Coursework: The influence of modern musical culture on personality. Musical culture is a specific kind of culture The essence and content of the concept of musical culture of the individual

Musical culture. Characteristics of the concept of "musical culture", the structure of the musical culture of preschool children, the sources of musical culture.

The musical culture of society is the unity of music and its social functioning.

This is a complex system that includes:

1) musical values ​​created or preserved in a given society,

2) all types of activities for the creation, storage, reproduction, distribution, perception and use of musical values,

3) all subjects of this kind of activity, together with their knowledge, skills and other qualities that ensure its success,

4) all institutions and social institutions, as well as tools and equipment serving this activity.

Musical culture is spiritual and material in nature. Its main content is made up of musical images and other phenomena of public musical consciousness (interests, ideals, norms, views, tastes, etc.).

Consider the concept of musical culture of preschoolers.

D.B. Kabalevsky associated the musical culture of the child's personality with the spiritual comprehension of musical art. He believed that musical literacy, in fact, is a musical culture, which manifests itself in the qualities of music perception:

The ability to perceive music as a living figurative art, born of life and inextricably linked with life;

A special “sense of music”, which allows you to perceive it emotionally, to distinguish good from bad in it;

The ability to determine the nature of music by ear and feel the inner connection between the nature of music and the nature of its performance.

Yu.B. Aliyev under the musical culture of the personality of the child means individual social and artistic experience, which causes the emergence of high musical needs. Musical culture is understood as an integrative property of the individual, the main indicators of which are:

Musical development (love for musical art, emotional attitude towards it, the need for various samples of artistic music, musical observation;

Musical education (armament with the methods of musical activity, art criticism, emotional and value attitude to art and life, “openness” to new music, new knowledge about art, development of musical and aesthetic ideals, artistic taste, critical selective attitude to various musical phenomena).

O.P. Radynova considers the musical culture of a preschool child as an integrative personal quality that is formed in the process of systematic, purposeful education and training based on emotional responsiveness to highly artistic works of musical art, musical-figurative thinking and imagination, the accumulation of intonational cognitive-value experience in creative musical activity, development all components of the musical and aesthetic consciousness - aesthetic emotions, feelings, interests, needs, taste, ideas about the ideal (within the limits accessible to age), giving rise to the emotional and evaluative attitude of the child to music, actualized in the manifestations of aesthetic and creative activity.

The core of the concept of “musical culture of a preschooler” is emotional responsiveness to highly artistic works of musical art, which plays the role of an initial positive assessment for the child and contributes to the formation of interest in music, the beginning of taste, and ideas about beauty.

Let us dwell on the characteristics of the concept of "musical culture of preschool children" and analyze its structure.

The musical culture of children can be considered as a specific subculture of a certain social group (preschool children).

It has two components:

1) the individual musical culture of the child, including his musical and aesthetic consciousness, musical knowledge, skills and abilities that have developed as a result of practical musical activity;

2) the musical culture of preschoolers, which includes works of folk and professional musical art used in working with children, the musical and aesthetic consciousness of children and various institutions that regulate the musical activity of children and satisfy the needs of their musical education.

The volume of the musical culture of society corresponding to preschool age is adopted by the child in the family, kindergarten, through the media, musical and cultural institutions.

The influence of the family on the formation of the beginnings of the child's musical culture is determined by its traditions, the attitude of family members to musical art, the general culture, and even the gene pool.

The role of the kindergarten is manifested through the personal and professional qualities of the teacher-musician, his talent and skill, the general cultural level of educators and the entire teaching staff, through the conditions they created.

Public institutions (mass media, creative musical unions, musical and cultural institutions, etc.) organize various musical activities for children, the creation, reproduction and storage of musical works, and scientific research.

The basis of the musical culture of the child can be considered his musical and aesthetic consciousness, which is formed in the process of musical activity.

With the help of musical and aesthetic consciousness (a person's aesthetic attitude to music), musical works are comprehended, one's own impressions of them. Developing in musical activity, it helps a person to perceive the content of a piece of music and determine its meaning for himself.

For a full-fledged perception, the listener needs to experience a piece of music, be able to distinguish between the main means of musical expression, have musical experience, and some information about music. Musical consciousness gradually rises to a higher level if the child has an interest in musical activity, if the child is given an attitude to the perception of music, if the child is able to evaluate the sounded work, give his own, albeit elementary, judgment. The main means by which musical and aesthetic consciousness and musical culture as a whole is formed is music itself.

