical and cognitive activity of students, music acts not only as an object of aesthetic evaluation, but also as a means of spiritual and moral evaluation of life, culture, and man.

By organizing an artistic

meeting students with a piece of music, the teacher should consistently direct their attention to the awareness of the axiological aspects of the piece and the artistic and communicative situation. The value-semantic approach does not allow us to underestimate the moral and aesthetic meanings of great music. Higher spiritual meanings do not cancel the "lower" life associations, but set a semantic perspective for perception-understanding.

The main function of music education is the development of intonational hearing of students, their ability of intonation-musical thinking. The placement of spiritual accents in the content and methods of teaching music requires "enlightenment, elevation of the musical ear" of students, its formation "as an organ of search and perception of sublime beauty",

and not only the development of his distinctive abilities (V. V. Medushevsky).

The content of the subject is structured in such a way that the national musical culture is mastered by students in dialogical connections with classical and highly artistic modern music of various genres and trends. However, music education should not impose values, its task is to create conditions for their recognition, understanding and choice, to stimulate this choice.

The development of students' motivation for musical activity involves pedagogical stimulation of their musical and cognitive interests, in which the personal meaning of specific musical actions and musical education as a whole is manifested. The two-sided activity of students' personal experience is stimulated: life and artistic associations help the perception of the content and expressive means of the musical image; the interpretation of musical works and the search for personal artistic meaning enrich the worldview of students through empathy and acceptance of different views on the same phenomena of life, embodied in the works of different authors, different eras and types of art.

Priority is given to technologies and methods that have a value-oriented nature: developmental education, problem-based learning, artistic and didactic game, building the educational process on a dialogical, personal-semantic basis, etc.

Including students in dialogues with the musical culture of society, the teacher does not have the right to impose on them his moral and aesthetic assessments, his worldview position. It can create the necessary socio-artistic context for a musical work and stimulate comparative analysis from the standpoint of harmony and disharmony, the sublime and the base. It can encourage the identification of "eternal themes" in art and the comprehension of their enduring spiritual relevance. But at the same time, the semantic interpretation of artistic images is the creativity of the students themselves, which is based on their intonational flair, intonational vocabulary, the skills of intonation-semantic analysis and artistic generalization, and the emerging moral and aesthetic feelings.

Constantly penetrating into the artistic secrets of musical images, the teacher constructs a path for students to “discover” them as a solution to exciting creative problems and modeling the creative process of a composer, performer, and listener.

It is believed that the activity approach is the most traditional in music education. Until now, curricula and teaching aids are being created, which advocate the construction of the content of music education by type of activity. With this approach, students learn choral singing, listening to music, playing elementary instruments, moving to music, improvisation, and musical literacy in sections. Each section has its own goals, objectives, content,

methods. In the lessons of the basic subject “music”, these sections are combined, making up the characteristic structure of a traditional lesson.

A distinctive feature of this approach is the priority of learning and the predominant assimilation of knowledge, skills and abilities in finished form, according to the model. However, the modern pedagogy of music education argues that the mastery of actions according to the model and the assimilation of knowledge in a finished form cannot be the essence of the activity approach in teaching. These are the traditional characteristics of the explanatory-illustrative approach, in which the activity is given to students from the outside. The teacher broadcasts the finished content, designed for students to memorize, controls and evaluates its assimilation.

The activity approach is typical for developmental learning. Expanded educational activity is carried out where the teacher systematically creates conditions that require students to "discover" knowledge about the subject through experimentation with it (V. V. Davydov). Musical and cognitive activity is carried out when students reproduce the very process of the birth of musical images, independently select expressive means, reveal the meaning of intonations, the creative intent of the author and performer. The basis of such activity is the development of the intonation musical thinking of schoolchildren in the process of modeling the communicative properties of an integral musical culture, the personal-creative dialogue of the composer, performer and listener.

At the center of the intonational approach is the mastery of live, intoned musical speech by students in the process of listening, performing and creating their own "elementary" music, the development of intonational hearing, perception-understanding and musical thinking. Modeling the activities of the composer, performers, listeners underlies the methodology for mastering musical speech. Through active action, vocal, plastic, speech, instrumental intonation, students go the way to the musical image, discover its intonational meaning. The content of the lesson and the subject as a whole is set as artistic communication with live, intonation-created art, and not as the assimilation of theoretical knowledge about music. Musicological ideas are formed on the basis of intonational and practical experience and are a means of musical and creative development of students (D. B. Kabalevsky, E. B. Abdullin, L. V. Goryunova, E. D. Kritskaya, E. V. Nikolaeva, V. O. Usacheva and others).

Intonation is an essential property, the core of all educational topics of the program in music and, accordingly, the existential form of the key musical competencies of schoolchildren. The intonation-activity approach helps students overcome the gap between the sound form of music and its spiritual content. Since “there is always a person behind the intonation” (V. V. Medushevsky), the discovery of a person and his problems in music allows music education to reach a high humanitarian, moral and aesthetic level of human science.

The dialogic approach requires dialogization of the content and methods of music education based on similarities and contrasts. The mastering of musical works is always a dialogic co-creation: a work created by a composer comes to life and receives its semantic completeness only thanks to the intonational-analytical, performing, interpreting skills and personal experience of the interlocutors-students and the teacher (listeners and performers).

Musical culture is understood as a set of works (texts) addressed to "close and distant" interlocutors (composers, performers, listeners, artists, poets, etc.). Dialogically connected texts of musical and artistic culture in general should become for students a desirable subject of personal comprehension, individual creativity in the educational polylogue.

The specificity of the musical text is manifested in its incompleteness, openness and inexhaustibility of figurative content aimed at the listener. Since the composer's idea is not just hidden behind the musical text in its final form, but is revived, concretized in the process of its interpretation by the counter consciousness of the performer or listener, semantic interpretation becomes one of the central problems of dialogue in music education. Many scientists (M. M. Bakhtin, M. S. Kagan, D. A. Leontiev) believe that the phenomenon of artistry arises only in the process of understanding interaction between the author of a work of art and its interpreter-co-creator.

According to psychologists, dialogism is "embedded" in the basic structures of consciousness and is one of its main properties. Human consciousness is characterized by internal dialogues - with an imaginary interlocutor, with oneself, with a certain semantic position in the course of reasoning. The dialogical approach to the design of the musical-cognitive process is based on the position of modern musicology, which states that musical ear develops in interaction with speech hearing and all perception abilities (plastic, visual, tactile, etc.), extracting meaning from the life and syncretically artistic context (V V. Medushevsky, A. V. Toropova).

Personal development of musical works is impossible without dialogic co-creation, semantic co-authorship. The processes of understanding and awareness suggest that at the boundary point of the meeting of several views on the same value, a tense dialogue space is formed in which resonant phenomena arise associated with the process of maturation of individual meaning. This dialogue space is created with the help of the artistic and life context of the studied work, which includes works of other types of art, biographical materials, personal experience, etc.

The image created by the composer is the core around which the life of a musical work is built. The author, as the initiator of communication, forms the musical text in accordance with his intention in a dialogue with the audience. When trying-

In order to enter the composer's world at different age stages of musical education, a dialogue of personalities of different content takes place, involving an appeal to various works and aspects of the composer's biography.

With the dialogic nature of music education, students in the lesson are put in active role positions of composers, performers and listeners, artists, poets and artists, cameramen, sound engineers and screenwriters. The comprehension of the intonation language of music occurs in the process of polyintonation.

ing, collective interpretation, artistic play, modeling or creating musical images.

The most important task of the teacher is to create an interesting atmosphere of artistic and pedagogical communication that attracts students and to form friendly relations. Group, pair and collective methods of organizing the educational process, game forms of creative activity are widely used to organize interaction between students.

The system of interpersonal communication in the musical educational process

In the process of artistic and pedagogical communication, the student goes through at least three stages: the first is an internal dialogue with music and a teacher, reflections; the second is the immersion of impressions and maturing thoughts into interpersonal communication with students and the teacher; the third is a detailed monologue statement, when he has already developed a value judgment for himself. Therefore, a personal monologue (oral or written) is a natural and fruitful result of a dialogue. The advantage of the dialogic approach in music education lies in the appeal not only of the teacher, but also of the spiritualized content of the

meta to each student as a unique individuality.

A systematic approach is an indispensable condition for the organization of developmental education. It guides methodologists and teachers to the disclosure and implementation of the integrity of the student's musical education and the diverse intonational and creative connections of all its elements that ensure this integrity, to finding a system-forming element in the hierarchical structure of the content and methods of the musical pedagogical process.

The internal connections of the components create new integrative properties that correspond to the

kind of system and which none of the components had previously. Thus, the thematic organization of the content of the subject (D. B. Kabalevsky) forms its fundamental semantic framework, uniting all types of musical activity of students in the intonation-semantic perception-cognition of music. Mastering the musical language through elementary children's creativity (K. Orff) synthesizes rhythm, word, sound, movement in the artistic and search activity of children. When musical thinking is defined as a system-forming factor in the musical development of students, all elementary musical abilities (types of musical ear) develop interconnectedly, as properties of musical thinking (N. N. Grishanovich).

The musical education of a personality is a complex dynamic system with ordered connections within its structure. Each element of this system can be considered as a subsystem of content, activity, development of abilities, methods, etc. A music lesson, any artistic and communicative situation are also subsystems of music education.

The integrity of the system is fundamentally irreducible to the sum of the properties of its constituent elements. Each element of the system depends on the place occupied in its structure, functions and connections with other elements within the whole. For example, the system of D. B. Kabalevsky does not exclude choral singing, musical literacy and other knowledge and skills, but their functions and place in the educational process are changing dramatically: instead of private learning goals, they become means of developing the musical culture of the individual.

The systematic approach requires the search for specific mechanisms of the integrity of the musical educational process and the identification of a fairly complete picture of its internal connections, as well as the allocation of a backbone element, on the basis of which it is possible to build an “operational unit of analysis” of the success or failure of the functioning of the entire system.

Polyartistic approach

implies integration, synthesis of artistic influence. And integration is the disclosure of the intonational relationship of artistic images. Mastering expressiveness simultaneously with the help of different intonational languages, students better perceive the nuances of expressiveness and can more fully express their feelings, their understanding.

Intonation is a general artistic category. This is spiritual energy embodied in the material and image of art. The general intonational-figurative nature of all types of art is the basis of their interaction, integration and synthesis (B. V. Asafiev, V. V. Medushevsky). Students can discover the spiritual meanings of an artistic image by comparing works of various types of art that embody them in their own way.

The experience of expressive intonation and intonational communication (speech, musical, plastic, color) is accumulated by students in the process of parallel mastering of the disciplines of the artistic cycle, as well as with the help of the poly-intonation technique, the emergence of synthetic types of artistic activity in the educational process: "drawing with a voice", "plastic drawing" , voicing poems and paintings,

creation of an intonation score of a literary text, rhythmic declamation, literary and musical composition, onomatopoeia (creation of sound pictures), speech and plastic games.

It must be taken into account that one of the most important properties of artistic, including musical, thinking is associativity. In the teaching of any art, all its other types create the necessary associative-figurative atmosphere that contributes to the expansion of the life and cultural experience of students, nourishes their imagination, creates conditions for the optimal development of artistic thinking. With the help of works of various types of art, an emotional and aesthetic atmosphere of artistic perception is created in the lesson, which provides emotional “adjustment”, the creation of an adequate perceptual and aesthetic setting for a meeting with an artistic image.

Involved in similarity and contrast in the content of music classes, works of related art forms create an artistic context for the works being studied, contribute to the dialogization of the content of the subject, and the creation of problematic and creative situations. The use of developing technologies is based on poly-intonation, i.e. modeling the artistic image and the creative process with the help of expressive elements of various artistic languages.

The polyartistic approach in art education was theoretically substantiated by B.P. Yusov, who believed that this approach

due to modern life and culture, radically transformed in all parameters of sensory systems. Modern culture has acquired a polyartistic, multilingual, polyphonic character. The unified nature of all types of art presupposes their integration and the realization of the polyartistic possibilities of each child.

This approach is characterized by the idea of ​​dominance at different ages of different types of artistic perception of life and, consequently, different types of art. Types of art act as modules (alternating successive blocks) of a single artistic space of the educational field "Art", dominating in turn as you move from junior to middle and senior classes. Depending on the type of artistic activity that dominates at a given age stage and the interests of students, the types of art that prevail in the polyartistic complex replace each other according to a sliding modular scheme. In a holistic artistic and pedagogical ecosystem, conditions are created for a more complete understanding of different artistic languages ​​and types of artistic activity in their relationship, the ability to transfer artistic ideas from one type of art to another is provided, which leads to the universalization of the artistic talent of the individual.

A multi-artistic approach to art education can be implemented in two types of programs: 1) programs that integrate the study of all types of art; 2) training programs

separate types of art, integrated with other types of artistic activity. The emphasis in the content of the classes is shifting from the art history tradition of mastering the theoretical system of knowledge to the development of various types of children's own artistic and creative activities. Education is based on the interaction of students with "living art": live sound, live colors, own movements, expressive speech, live creativity of children. Integrated and interactive forms of work with students are cultivated, developing artistic thinking, creative imagination, research and communication skills.

Realizing together the specific principles of music education, the considered artistic and didactic approaches can be applied in an interconnected manner, enhancing the effectiveness of each other in the educational process and determining its compliance with the cultural and personality-oriented paradigm of modern art pedagogy.

LIST OF SOURCES AND LITERATURE

1. Yusov B.P. The relationship of cultural factors in the formation of modern artistic thinking of the teacher of the educational field "Art": Izbr. tr. on the history, theory and psychology of art education and polyartistic education of children. - M.: Company Sputnik +, 2004.

2. Pedagogy of art as a new direction of humanitarian knowledge. Part I. / Ed. coll.: L. G. Savenkova, N. N. Fomina, E. P. Kabkova and others - M .: IHO RAO, 2007.

3. Interdisciplinary integrated approach to teaching and education in the arts: Sat. scientific articles / Ed.-sost. E. P. Olesina. Under total ed. L. G. Savenkova. - M.: IHO RAO, 2006.

4. Abdullin E. B., Nikolaeva E. V. Theory of music education: Textbook for students. - M.: Academy, 2004.

5. Abdullin E. B., Nikolaeva E. V. Methods of musical education. Textbook for high schools. - M.: Music, 2006.

6. Goryunova L. V. On the way to the pedagogy of art // Music at school. - 1988. - No. 2.

7. Grishanovich N. N. Theoretical foundations of musical pedagogy. - M.: IRIS GROUP, 2010.

8. Zimina O. V. Dialogue in the professional activity of a music teacher: Textbook P4 / Ed. ed. E. B. Abdullin. - Yaroslavl: Remder, 2006.

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Where does a person's love for music begin? And why is it so important for every person to join this area of ​​culture? The answers to these questions are contained in the theory and methodology of the musical education of preschool children.

Children enjoy listening to music

Place of music in art

One of the most mysterious and enigmatic forms of art and artistic expression - music, has always been an integral part of every person's life.

And, thanks to its universality, it united people of different cultures, eras and worldviews. The task of the parent is to help the child discover her wonderful world.

What is the music like? Perhaps the most common qualification of this type of art, which every person must have come across, is its division into good and bad. But what kind of music belongs to each of these categories? After all, everyone knows that having their own taste and preferences, a person is extremely subjective in assessing. Therefore, for a better understanding of the phenomenon of music, one must turn to another, more scientific qualification.

Table of musical genres

The theory and methodology of musical education of preschool children divides music into:

1. Classical - existing outside of time and space, carrying samples of the standard musical art.
2. Folk music most often does not have a specific author; the whole nation, whose culture it represents, took part in its creation and transmission from generation to generation. It is a product of oral folk art.
3. Popular music is the most widely replicated and is relevant at the present time.

Despite the fact that such a classification is quite strict, it should be noted that the boundaries between the types of music are rather arbitrary.

And works created by someone specific often lose their author, becoming popular. Classically, massively replicated, they become popular, falling in love with the general public. Many songs of various styles become classics of their genre.

Features of the musical development of the child

What information does the theory of children's musical development and education contain. In the process of active interaction of the child with music, his corresponding upbringing and development takes place.

Musical culture - definition

It is carried out in the following directions:

1. Emotional development is the ability to actively respond to a piece of music, reacting to its semantic content, the message conveyed to the listener.
2. The development of children's sensation and perception - honing the ability to perceive not only individual sounds in a work, but also its integral structure. The ability to distinguish sounds by timbre, dynamics, rhythm and tempo.
3. In the field of relations - the identification of the prevailing areas of interest, the need for musical education of preschoolers.
4. In the field of independent actions - the ability to independently perform musical works, actively interact with music.

What is necessary for the correct perception of music and the development of an artistic taste in a child?

Musical abilities of children and their development

The musical abilities of childhood are most often considered as an independent component of giftedness, allowing the child to effectively develop musical skills and carry out appropriate activities. In addition, musicality allows you to adequately perceive and experience the work, recognize it, etc.