Based on the provisions of psychology on the role of activity in personality development, several components can be distinguished in the structure of the child's musical culture (Fig. 1).

Fig.1. The structure of the child's musical culture

The components of the structure of the musical culture of the child include: musical experience, musical literacy, which D.B. Kabalevsky called "essentially musical culture" and which, indeed, is its core, its meaningful expression, and musical and creative development.

Musical experience, according to L.V. Shkolyar, the most visible, the very first "layer" of musical culture. It allows you to judge the musical interests of the child, his passions, the breadth of the musical and life outlook. The experience of perception of music and its performance testifies to the orientation (or lack of it) in the values ​​of the musical heritage of the past (classics, musical folklore) and in the modern surrounding musical life. The criteria for having experience can be: the level of general awareness of music, the presence of interest, certain passions and preferences, the motives for turning the child to this or that music (what the child is looking for in it and what he expects from it).

The parameters of musical literacy are associated with the qualities of perception of musical works. This is an individual-personal ability to perceive music as a living, figurative art, born of life and inextricably linked with life; a special “sense of music”, which allows you to perceive it emotionally, to distinguish good from bad in it; the ability to determine the nature of music by ear and feel the internal connection between the content of music and the nature of its performance; as well as the ability to identify by ear the author of unfamiliar music, if it is characteristic of this author.

The musical and creative development of the child (the third component) is considered in the integral system of musical culture as the ability for creativity and self-development. Creativity is an indicator of a person's development, and in music it is the highest indicator of a person's mastery of musical art. Musical creativity manifests itself as self-knowledge, self-expression and self-affirmation in their unity. The need for self-expression is manifested when the child expresses his attitude to the moral and aesthetic ideals contained in art; self-knowledge is manifested when a child explores his spiritual world through music, and self-affirmation - when through musical art he declares himself, about the richness of his sensuality, about his creative energy.

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Page 1

The concept of "culture" does not have an unambiguous interpretation. In the broadest sense, culture is understood as what is created by people in the process of activity. Allocate the material, spiritual and artistic areas of culture (some researchers attribute the latter to the area of ​​​​spiritual culture).

In the wealth of culture accumulated by mankind, experience is transmitted that each subsequent generation must "master and assimilate, thus connecting to the level achieved by the development of society."

The level of a person's mastery of the experience of cultural heritage is determined by his natural inclinations, upbringing and education, therefore many modern pedagogical concepts are based on the formation of a personality through culture - the upbringing of a person who is able to appreciate, creatively assimilate, preserve and increase the values ​​of native and world culture.

Musical culture is a part of artistic culture. The formation of individual musical culture, and through it - the impact on the formation of the personality as a whole is the core of the pedagogical concept of D.V. Kabalevsky.

Teachers Yu.B. Aliev, D.B. Kabalevsky, O.P. Rigan - tried to reveal the content of the concept of "musical culture". Schoolboy - diagnosed the presence of musical culture in young children and described in detail the results of her experimental work.

A study of the literature showed that there is no unequivocal opinion on the definition of the concept of musical culture. Each teacher has his own subjective point of view.

Dm. Kabalevsky identifies musical culture with musical literacy. In his writings, he says: “Musical culture is the ability to perceive music as a living, figurative art, born of life and continuously connected with life, this is a special “sense of music” that makes you perceive it emotionally, distinguishing good from bad in it, this is the ability to listen determine the nature of music and feel the inner connection between the nature of music and the nature of its performance, this is the ability to identify the author of unfamiliar music by ear, if it is characteristic of this author, his works with which students are already familiar. The introduction of students into this delicate sphere of musical culture requires caution, consistency and great precision in the choice of composers and their works. According to D.B. Kabalevsky, listening to music is based on an emotional, active perception of music. However, this concept is not limited to any of the “activities of students”. Active perception of music is the basis of musical education in general, all its links. Music can fulfill its aesthetic, cognitive and educational role only when children learn to truly hear and think about it. "He who can't hear music will never learn to play it really well."