The sense of rhythm develops in music lessons

Also, musical ability includes three basic components:

1. Modal feeling - the ability to recognize the modal functions of individual sounds.
2. Auditory representation of a melody.
3. Sense of rhythm. The ability to experience the music being played in motion.

An important role is played by the theory and methodology of musical development and education of children.

• The ability to respond emotionally to music.
• musical memory.
• Musical thinking.
• The ability to distinguish the melodic, harmonic, timbre component of music.

Thus, musical abilities allow the child not only to create, develop the skills of playing a particular musical instrument, but also to experience musical works and create their own.

Musical Ability - Definition

What determines the musical abilities of childhood and what needs to be done in order to develop?

To begin with, let's look at exactly how musicality can make itself felt at a very early age. A child with this quality:

• Demonstrates musical impressionability, emotionally reacting to sounding works
• Tries to focus on music or make certain movements to it
• Feels the need for music
• Has certain musical preferences (this may relate to certain genres, styles, actions, etc. and children's taste in general)

Considering that these skills are most often noticed by the third year of a child's life, this is the ideal time for the development of musical abilities and skills.

Musical Giftedness - Definition

Where should you start? Let us try to trace the main lines of the child's musical development from birth to approximately seven years of age.

Until about a year old, the child only learns to perceive musical works by ear. As early as six months, he actively reacts to sound, tries to determine its source, recognizes its characteristics such as loudness, intonation, etc. He begins to experience a revival complex or, on the contrary, he calms down to the music, and sometimes falls asleep.

In the second year, the child already reacts very vividly to music, capturing its mood and emotional coloring. Motor reactions to music begin to be traced in him: movements to the beat, etc.

You can start listening to music from a year

At three years old, it is best to begin the development of both general and special abilities in a child. To do this, he must be involved not only in listening, but also in the performance of music so that he can memorize the simplest rhythms and melodies.

At the age of four, care must be taken to ensure that the child's memory already has a certain baggage of musical images. It is desirable that he already knows how to distinguish various musical instruments by ear, compare melodies according to such parameters as loudness, speed, etc.

By the fifth year, the child already understands well the nature of music and its emotional coloring. His fine motor development is already good enough for the child to be able to afford to play the simplest musical instruments. And the voice acquires the necessary mobility for onomatopoeia and singing.

Development of abilities in music classes

By the age of seven, a child can already independently characterize a piece of music, indicating its key distinguishing features. He perceives the work as a whole, using a fairly developed artistic taste.

The tasks of musical education

1. Development of interest in music and the need for it by stimulating musical ear, susceptibility, artistic taste.
2. Expanding the musical horizons of the child, familiarizing him with various musical styles and genres.
3. Enrichment of the child's conceptual apparatus with the help of elementary musical knowledge and ideas.
4. Development of skills of children's emotional perception of musical works.
5. Development of creative musical activity (these include playing musical instruments, singing simple vocal works, dancing).

Learning to play musical instruments should be carried out only at the request of the child.

Basic methods of musical education

• Visual-auditory method - listening to a piece of music with the aim of its comprehensive analysis through thinking, emotions, feelings, etc.
• Verbal method - explanations, instructions provided by a parent, teacher or other person in the learning process.
• Artistic and practical - involves not only the perception, but also the active reflection of musical works through singing, dancing or playing musical instruments.

Another classification of musical education methods divides them depending on the activity of the parties in its process:

1. The method of direct influence assumes the presence of a clearly defined pattern, which the child must reproduce following all the instructions given to him by an adult. This may be listening to a piece, playing it on a musical instrument, singing a fragment of a song.
2. The problem-based learning method stimulates the child to find independent solutions, using their creativity and skills.

Methods of musical education - enumeration

The choice of the method of musical education depends mainly on the individual psychological characteristics of the child, which include age, features of intellectual development, his experience of musical activity.

To achieve the best result, it is best to combine various methods of musical education and development of preschoolers in your work.

In order for a piece of music to best contribute to the development of a child, it is important to select it taking into account the following features. It should:

• Build on humane ideas and evoke only positive feelings in the child.
• Have a high artistic value.
• To be saturated with emotions, as well as entertaining and melodic.
• To be accessible to children's perception and understandable to the child.

Principles of musical education of children

Developing methods of musical education of preschool children argue that for the full development of the child in a creative way, it is necessary

• an integrated approach, expressed in the desire to simultaneously solve several problems of education;
• gradualness;
• repetition;
• systematic;
• taking into account the characteristics of child development.

Types of musical activity used for the upbringing and development of the child

Listening to music is perhaps the simplest form of child development available to him from the first days of life. Listening to works of various genres of styles allows you to significantly diversify the horizons of the child, as well as develop the basics of artistic taste in him, accustoming him to truly high-quality performance, the sound of music, etc. The child gets used to being selective about art, carefully “filtering” everything that affects him.

Expansion of musical horizons at a concert

Of course, the skill of active listening to music, which allows not only to perceive a work by ear, but to analyze it in a certain way, is not developed in children right away.

But it is precisely this that will form the basis of his ability to navigate the variety of works and use music as the strongest tool for personal development and growth.

Creative performing activity. When the child already has the experience of active perception of musical works and the necessary amount of knowledge, he can go directly to the performance of music. Starting with the simplest rhythmic patterns, over time he begins not only to perform works according to the model, but to create something qualitatively new. Creative performing activities also include singing (individual and choral), dance.

Given that the musical abilities of childhood are among the general abilities of a person, the development of musicality is impossible without the overall comprehensive development of the child. That is why the inclusion of the child in intellectual activity most often becomes the very "trigger" that gives rise to the musical development of the child. In addition, such an approach will ensure the most correct and holistic development of the child.

One of the most important steps in the musical upbringing of a child is the development of his subjective attitude to music. Therefore, it is extremely important to encourage him to actively reflect, to provide one or another emotional response to the work, to express his point of view regarding it.

By cultivating your musical ability, you may raise a new genius.

It is very important not to overload the child with musical works. It is important to remember that each of them is unique and therefore requires not just listening, but deep experience, comprehension and evaluation.

Musical education should be carried out with maximum consideration of the individual psychological characteristics of childhood in general and of each child (including tempo, intensity, etc.). In no case should you rush him: it is not so much the process that is important, but the result, which allows you to introduce the child to music and achieve positive changes in his personality.

As in any other activity, it is extremely important to motivate the child to succeed and help him believe in himself.

1

The article reveals the essence of the concept and the basic principles of a bifunctional approach to the musical development of a child in piano lessons in institutions of additional education. The bifunctional approach in music education is interpreted as a pedagogical strategy based on the dual foundation of the musical education of children and youth: the formation of a cultural layer of enlightened music lovers and highly qualified professional musicians in society. The author characterizes two educational programs recently formulated in new legislative documents - pre-professional and general developmental - and makes their comparative analysis. The pre-professional educational program is aimed at training future specialists - musicians of various profiles. The general developmental educational program is designed to promote the formation of a musically educated listening and viewing audience in society. The article emphasizes the need to implement both programs on the basis of a single basic academic methodological complex. The idea of ​​fundamentalization is especially important for the implementation of a general developmental educational program, since at present its implementation is in line with easing, indulging, teaching music to most children is becoming an amateur music-making.

amateur music making.

dual foundation

musical development

unified methodological complex

general developmental program

pre-professional program

musical development

bifunctional approach

1. Abdullin E.B., Nikolaeva E.V. The theory of music education. Uch. For university students. M.: Academy, 2004 - 333 p.

2.Barbazyuk T.O. The development of domestic primary music education as a problem of musicology. Dis. can. art history. Magnitogorsk. 2008 - 246s.

3.Barbitova A.D. Peculiarities of Formation of Modern Thinking of a Teacher: Psychological Aspect // Additional Professional Education: Achievements, Problems, Trends: Proceedings of the All-Russian Scientific and Practical. Conf., Kemerovo. November 23-24, 2005 / comp. L.N. Vavilov, under the total. ed. I.A. Zhigalova, T.S. Panina: in 2 hours - Kemerovo: GOU "KRIRPO", 2005. - 236 p.

4. Voskoboynikova E.G. Additional general education program in the field of musical art. Subject "Piano" for Children's art schools and Children's music schools. M., 2014 - 112s.

6. Kazakova A.G. Higher professional and postgraduate scientific education (Ph.D., Ph.D.) Monograph. M .: Ekon-Inform, 2010 - 547p.

The present time is the time of reforming the domestic system of music education. “The reform of the education system being carried out in the Russian Federation is based on the principles developed in the late 1980s. and developed in the early 90s, the principles of democratization”, including: “the variability of the education system; .. humanization of education and the creation of the most favorable conditions for the disclosure and development of the abilities of each student; .. developmental education.” . Now, in the context of the modernization of music education, such an approach is fully consistent with the implementation of additional general educational programs in the field of art, which are contained in the latest legal documents (Federal Law "On Education" dated June 16, 2011 No. 145-FZ, Federal Law dated December 29, 2012 No. 273-FZ). These programs are divided into pre-professional, designed to help identify artistically gifted children and youth, train creative and pedagogical personnel in the field of culture and art, and general developmental, ensuring the formation of a trained audience of listeners and viewers in society.

In this regard, the relevance of the problem of the bifunctional approach to the musical development of a child in the piano class considered in this article in the system of additional education is obvious.

Analyzing this problem, it is necessary first of all to clarify the essence of the concept of "bifunctional approach".

Approach - “... this is a certain position in relation to any problem or phenomenon, ... a theoretical or logical basis for considering or designing an object; a set of methods and techniques for carrying out activities on the basis of an idea or principle.

The approach to learning in pedagogy is interpreted as the implementation in practice of the leading dominant idea of ​​learning in the form of a certain strategy and with the help of certain teaching methods.

The definition of “functional” in the phrase “bifunctional approach” is an adjective from “function” (lat. functio performance), which means “circle of activity, purpose”. R.K. Merton characterizes functions (meaning explicit functions) as consequences that are planned and realized by the participants in the system, i.e. conscious subjective intentions and objective consequences coincide.

The concept of "functional approach" was formed in sociology on the basis of the ideas of O. Comte, G. Spencer and E. Durkheim. Its representatives consider society as a system, which is an integral complex of interrelated elements that are in functional relationships and connections with each other. Functionalists focus on individual subsystems of society, especially on its most important institutions - family, religion, economy, state, culture, education. They identify the structural characteristics of institutions in the same way that biologists describe the basic properties of an organism, and then define the functions of institutions. One of the features of the system is the striving for the balance of its components: a change in one institution has consequences both for other institutions and for society as a whole.

Children's music schools are a widespread socio-cultural institution that performs many public functions, two of which are the preservation and strengthening of the highest level of the national piano performing school and the formation of a cultural layer of competent music lovers in society and are the basis of a bifunctional approach to the musical development of children. The bifunctional approach in this case is interpreted as a pedagogical strategy based on the dual foundation of the musical education of children and youth: the formation of a cultural layer of enlightened music lovers and highly qualified professional musicians in the society.

The emergence of the pre-professional and general developmental educational programs described above is, in fact, the first legislatively fixed step towards creating optimal conditions for the musical education of children in children's art schools. This is the first example of a two-pronged educational program, the first experience of program variability, aimed at an individual trajectory of personality development. In both of them, the tasks and goals of the educational process are correctly formulated, the emphasis is correctly placed on the specifics of each of its functions: general developmental educational programs are focused on educating an active educated listener, participant in amateur performances, pre-professional programs - on providing optimal conditions for the formation of children's motivation to continue vocational training in secondary vocational institutions.

To successfully complete the above tasks, it is necessary to answer a number of questions: what knowledge, skills and abilities should be formed in future amateur and professional musicians graduating from a music school and how this should be reflected in the content of pre-professional and general developmental educational programs and teaching methods in a music school; what personal and special musical qualities each of them should possess. Such an analysis is necessary because children's art schools to this day, in essence, remain a narrowly focused institution for teaching how to play musical instruments.

Amateur musicians can be divided into two categories. The first includes listeners, that is, consumers of sounding music. The second (quantitatively smaller) category includes amateurs who, along with this, realize themselves performing: they participate in various forms of collective music-making, accompany other amateurs (singers, instrumentalists, choir), and often even act as performers - soloists. Amateur musicians of the first, predominant category are characterized by a steady need for the activity of the listener's consumption of music - its perception and experience, obtaining the appropriate aesthetic pleasure as a source of spiritual energy. To fulfill this need, an amateur musician must at least: have the ability and skill to adequately perceive music; to experience emotionally and be able to aesthetically realize and evaluate the artistic level of musical works thanks to a developed ear, thinking and imagination; to know a large number of musical works of various eras, styles and genres; be able to analyze the features of the form and content of the heard work; -qualifiably determine the specifics of their performance by various artists or performing groups; show a keen interest in events in the world of music: new compositions and their interpretation by various performers, competitions, tours, interesting debuts.

This type of music lover, as can be seen from the listed qualities, cannot be considered passive in any way - he is active in realizing his need to communicate with music, evaluate it, memorize it, experience it, and the corresponding emotional reaction. It is clear that the narrowly focused teaching of playing the instrument cannot fully ensure the formation of the musical culture necessary for a competent listener.

Obviously, all these qualities that an educated listener of music should possess should also be inherent in a music lover. At the same time, for a competent amateur performance of musical works, it is necessary: ​​to know the intonation language of music and be able to express through it the various artistic content of the performed works; have a developed musical thinking; have a developed musical memory; have significant instrumental technical equipment, high quality of sound production, necessary for the competent performance of orchestral and ensemble parts, accompaniments that do not contain specific virtuoso difficulties of the solo repertoire; master the elementary skills of ensemble and orchestral music-making; master the skills of reading from a sheet.

From what has been said, it is clear that the performing activity of amateur musicians makes rather serious demands on them, which are close to professional ones in terms of their level. In support of this thesis, let us analyze what set of personal qualities, special knowledge and skills a music school graduate should have for successful further professional education.

The first is a comprehensively developed professional ear as a complex combination of its intonational and analytical components. The second is a heightened rhythmic feeling, developing from the very beginning of classes to the level of the basis of the future rhythmic culture in the aggregate of all its aspects - from metrical pulsation, rhythmic accuracy, a sense of time and tempo to logically correct accentuation, agogic nuance and proportionality of parts of the musical form. The third is the ability to adequately perceive the figurative and artistic content of the performed work, to interpret it creatively. Fourth, a potential musician-specialist as a performer must have a certain set of personal qualities: artistry, ability to work, increased ability to concentrate, overcome stressful conditions. Fifth - professional well-developed musical memory, in all its variety of types: figurative, motor, tactile, verbal-logical, emotional. Sixth - an extensive accumulation of repertoire, covering works of different historical eras, styles, genres. Seventh - a developed ability to read from a sheet. Eighth - the formation of the playing apparatus, which ensures the intensive development of all elements of virtuoso instrumental technique at a fairly early age. Ninth - the presence of certain skills in joint music-making (playing in an ensemble, accompaniment, understanding conductor's signs). Tenth - an active position in relation to the most important events in the world of music and other arts.

So, from all that has been said, we can draw the main conclusion: the pre-professional training of a future performing musician, in terms of its content and structure, should not fundamentally differ from the training of an amateur musician - in both cases, it should be formed as an integral system. , which includes all the necessary significant components of the academic methodological complex. The existing differences should be manifested not in the exclusion of any components from this system, but in a different level of mastering them, in the features of their fundamentalization, in particular, in a different scale of mastering the repertoire, special knowledge, and skills. These differences should be based on a deep understanding by teachers of the nature of the motivation of each child and his parents to receive a musical education, on respect for the choice of students in one direction or another in learning.

Reviewers:

Maykovskaya L.S., Doctor of Pedagogical Sciences, Professor, Head Department of Music Education, Moscow State Institute of Culture, Moscow;

Chervatyuk P.A., Doctor of Pedagogical Sciences, Professor, Moscow State Pedagogical University, Moscow.

Bibliographic link

Voskoboynikova E.G. BIFUNCTIONAL APPROACH TO THE MUSICAL DEVELOPMENT OF A CHILD IN THE PIANO CLASS // Modern Problems of Science and Education. - 2015. - No. 6.;
URL: http://science-education.ru/ru/article/view?id=23891 (date of access: 01.02.2020). We bring to your attention the journals published by the publishing house "Academy of Natural History"

MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

State educational institution

Higher professional education

"KURSK STATE UNIVERSITY"

RUDZIK M.F.