A real, felt and thoughtful perception is one of the most active forms of familiarization with music, because this activates the inner, spiritual world of students, their feelings and thoughts. Outside of hearing, music as an art does not exist at all. Consequently, musical art, which does not carry the feelings and thoughts of a person, life ideas and images, does not affect the spiritual world of the child. D.B. Kabalevsky points out that the ability to hear music must begin to be educated from the very beginning of school. This is facilitated by the instillation of rules of conduct that contribute to the reign in the classroom of an atmosphere close to the atmosphere of a concert hall and the emergence of the skill of attentive listening. A well-known teacher, professor, doctor of pedagogical sciences, member of the Academy of Pedagogical and Social Sciences Yu.B. Aliev.

The nuances of education:

The concept of the learning process, its goals and functions
Learning is understood as an active, purposeful cognitive activity of a student under the guidance of a teacher, as a result of which the student acquires a system of scientific knowledge, skills and abilities, ...

Raising boys is not a woman's job
This was considered in ancient Sparta, and therefore the sons were separated early from their mother, transferring them to the care of male educators. This was also considered in old Russia. In noble families from birth for a baby ...

Lecture #1

concepts How: " art", «

"art" and "culture".

Yes, the word art art

Staro-Slav. iskous

In the most.

culture

Music(from Greek - the art of muses) -

the temporal nature of music,

In addition, by means of music, portraits of various characters (real and fantastic) can be created, relationships between them are reflected, the most precise psychological details of their characters are conveyed: N. Rimsky-Korsakov, the symphonic suite "Scheherazade" - images of the formidable king Shakhriyar and princess Scheherazade; M. Mussorgsky "Pictures at an Exhibition" - the plays "Gnome", "2 Jews" and many others. others;

Sometimes the artistic intent of a musical work is associated with some literary work or (more rarely) with a work of fine art. This kind of music is called software. The main idea can be embodied either in a generalized non-plot composition, where the name only indicates the general direction of development of musical images, or in a composition that conveys events more consistently (as a rule, these are works with a clearly conflicting plot).

Musical sounds, organized in a certain way, serve as means of embodying musical images. The main elements of music (its expressive means or its musical language) are melody, harmony, meter, rhythm, mode, dynamics, timbre) etc.

Music is formed in musical notation and realized in the process of performance. Distinguish between monophonic music (monody) and polyphonic (polyphony, homophony). The division of music into genera and types is also used, i.e. genres.

Musical genre – a polysemantic concept associated with the origin, conditions of performance and perception of music. The genre reflects the relationship between the extra-musical factors of musical creativity (life purpose, connection with the word, dance, other arts) and its intra-musical characteristics (type of musical form, style).

At the first stages of the history of music, the genre acted as a traditional artistic canon, within which the composer's individuality did not manifest itself. The canonization of music-making norms was entirely dictated by certain social functions of music (for example, cult, ceremonial). IN applied music primary genres formed: song, dance, march, the features of which depended on the functions performed by music in various everyday, labor, ritual situations.

Over time, the concept of "genre" began to be applied more widely and generally, denoting one or another type of artistic creativity on various grounds. This is due the existence of multiple genre classifications : by the nature of the subject matter (comic, tragic, etc.), by the origins of the plot (historical, fairy tale, etc.), by the composition of the performers (vocal, instrumental, etc.), by purpose (etude, dance and etc.).

The most common is the classification according to the composition of the performers:

The musical culture of each nation has specific features that are manifested primarily in folk music. On the basis of folk art, in accordance with the laws of the evolution of society, professional music develops, various schools, artistic directions arise and replace each other. styles in which the reflection of the spiritual life of people is carried out in different ways.

Music(Greek Μουσική from Greek μούσα - muse) - a type of art, the artistic material of which is sound, organized according to height, time And volume sound. In addition, musical sound has a certain "color" - timbre (the timbre of a violin, trumpet, piano). Music is a specific kind of sound activity of people. With other varieties (speech, instrumental-sound signaling, etc.), it is united by the ability to express thoughts, emotions, and volitional processes of a person in an audible form and serve as a means of communicating people and controlling their behavior. To the greatest extent The music is getting closer With speech, more precisely, with speech intonation, which reveals the internal state of a person and his emotional attitude to the world by changing the pitch and other characteristics of the sound of the voice. This relationship allows us to speak of intonation nature of music. At the same time, Music is essentially different from all other varieties of human sound activity.

musical sounds or tones form various historically formed musical systems, selected by the artistic practice of the society in which they exist (for example, musical modes).

We are surrounded not only by musical sounds. Sounds of natural origin are not musical art. As mentioned above, the sounds from which, like atoms, a musical composition is composed, must have such properties as a certain pitch (the sound of nature may not have one fundamental tone), duration, loudness and timbre.