THEORY AND METHODS

MUSIC EDUCATION

TUTORIAL

FOR ART STUDENTS

(specialty "music education")

Part I - Theory of Music Education

publishing house

Kursk State University

THEORY OF MUSIC EDUCATION (lecture course)

Lecture 1. Introduction to the course ……………………………………………………... 4

Lecture 2. The essence of the theory of music education ……….……………10

Lecture 3. The role of musical art in the formation of culture

personality and the process of socio-cultural adaptation of the student …..………… 16

Lecture 4. Functions of musical art

and music education ………………………………………………….. 24

Lecture 5. Artistic and pedagogical concept of D.B. Kabalevsky

in the theory and practice of musical education of schoolchildren ……………… 32

Lecture 6. Theoretical ideas about the goal

music education ……………………………………………………….. 40

Lecture 7. Theoretical ideas about tasks

music education …………………………………………………….. 47

Lecture 8. Principles of music education ……………………………….. 55

Lecture 9. The content of general music education ………………..... 65

INDEPENDENT WORK OF STUDENTS…………………………… 76

BASIC AND FURTHER READING…………………….. 87

APPLICATION…………………………………………………………………94

PART I

THEORY OF MUSIC EDUCATION

Lecture 1. Introduction to the course

Plan

1. Definition of the concept of "theory". The modern theory of music education as a set of initial phenomena, provisions and patterns that reflect the content, process and organization of music lessons with students.

2. Music education as a unity of education, upbringing and development.

3. The image of a music lesson in the history of general music education.

"theory"- a set of general principles, ideas underlying smth.

"spirituality)"- internal state of mind, moral strength of a person

"musical pedagogy" (pedagogy of music education, pedagogy of art, artistic and creative pedagogy)- terminological symbiosis, traditionally used in special literature and mass everyday life in relation to musical and pedagogical theory and practice.

Music, like other types of art, is meaningful, rich, concentrated and expresses the aesthetic essence of reality in an artistic form. Therefore, it is a sharp and effective tool for the formation of a person's aesthetic attitude to life. At the same time, the process of purposeful musical education of a person becomes important, especially during childhood, adolescence and youth.

Currently, few people deny starting position of the theory of music education, which consists in the recognition of the enduring significance and spiritual value for a person of musical art. Without being too didactic, it introduces the human soul into the vast world of universal values; through the development of fantasy, imagination, creativity affects the formation of the spiritual world of the individual.

The concept of "music education" is the most general in the theory of music teaching. It includes a number of concepts dependent on it, among which we should highlight "musical education", "musical education" and "musical development".

The system of mass musical education at school is the process of formation in the child of essential forces that ensure the activity of the artistic and aesthetic perception of musical art, creative imagination, emotional experience, and the formation of spiritual needs. The named system is aimed at realizing the goal of general musical education - the formation of the musical culture of the student as part of his spiritual culture through the solution of a set of 3 complementary tasks:

1) the task of musical education- a purposeful process of forming in children the ability to feel, experience, understand, love and appreciate the art of music, enjoy and create artistic values ​​in the field of musical and creative activity;

2) the task of music education- a purposeful process of mastering the totality of ZUN by schoolchildren, the formation of worldview attitudes in the field of art, artistic creativity, life itself;

3) the task of musical and creative development- purposeful formation of children's talents in the field of musical art.

The theory of music education in Russian art pedagogy is based on a number of fundamental philosophical, aesthetic, psychological and pedagogical starting points. So to methodological premises of the theory Academician B.T. Likhachev, in particular, attributed:

The provision on the leading role of purposeful pedagogical influence in the aesthetic development of the child's personality, contributing to the involvement of children in a variety of artistic and creative activities, the development of their sensory sphere; providing a deep understanding of aesthetic phenomena; elevating to the understanding of genuine (highly artistic) art, the beauty of reality and beauty in the human person;

The provision on the recognition of the enduring significance and spiritual value for a person of the phenomena of beauty (artistic and aesthetic phenomena), which implies the formation of an aesthetic attitude to art and reality under aesthetic education.

An equally important conceptual provision of TPM is the integrity and complexity of teaching art at school: all art programs, methodological systems, material support and training of teaching staff must meet the requirements of a triune pedagogical task.

TPM pays special attention to the problem of goals, objectives and principles of music education. At the level of the goals, objectives and principles of teaching music, formulated in a certain way in each period of our history (respectively, in each period of the development of domestic musical education), one can trace the logic of musical and pedagogical concepts, because each stage of development created its own stereotypes of thinking in school musical pedagogy, views and approaches to the musical and pedagogical process. However, one should pay tribute to those provisions and principles that are of enduring importance and deserve attention in the context of modern approaches to general music education.

So, in retrospect, three principles deserve attention, which formed the basis of materials on general music education at school in the 1920s:

- visibility principle(not illustrative, but direct perception);

- self-activity principle(the need to engage in improvisation and writing in music lessons at school), i.e. to move not only from the contemplation of musical works to their internal implementation in aesthetic experience, but also to move back from experience to its external manifestation;

- vitality principle(“the task of cultural humanity is to raise the level of aesthetic culture through the mutual penetration of one another: life and art”).

Thus, in the theoretical positions of that time (the era of terrifying devastation and civil war!) What is attractive is that they were formed on the basis of a deep understanding of the specifics of art, its functions and role in society. The "connection of times" can be traced in these provisions and modern principles of music education.

However, over time, a contradiction developed between the theory put forward and the practice of music education that existed for many decades. It revealed the essence of the formed stereotype of pedagogical thinking: the mastery of ZUN replaced the knowledge of art. D.B. Kabalevsky noted that in this system, technical training completely replaced art. Only in the 70s of the twentieth century. a notable breakthrough was made in the development and correlation of the theory and practice of music education. So, for example, in the Concept of musical education of schoolchildren was formulated the principle of unity of artistic and technical aimed at strengthening the position of "artistic".

Until this stage, the content of music education largely copied professional music education, although the theoretical thought in the field of music pedagogy spoke about the inadmissibility of this in the early 1920s. (A. Shenshin introduced the term "general musical education"). The image of a music lesson as an art lesson in the theory of music education also began to take shape in the 20s. with its inherent special atmosphere of relationships between all participants in the pedagogical process. The position put forward also by A. Shenshin sounds very modern, about creating an atmosphere of humanistic relations arising from the ability of music to organize special human communication: "The atmosphere of the classes should contribute to a lively and relaxed conversation: any formality, any line separating the teacher and student, performer and listener, should be erased so that only people living a common musical life remain."

The attitude towards music as a means of education, which has existed in school music education for many years, should be considered unacceptable for the pedagogy of art. Only in recent decades has advanced to the center of pedagogical consciousness the principle of recognition of the inherent value of art: it should not be alienated from a person, but rather be lived in the process of living perception.

For a music lesson - an art lesson is no less important emotional richness principle(for the first time we read about the emotional structure of a music lesson in the Project of the Secondary School Program (- M.: Prosveshchenie, 1965. APN RSFSR): musical taste, love for music, an active and creative attitude towards it. The school provides musical education, development and training of students, the unity and interconnection of which is crucial for the full formation of the child's personality. For a music lesson, an art lesson, the emotional mood of the classes is very important. "

This principle is not the only achievement in the development of the domestic theory of mass musical education in the second half of the 20th century. During the years of the so-called “thaw”, the theoretical thought of the compilers of music education programs in mass schools developed in the following main areas:

1) concretization of the content of music education(The 1943 elementary school program addressed this concept from the point of view of concretizing ZUN; only in the 1960 8-year school program was an attempt made to specify an important personality quality, which was later defined as “musical culture”: the formation of personality traits with higher moral and aesthetic positions);

2) systematization of the content of music education as a consequence of its gradual development in breadth and depth, the need to bring its components into a certain system.

Many of these provisions for half a century remained just a declaration. The decisive breakthrough in this direction, as noted above, occurred in the mid-70s, when D. Kabalevsky's concept of musical education appeared. He based the concept on the scientific ideas of his teacher, Academician B. Asafiev, who wrote: some phenomenon in the world, created by man, and not a scientific discipline that is taught and studied. It is these words that allow us to say now that with the appearance in the 70s. the concept of musical education, a music lesson at school has acquired a new essence - art lesson image.

In the concept of D.B. Kabalevsky, proceeding from the nature and laws of musical art, as well as from the nature and laws of the development of the child, new principles of teaching music were put forward, including the principle of interest and enthusiasm for the art of music, a wide and deep disclosure of the links between music and life, the thematic principle of building a system of music lessons, the principles of "similarities and differences", the variability of building music lessons, "running ahead" and "returning to the past", the unity of the emotional and conscious, artistic and technical and a number of others.

Thus, the essence of the system of musical education was crystallized, which lies in the fact that in the center is the personality and individuality of the child, making a long journey of internal meaningful artistic and aesthetic development. These ideas, which formed the basis for the formation of modern pedagogical thinking in the field of musical education of schoolchildren, were further developed in science in the 80s.