Musical art- specific art, since works of art are created using sound material. Musical art can be defined as the skill of composers, performers, whose results (creation and performance of musical works) are capable of delivering aesthetic pleasure.

musical culture - a set of musical values, their production, storage and distribution and reproduction.

Origin of music.

There are a number of hypotheses about the origin of music − mythical, philosophical And scientific character. The process of music formation was reflected in ancient mythology. Myths tell about the Greek gods who created the Musikian arts, the nine Muses, the assistants of the god of beauty and the patron of music, Apollo, who had no equal in playing the lyre. In ancient Greece, there was a legend about Pan and the beautiful nymph Syringa. It explains the birth of the multi-barreled whistle flute (Pan flute), found among many peoples of the world. The god Pan, who had the appearance of a goat, chasing a beautiful nymph, lost her at the river bank and carved a mellifluous pipe from the riverside reed, which sounded amazingly. The beautiful Syringa, frightened of him, was turned into this same reed by the gods. Another ancient Greek myth tells of Orpheus, a beautiful singer who subdued the evil furies, who let him into the realm of the shadows of Hades. It is known that Orpheus could revive stones and trees with his singing and playing the lyre (cithara). The festive retinues of the god Dionysus were also distinguished by music and dance. There are many Dionysian scenes in the musical iconography, where, along with wine and dishes, people playing musical instruments are depicted in its environment.

The first pra-scientific, philosophical and musical-theoretical attempts to substantiate the origin of music also originate in antiquity.

Pythagoras, who studied in the East for a long time and brought many of his knowledge from the secret sanctuaries of the ancient Egyptian temples, created the foundations of the sciences of Numbers, Cosmos, Music of the heavenly spheres, was the author cosmological theory origin of music. The cosmogonic process is inseparable from first sound, accompanying the formation of heaven and earth, the emergence of the cosmos from chaos. At the same time, the sound, or sounds, born at the very moment of cosmogenesis (the formation of cosmic bodies), and then accompanying each new cycle of cosmic time, are immediately harmonious, this is “world music”.

Pythagoras believed that the Musical Law is, first of all, a material law, and it manifests itself in the form of a certain physical order, embodied in a hierarchy of musical tones that form a musical scale. The essence of this law comes down to the realization of the connection between the pitch, the length of the sounding string and a certain number, which implies the possibility of mathematical calculation of the sound interval through its expression by dividing the string, for example: an octave with divisions 2:1, a fifth - 3:2, a quart - 4:3 etc. These proportions are equally inherent in both the sounding string and the structure of the cosmos, which is why the musical order, being identical to the cosmic world order, is manifested in a special "world music" - Musica mundana.

World music arises due to the fact that the moving planets make sounds when they rub against the ether, and since the orbits of individual planets correspond to the length of the strings that form a consonant consonance, the rotation of the celestial bodies also generates the harmony of the spheres. However, this celestial spherical harmony, or music, is initially inaccessible to the human ear and physical perception, for it can only be perceived spiritually through intellectual contemplation.

Musica mundana, according to the teachings of the Pythagoreans, is followed by Musica humana, or human music, in the cosmic hierarchy, for the human being also has inherent harmony, reflecting the balance of opposing vital forces. Harmony is health, disease is disharmony, lack of consonance. Hence the unprecedented significance of music for human life in the teachings of Pythagoras. So, Iamblichus (a follower of Pythagoras and Plato) reports: “Pythagoras established education with the help of music, from where the healing of human morals and passions comes from and the harmony of spiritual abilities is restored. He prescribed and established for his acquaintances the so-called musical arrangement or compulsion, inventing in a miraculous way a mixture of certain melodies, with the help of which he easily turned and turned to the opposite state of the passion of the soul. And when his disciples went to sleep in the evening, he freed them from daytime confusion and hum in their ears, cleansed their agitated mental state and prepared silence in them by one or another special singing and melodic devices received from the lyre or voice. To himself, this man composed and delivered such things no longer in this way, through an instrument or voice, but, using some ineffable and inconceivable deity, plunged his mind into the air symphonies of the world, listened to and understood the universal harmony and consonance of the spheres, which created a more complete than mortal , and a richer song through movement and rotation. Irrigated as it were by this and made perfect, he conceived to transmit to his disciples images of this, imitating as far as possible with instruments and a simple voice. Thus, the third type of music - instrumental music, or Musica instrumentalis, is only an image and likeness of the highest music Musica mundana. And although the divine purity of number in earthly audible music cannot receive a full bodily embodiment, nevertheless, the sounds of the instrument are capable of bringing the soul into a state of harmony, ready in turn to perceive heavenly harmony, for like affects like and can be influenced by like.