During this period, the theory of aesthetic education of schoolchildren considered the following principles of building an educational system:

Universality of aesthetic upbringing and education;

An integrated approach to the implementation of the system;

Organic connection of all artistic and aesthetic activities of children with life;

Combinations of classroom, extra-curricular and extracurricular activities and organized exposure to art through the media;

Unity of artistic and general mental development of children;

Artistic and creative activities and amateur performances of children;

Aesthetics of all children's life.

In the context of these principles, new content, a new process, a new organization of music lessons began to take shape; develop new methods and technologies of education; define the new essence of the lesson. Fundamentally changed music pedagogy (pedagogy of personality development) today overcomes the stereotypes of traditional ZUN pedagogy. Under these conditions, the efforts of school musician teachers should be aimed at changing the attitude towards art as a means of education, the approach to teaching music as a school subject - towards the implementation a relevant and meaningful idea of ​​teaching music as a living figurative art.

Literature

1. Unified labor school and exemplary plans for classes in it. - Vyatka, 1918.

2. Likhachev B.T. The theory of aesthetic education of schoolchildren. - M., 1985.

3. Materials on general educational work at school. Aesthetic development of children. - Issue. 4. - M., 1919.

4. Music at school. Materials on general musical education at school / Ed. ed. Muses. section of the ETSH Department. - M., 1921.

5. Program "Music". 1-3, 5-8 cells. / Ed. D.B. Kabalevsky. - M., 1980.

6. The program of the 8-year school. - M., 1960.

7. Primary school program. - M., 1943.

8. Programs for the 1st and 2nd stages of the seven-year unified labor school. - M., 1921.

Lecture 2. The essence of the theory of music education

Plan

1. The theory of music education (TME) as a system of scientific knowledge and concepts about the laws governing the development of the child, the education of his aesthetic feelings in the process of familiarization with music and the formation of aesthetic consciousness.

2. Methodological foundations of TMT.

4. The purpose of the subject "Theory of Music Education".

Basic concepts and categories:

"personality culture"- a multifaceted phenomenon that has a significant impact on the economic, political, social and spiritual processes of public life. Important criteria for the culture of personality are:

1) its compliance with universal ideas about the values ​​of life, man and society;

2) the attitude of the individual to the cultural experience of all generations of mankind;

3) human participation in creativity, in the creation of new material and spiritual values;

4) the stability of a person's positions, his orientation towards certain values.

"musical education"- the process and result of the assimilation of systematic knowledge, skills and abilities necessary for musical activity. Music education is also understood as the system of organizing musical education in music educational institutions. Self-education can also play an important role.

"thesaurus"- terminological dictionary related to the given science, the subject of study.

As a system of scientific knowledge, TMT is included in the general system of pedagogical sciences and occupies a certain place in it. TMT of schoolchildren is directly included in school pedagogy, as it considers the issues of musical education of a child from 6 to 15 years old. This is the area of ​​aesthetic education, the laws of which apply to all artistic, and in particular musical, human activity. The educational value of art today is more relevant than ever: according to sociological studies, the displacement of aesthetic needs, spiritual values ​​from the youth consciousness leads to one-sided rationality, pragmatism and soullessness, inattention to one's neighbor and to a person in general, and disregard for moral values. Therefore, it is important to understand the role of the music lesson in the education of the artistic culture of students as part of the educational process, which most significantly affects the sphere of aesthetic, spiritual experiences. Music has always possessed subtle means of attracting the listener to goodness, beauty and humanity.

The already well-established experience of domestic music pedagogy reveals two functions of music education. The first - the classical function is aimed at the formation of the musical culture of the individual, reaching the level of spiritual and moral values ​​and universal humanistic beliefs, which determines the development of imaginative thinking and creative principles of a person. The second function is pragmatic, which determines the need for a creative specialist: today the development of abilities for creativity and figurative-constructive thinking is activated, the role of a person's abilities for synthesis and generalization is increasing. In this process, the development of imagination, the ability to correlate heterogeneous material, the ability to perceive the picture of the world harmoniously and holistically become important factors. And these abilities develop in a person, first of all, in classes in the subjects of the aesthetic cycle, including music lessons.

At the moment, it is difficult to consider the professional skills of a teacher-musician without such a component as mastery of the theory of music education. TMO considers such important aspects as:

* provisions and patterns that reveal the possibilities of art and pedagogy in musical education, training and development of students;

* the idea of ​​a child as a subject of musical education;

* priority professional qualities of the teacher's personality;

* a holistic model of the components of music education;

* the essence, types and features of the professional activity of a music teacher.

TMT assumes mutual consistency with pedagogy, sociology, general, developmental and musical psychology, physiology of school-age children; with aesthetics and musicology on the basis of unified conceptual provisions on the aesthetic essence of musical art and its significance in the musical and aesthetic development of schoolchildren. The named sciences are methodological basis of the theory of music education.

In particular, aesthetics reveals the specific features of musical art, reflecting life phenomena in musical images, and musical education is based on several principles of musical aesthetics:

Consideration of a musical work in the historical, cultural and social context;

Attention to the psychological characteristics of the perception of music. B.L. Yavorsky emphasized the unity of creativity, performance and perception.

The problems of musical psychology as a methodological basis for musical upbringing and education were developed in the works of B.M. Teplova, E.V. Nazaikinsky, V.V. Medushevsky, G.S. Tarasova. The most developed area of ​​musical education and upbringing is the psychology of musical perception, which considers music as a language and means of communication.

A significant contribution to the theory and methodology of musical perception is developed by academician, composer B.V. Asafiev, the musical-theoretical concept, which today constitutes an essential part of the theoretical substantiation of the modern theory and methodology of music education: his theory of intonation, interpretation of the relationship between the processes of perception and the logical organization of a musical work, and the dynamic study of musical form are of methodological significance for the musical education of schoolchildren.

It is also impossible to overestimate the activities of the composer, teacher, public figure D.B. Kabalevsky on the development of the conceptual foundations of the general musical education of children and adolescents: he revealed the essential properties of music, genre features of musical thematics, intonation and principles of musical development, the importance of musical means in creating the figurative structure of a work - all this today is the methodological basis of musical education and education of children , and also develops their scientific foundations - musicology and didactics.

For TMO, sociological research in the field of musical art is also important, which is associated with identifying the musical tastes of listeners; research in the field of philosophy, cultural studies, art history, pedagogy and musicology, which are aimed at studying the phenomenon of the musical culture of the individual (the works of L.N. Kogan, E.V. Sokolov, G. Gontarev, etc.). The fundamental guidelines for TMT are such provisions of developmental psychology as the recognition of the leading role of activity and communication in the development of the student's personality, the dominance of sensory cognition among elementary school students. TMT is based on general pedagogical research methods, which are ways to solve research problems: observation, survey methods, pedagogical experiment.

The study of the theory of music education is impossible without the disclosure and assimilation of the most important concepts and provisions included in the obligatory thesaurus of a music teacher. Music teachers' mastery of the professional thesaurus of pedagogy related to the field of music education is one of the indicators of professionalism, because ensures the correctness of the use of special terminology, helps to analyze special literature from a professional standpoint and actively participate in the discussion of the problems of music education.

One of the key concepts of TMT is the term "musical education", which is considered as integrative, uniting education, training and development. In turn, they have their own meanings:

Musical education is used in two senses. In a narrow sense, musical education means, first of all, the education of certain qualities of the personality of students (the psychological meaning of the concept). In a broad sense, this is moral, aesthetic, artistic education.

Music training also has two meanings. In a narrow sense, it refers to the development by students of musical knowledge, skills and abilities. In a broad sense, this term also includes the experience of students' emotional and value attitude to music and their musical and creative activities.

Musical development is the focus of the teacher in teaching and educating the child. Musical development covers a wide range of aspects: the development of musical interests, tastes, needs of students; development of all aspects of his musical ear, musical memory, thinking, imagination; development of musical and creative abilities, performing, listening and even composing skills and abilities.

The theory of music education, as already noted, studies the activities associated with music education, aimed at familiarizing students with musical culture in general, and not just with the art of music. It is with this that the name of the school subject "Music" is connected.

The content of the discipline "Theory of Music Education" deals primarily with general music education. General musical education is understood as education aimed at each student, because general secondary education in our country is compulsory. It is carried out in schools, gymnasiums, lyceums within the framework of the subject "Music" under the guidance of a music teacher who has a secondary or higher musical and pedagogical education and works according to one of the curricula, in accordance with the state standard of general education.

The system of music education also includes additional music education, which is not compulsory. Children, if they wish, can study music in studios, circles, music schools, art schools (the official name is institutions of additional education for children). The main purpose of such institutions is to implement additional educational programs in the interests of the individual, society, and the state. This takes into account that music, as A.B. Goldenweiser, "it is necessary to teach everyone in one form or another and degree, and not only not everyone, but only very few should be educated as professional musicians."

This teaching style continues to this day. Therefore, work with children in the context of the system of additional music education is carried out in two main areas:

General musical and aesthetic development;

Preparation of the most gifted of them for admission to special educational institutions to receive their chosen musical specialty.

Modern society poses urgent problems for the school, which determine the development of an optimal model of general education. In modern conditions of the multivariance of music curricula for general educational institutions, each music teacher is required to create his own model of general music education, which meets not only his personal characteristics as a musician and teacher, but, above all, contributes to solving urgent problems. This requirement necessitates a deep knowledge of the methodological foundations of music education and the theory of music teaching itself.

The effectiveness of a music teacher's activity largely depends on the extent to which he has theoretical knowledge in the field of music education. Mastering the theory of music education contributes to:

· disclosure of the importance of TMT for a teacher-musician;

· acquisition of knowledge about the essence of TMT, its main categories, patterns, concepts;

formation of theoretical professional thinking;

· accumulation of experience in the creative application of theoretical knowledge in the field of music education in their practical activities;

· formation of a professional position in relation to topical issues of music education;

· development of the ability to independently enrich professional knowledge, skills, experience of creative musical and pedagogical activity.

Literature

1. Abdullin E.B., Nikolaeva E.V. The theory of music education. Textbook for students. university. - M: Academy, 2004.

2. Bezborodova L.A., Aliev Yu.B. Methods of teaching music in educational institutions: Proc. settlement for stud. music fak. pedagogical universities. – M.: Academy, 2002.

3. Goldenveizer A.B. Master's advice // Sov. Music. - 1965, No. 5.

4. Morozova S.N. Musical and creative development of children in the pedagogical heritage of B.L. Yavorsky. - M., 1981.

5. Musical education at school: Proc. allowance / Ed. L.V. Schoolboy. – M.: Academy, 2001.

6. Telcharova R.A. Musical and aesthetic culture and the concept of personality. - M., 1989.

An integral part of aesthetic education is musical education as a determining factor in the formation of a person's musical culture.

Musical education, as one of the directions of the aesthetic development of the individual, is at the same time a necessary aspect of other elements of education, the formation of the individual's worldview. The specificity of such education lies in the fact that its ultimate goal is a harmoniously developed personality. It is aimed at activating the creative abilities of a person, at improving his general culture. Therefore, aesthetic education is of particular importance today. At the general theoretical level, aesthetic education is considered as a purposeful activity, thanks to which aesthetic, mainly artistic interests and needs of the individual are formed and satisfied.

Aesthetic education is aimed at developing the ability to perceive, feel and understand the beautiful, notice good and bad, act creatively independently, thereby joining various types of artistic activity.

One of the brightest means of aesthetic education is music. In order for it to perform this important function, it is necessary to develop general musicality in a person. What are the general signs of general musicality?

The first sign of musicality - ability to feel character, the mood of a piece of music, to empathize with what was heard, to show an emotional attitude, to understand the musical image.

Music excites the listener, evokes responses, introduces life phenomena, gives rise to associations.

The second sign of musicality - ability to listen, compare, evaluate the most striking and understandable musical phenomena. This requires an elementary musical and auditory culture, arbitrary auditory attention directed to certain means of expression. For example, children compare the simplest properties of musical sounds (high and low, the timbre sound of a piano and violin, etc.), distinguish the simplest structure of a musical work (song of a song and chorus, three parts in a play, etc.), note the expressiveness of contrasting artistic images (affectionate, lingering character of the sing-along and energetic, mobile - of the refrain). Gradually, a stock of favorite works is accumulated, which form the basis of musical taste.

The third sign of musicality - manifestation of a creative attitude to music. Listening to it, each person in his own way represents an artistic image, conveying it in singing, playing, dancing. For example, everyone is looking for expressive movements characteristic of moving hares, cheerfully marching guys, etc. Familiar dance moves are used in new combinations and variations.

With the development of general musicality, there appears emotional attitude to music, hearing improves, creative imagination is born.

In modern world musical art regarded as part of a common world culture. It simultaneously acts as an integral element of the general process of cognition of the world, as part of the general development of human culture, and at the same time is a specific form of aesthetic activity. The specificity of art in general, among other characteristics, has such an important one: by its nature, it is "a multifunctional subsystem of artistic culture that synthetically satisfies the diversity of human needs and embodies the diversity of manifestations of human activity." Indeed, music is polyfunctional in nature and in relation to a person is an instrument of knowledge and self-knowledge, a means of communication and value orientation, as well as a source of pleasure and a tool for spiritual and practical change in reality. Metaphorically, one can say that “music is a miniature of the harmony of the entire universe, because the harmony of the universe is life itself, and a person, being a miniature of the universe, demonstrates harmonious or inharmonious chords in his pulse, in heartbeats, in his vibration, rhythm and tone. ". In the science of herbs - pharmacognosy - there is a term synergy, that is, the total effect when a particular herbal medicine is not reproducible with the artificial chemical synthesis of its constituent elements. Obviously, the impact of music on a person has this overall effect, and the functions listed above are "decomposed" only for their theoretical understanding. It is characteristic that even representatives of the exact sciences have lately uttered praises in honor of musical education and temperamentally formulate the fundamental general pedagogical principles that are so important for aesthetic education. For example, the English educator Roy Slack draws attention to the thought of philosophers of the ancient world that "music is truly educative, as it develops the brain and, in addition, develops and ennobles the senses." It is easy to see that these integrative ideas about the meaning and characteristics of the impact of music are based on the idea of ​​Pythagoras about the musical cosmos, where everything sounds and everything is beautiful.

Now, in the conditions of Russia's unpredictably rapid entry into the information civilization and market economy, with all the inconsistency of these tasks with real regional conditions, the priority pedagogical task of society is the implementation in the education system and its structure of universal tasks for the formation and preservation of the components of spiritual culture. But there is a great distance from the declaration of the problem to the practical implementation.

The musical education of children is precisely that kind of phenomenon that is characterized by its special role in the development of the child's personality. Of course, today we cannot talk about the mass musical education of children, as was previously assumed within the framework of a comprehensive school, in the spirit of the ideas of Soviet musical pedagogy and its main ideologist D. Kabalevsky, just as the Hungarian version of universal musical education is unacceptable in modern conditions. , brought to life thanks to the social reorganization of society and such Hungarian musicians as B. Bartok and Z. Kodály. This was achievable only if such a task became a state task, which today cannot become a reality for many objective reasons.

It is also impossible not to take into account the fact that the overload of children in secondary schools has become an urgent problem of Russian pedagogy. In this regard, a well-argued justification is absolutely necessary. special missions of music and art schools, which should be able to meet the new requirements of the state, society, and parents. Today, no one doubts the assertion that education and upbringing is the main thing that society gives to a person. The process of development of society requires the preservation and transfer of accumulated knowledge, as well as the experience of obtaining it. One of the traditional concepts in this regard is content of education as a set of those qualities and relations of the educational process that are necessary for relaying the accumulated practical and spiritual experience. Behind the content of education is always a model of a person - an ideal carrier of the desired education. Meanwhile, in the process of developing education in our country, at a certain stage, the need arose to create specific models for posing problems and solving them. All this is called the scientific paradigm of education. The scientific paradigm, in turn, has limited the number of disciplines and areas that, according to its criteria, meet the concepts of an educational discipline and a scientific direction. It should be recognized that successful concepts and definitions of phenomena and processes formulated within the framework of the scientific paradigm of education led to the accumulation of highly specialized knowledge, and the created limited range of disciplines gradually deprived educational institutions of the factor of relaying culture as an emotional and spiritual experience of society. Let us recall how at the end of the twenties (due to a whole range of interrelated reasons) culture and education in all its types were separated, which was also enshrined in the relevant state structures that still exist. The isolation of highly specialized knowledge leads to the fact that already in childhood a person is deprived of the opportunity to choose his own initial attitude. In this regard, the conclusion of E. Feinberg can be cited: “Only art, complementing the natural and humanitarian sciences, projecting the whole world of a person, can communicate the integrity of the perception of the world to a modern person. There is no substitute for art. The functions of the humanitarian part of education, including art, should grow if mankind wishes to maintain health...".