In the 19-20 centuries, based on the study of the music of various peoples of the world, information about the primary musical folklore of the tribes of the Vedda, Kubu, Fuegians and others, several scientific hypotheses of the origin of music were put forward. One of them claims that music as an art form was born in connection with rhythm-based dance (K. Wallaszek). This theory is confirmed by the musical cultures of Africa, Asia and Latin America, in which the dominant role belongs to body movements, rhythm, percussion, and percussion musical instruments prevail.

Another hypothesis (K. Bucher) also gives primacy to the rhythm, which was the basis for the emergence of music. The latter was formed as a result of the labor activity of a person, in a team, during coordinated physical actions in the process of joint labor.

In passing, we note thatterm music , formed in European culture, is not always available in other cultures of the world. For example, among the majority of the peoples of Africa, Oceania, among the Indians of America, it traditionally does not stand out from other spheres of life. Musical action, as a rule, is inseparable here from ritual actions associated with hunting, initiation rites, weddings, military training, worship of ancestors, etc. In some tribes, there are sometimes no ideas about music at all, there is neither the term "music" nor its analogues. What is music for us Europeans - drumming, the rhythmic sound of sticks, the sound of various primitive folk instruments, motifs sung in chorus or alone, etc. - the natives, for example, Oceania do not consider music. Aborigines, as a rule, tell myths and all sorts of fairy tales that explain the origins of certain musical phenomena that arise in a certain other world and came to the world of living people from supernatural forces (gods, spirits, totemic great-ancestors) or sound phenomena of nature (thunderstorms, sounds of the rainforest, birdsong, the cry of animals, etc.); often indicates the birth of musical instruments and human musical abilities in the world of spirits or genies (spirits of the forest, dead people, gods).

Charles Darwin's theory, based on natural selection and the survival of the fittest organisms, made it possible to assume that music appeared as a special form of wildlife, as a sound-intonation rivalry in the love of males (which of them is louder, who is more beautiful).

The “linguistic” theory of the origin of music, which considers the intonational foundations of music and its connection with speech, has received wide recognition. One idea about the origins of music in emotional speech was expressed by J.-J. Rousseau and G. Spencer: the need to express triumph or sorrow brought speech into a state of excitement, affect, and speech began to sound; and later, in abstraction, the music of speech was transferred to the instruments. More modern authors (K. Stumpf, V. Goshovsky) argue that music could exist even earlier than speech - in an unformed speech articulation, consisting of gliding rises, howls. The need to give sound signals led a person to the fact that from dissonant, unstable sounds, the voice began to fix the tone at the same height, then fix certain intervals between different tones (distinguish more harmonious intervals, primarily the octave, which was perceived as a merger ) and repeat short motives. An important role in the comprehension and independent existence of musical phenomena was played by the ability of a person to transpose the same motive, singing. At the same time, both the voice and the musical instrument were the means for extracting sounds. Rhythm participated in the process of intonation (intonation rhythm) and helped to highlight the most significant tones for the chant, marked caesuras, and contributed to the formation of modes (M. Harlap).

Music has accompanied man since ancient times. We can find confirmation of this in archaeological excavations, ethnographic reference books and collections. Thanks to the abundant illustrative material depicting musicians or musical instruments, rock paintings, ceramics, figurines, coins and other artifacts, it became known that even in ancient times there were four types of instruments: idiophones (percussion instruments, the sound of which was extracted from the body of the instrument itself) , membraphones (percussion instruments with stretched skin, etc.), aerophones (winds) and chordophones (strings).

(For more information about the music of ancient eras, we will get acquainted

in the next lecture).

PERIODIZATION OF THE HISTORY OF MUSIC

Lecture #1

The history of musical art (the history of music) is a branch of musicology, a humanitarian science that reflects a holistic picture of the development of musical culture and is divided into: 1) the general history of musical art, which covers the history of musical culture of all times and peoples; 2) on the history of music of individual peoples and countries; 3) the history of genres and forms of music, varieties of composing and performing arts, etc.