The current system of art education has developed in our country for a long time and is based on the traditions of musical culture recognized in the world. In this regard, it is necessary to emphasize the contribution of the Yaroslavl pedagogical community, which has trained a significant group of professional figures of national culture and education. Teaching music in Rostov-on-Don differed little from generally accepted Russian traditions and originates at the turn of the century with the activities of the Rostov Society of Lovers of Musical and Dramatic Arts (1875-1912), with the opening of a private music school by N. N. Almazov ( 1899), as well as the opening in 1904 of the Rostov branch of the Imperial Russian Musical Society. Musical schools in Russia until 1917 were only private, they worked, as a rule, only in large cities, but they also arose, mainly at the end of the nineteenth century.

In Soviet times, seven-year music schools appeared in almost every regional center of our region. A multi-stage system has developed that provides for continuous education: from a music and art school and an art school to secondary vocational training, carried out, in particular, in our region by music and art schools, and a school of culture. The total number of educational institutions during 1990-2003 remained unchanged and amounted to 43 schools, in which about 10 thousand children studied. The characteristic by types of schools in the Rostov region in 2003 is as follows:

children's music schools (DMSH) - 27

children's art schools (DKhSH) - 9

children's art schools (DSHI) - 6

Others - 1 (children's choir school "Canzona").

The system of music education formed in this way is a specific, characteristic phenomenon for our society, it has an organizationally complex structure, special internal and external relations. The Children's Music School (DMSH), born of the Soviet educational system, has many features of its functioning inherent in this particular system and the corresponding determinants, not only specifically professional, but also educational. This is a multifaceted, multifunctional educational institution. If we exclude the ideological aspect, then the tasks of music schools, determined since 1980 by the "Regulations on the Children's Music School and the School of Arts of the System of the Ministry of Culture of the USSR", remain relevant today:

1. To give students a general musical education, to introduce children to art, educating their aesthetic taste on the best examples of Soviet, classical, Russian and foreign art.

2. Prepare the most gifted children for admission to the appropriate special educational institutions.

The priority for music schools was proclaimed the training of personnel for secondary specialized educational institutions. The 7-8-year training programs developed by the Ministry provided for the acquisition by students of the initial skills of playing instruments, which laid the foundation for professional training. Curricula, requirements for entrance and final exams were also subordinated to this task.

At the same time, the 5-year programs of the aesthetic departments of art schools were focused on general musical education. The programs of the music school and the music departments of art schools were considered as the initial link in professional music education.

The prestige and popularity of receiving such an education in the 70-80s made it possible already at the first stage, when entering school, to select children on a competitive basis. At all stages of training, priority was given to professionally promising students. One of the supporting arguments is the qualification requirements that were imposed at that time on the teaching staff of the music school and the art school. The criteria for awarding the next qualification ranks were, first of all, the presence of graduates enrolled in secondary specialized educational institutions of culture, as well as the participation and victories of students in competitions of professional skills.

Today we celebrate music school crisis as a social institution, some of the reasons for which lie in the field of finance and economics, but the main reason is related to the conceptual features of this unique type of education. A complete picture requires a holistic, constantly changing and deepening analysis of all activities. Traditionally, the "efficiency" of any educational system means a certain correspondence between the goals and results of the organization of education, and the "quality" of education implies the correspondence of its content and forms to some ideal level. When determining the quality of pedagogical "production", it turned out to be easier to use indirect and external signs of the dynamics of the process. The volume and quality of the knowledge gained in the lesson have been established as such convenient indicators. However, both of these concepts are difficult to define and test in relation to music education, firstly, since the community, goals, and values ​​are heterogeneous, and secondly, the ideal level of something is conditional.

In a traditional music school, absolutely nothing depends on the student, except for one thing - he can be "rewarded" if he plays according to generally accepted rules and, despite the proclaimed humanization, remains a follower, not a leader. Imperceptibly there was a substitution of goals, and the child lost the individual approach necessary in musical education. In a limited, narrow period of time and activity of the child, the transfer of knowledge on the subject has acquired a self-contained value and has become an end in itself.

A single pedagogical process was divided into subsystems that are little dependent on each other. If the substitution of the end with the means took place in the practice of only individual ordinary teachers, it would be half the trouble. Not all nature, intuition is given wisdom, strength and responsibility to treat the child's personality in a holistic, balanced way. But when generalizing pedagogical practice, the error was laid in the basis of the empirically developing system of music education.

In my opinion, the most constructive path today lies at the turn of the times and allows us to synthesize the invaluable pedagogical achievements of the past years, which have not lost their practical significance to this day, the pedagogical discoveries of musicians, practicing teachers who seek to modernize the obsolete model of education.

It is no secret that one of the causes of the current crisis music schools in the Rostov region is the inertia of teaching staff and a significant gap between the quality of the "product" and the growing requirements for it from the personality of students, parents, the regional labor market and society. Despite the fact that today admission to the first class is preserved (2,200 people are admitted to institutions of art education annually in the region), less than 40% reach the graduation class. This fact indicates the need for further scientific analysis of the situation at the regional level. The key task to be solved by managers and teaching staff is the ability to adequately and timely respond to changes in the external environment and provide quality education in the face of a shortage of budget funding and a reduction in the number of students. The decrease in the number of students in educational institutions, connected with the demographic situation, continues, which leads to a rise in the cost of educating one child in them. According to the Department of Education, the reduction in primary school students in the city of Rostov-on-Don reaches 20%, and in the region - up to 30%. Under these conditions, the individual, private needs of the child and his family are the main source of order for the educational activities of the music school.

The main task and goal of aesthetic education (according to L. Vygotsky) is to familiarize the child with the aesthetic experience of mankind: to bring close to monumental art and through it to include the child's psyche in the general world work that humanity has been doing for thousands of years, sublimating its psyche in art. Professional training in the technique of any kind of art should, accordingly, be combined with such lines of education as the child's own creativity and the culture of his artistic perceptions. But the difference between learning and subjective development of the personality is not mutually exclusive, contradictory processes. Their relationship is similar to the relationship between tactics and strategy. Identifying the necessary conditions for supporting a child in the process of his self-determination, self-realization (providing the child with opportunities for self-promotion towards his own interests and opportunities for free choice) and the purposeful creation of a special educational environment in practice is a strategy. Mastering any skill is a tactic.

To evaluate the effectiveness, it is necessary to highlight the psychological and pedagogical essence of these two processes and their optimal correspondence:

Psychological and pedagogical support for the free choice of the interests of the child, his life and professional self-determination;

The subordination of pedagogical influence (teaching tactics) to subject-subject, partnership relations between the teacher and the child.

Music Pedagogy - the area itself is quite wide, including the teaching of playing the instrument, the history and theory of music, and everything that is included in the programs of musical education and upbringing. It is important that the specifics of pedagogical activity in institutions of musical education for children be associated not only with pragmatic subject-handicraft training (learning), mastering information and skills, but with the development of the child’s potential, with the process of formation and improvement of the child as a subject of his own development. These processes cannot be reduced only to expressing the result in a statistical form (concerts, competitions, diplomas, etc.). The main principle on which the program for the preservation and development of the Children's Music School (children's music school) can be built is the creation of conditions conducive to the creative growth of students.

The problem of individualization of teaching methods today requires a music school teacher to have more fundamental knowledge in the field of psychology, anatomy and physiology, and aesthetics. Classes with a student are a new creative task every time. Its successful solution is unthinkable without a developed pedagogical thinking based on the achievements of modern science. The search for ways to improve the effectiveness of the educational process must also be carried out in the direction of overcoming such shortcomings in teaching in music schools as the lack of purposeful artistic education, insufficient development of performing ear, rhythm, musical memory, initiative and creative imagination in most students.

Professional music pedagogy should create conditions for the fruitful activity of the student, and this is the content and dignity of true professionalism. The time has come when the question of the quality of the teacher's work, the effectiveness of his musical and educational activities become paramount. In this regard, the improvement of the training of music school teachers is of particular importance, which depends on the re-emphasis of the educational process in a music school on equipping future teachers with pedagogical knowledge and skills. Within the existing curricula and programs, it is necessary to pay much more attention to the study of psychology, pedagogy, methodology, as well as pedagogical practice. At present, as is known, music schools and conservatories prepare their pupils mainly for performing activities. The pedagogical education of young musicians has not yet developed into a clear, comprehensively thought-out system. Therefore, the landmarks of pedagogical search are today in the field of developing mobile pedagogical technologies. In this sense, the importance of the relationship between creative principles and didactics, developed in the system of general education, increases.

The process of integration with the education system, in our opinion, should be understood, first of all, as a constructive way to solve these problems in culture. At the level of our region, we see a fruitful prospect of interaction between the educational and methodological and information center of workers of culture and art of the Rostov region (as the leading methodological structure) with the Pedagogical University and the Institute for the Development of Education.