The course "History of Musical Art" is an integral part of the professional training of cultural studies students.

This course is closely related to other academic disciplines that reveal the specifics of the historical process of cultural development. These are such disciplines as "History of World Artistic Culture", "History of Foreign Culture", "History of Ukrainian Culture", "Culture of the 20th Century", "Culture of Regions", "Ethics. Aesthetics, History of New European Culture, History of Arts, History of Literature, History of European Countries, History of Religion, History of Philosophy, History of Theatre, History of Cinema, History of Choreographic Art , "History of Ukrainian artistic culture", "People's studies and folklore of Ukraine", "Ethnoculturology", "artistic culture of the south of Ukraine", "History of costume and fashion".

The course "History of Musical Art" is divided into the musical art of the Ancient World and consideration of the historical ways of development of Western European, Russian and Ukrainian musical culture.

The study of Western European, Russian and Ukrainian music is based on the historical monographic principle. The choice of musical works that are included in the program is due to their historical weight, the brightness of the artistic and figurative content and stylistic qualities.

Based on this, the history of Western European, Russian and Ukrainian music is considered in the aspect of the formation and functioning of such artistic trends and styles as: the Middle Ages, Renaissance humanism, baroque, classicism, etc.

The aim of the course is to deepen the understanding of students in the field of world musical culture. In this regard, it is planned to familiarize with the content of the concepts "music", "musical culture", "musical art" with the main characteristics of musical cultures of different eras (from the era of primitive society to the present day).

In the process of classes, students will improve their knowledge of music history, music theory, musical aesthetics (in particular, they will receive information about various genres, trends, trends in music, including modern music), get acquainted with many musical works.

The material of the proposed classes will contribute to the general cultural enrichment of students, the education of their artistic and aesthetic taste, will allow them to more easily, and most importantly, more accurately orient themselves in modern cultural, and above all, musical life.

In the history of music, such concepts How: " art", « culture”, “music”, “musical art”, “musical culture”.

In the world there are many philosophical and scientific definitions of concepts

"art" and "culture".

Yes, the word art(translated from Church Slavonic art(lat. experimentum - experience, test); has many meanings In a narrower sense, for example, this:

Staro-Slav. iskous- experience, less often torture, torture;

figurative understanding of reality; the process or outcome of an expression

the inner or outer world of the creator in an (artistic) image;

Creativity directed in such a way that it reflects the interests of not only the author himself, but also other people;

One of the ways of knowing and perceiving the world around.

The concept of art is extremely broad, and in a broad sense it can manifest itself as:

Extremely developed skill in a particular area.

For a long time it was considered art - a kind of cultural activity that satisfies a person's love for beauty.

Along with the evolution of social aesthetic norms and assessments, any activity aimed at creating aesthetically expressive forms has gained the right to be called art.

On the scale of the whole society, art is a special way of knowing and reflecting reality, one of the forms of artistic activity of social consciousness and part of the spiritual culture of both man and all mankind, a diverse result of the creative activity of all generations.

In the most in a broad sense, art is called craftsmanship, the product of which gives aesthetic pleasure.

culture(lat. cultura - cultivation, farming, education, reverence) - the subject of study of cultural studies.

The word culture has many meanings:

1. the totality of material and spiritual values ​​created and being created by mankind and constituting its spiritual and social being.

2. a historically determined level of development of society and man, expressed in the types and forms of organization of life and activities of people, as well as in the material and spiritual values ​​​​created by them.

3. Culture is the result of a human co-creation game aimed at evolution, where, on the one hand, there is a playground created by the Creator, its conditions, resources and potential, and on the other hand, human creativity aimed at improving this playground and oneself on it. territory, through the acquisition of experience and knowledge. Thus, culture is the cause and effect of the learning game. (Narek Bavikyan)

4. the total volume of human creativity (Daniil Andreev)

5. a complex, multi-level sign system that models a picture of the world in every society and determines the place of a person in it.

6. "the product of the playing person!" (J. Huizinga)

7. "the totality of genetically non-inherited information in the field of human behavior" (Yu. Lotman)

8. cultivation, processing, improvement, improvement;

9. upbringing, education, development of morality, ethics, morality;

10. development of the spiritual sphere of life, art - as creativity;

11. creative achievements in some private sphere, limited by time, place, or some other common property (the culture of Ancient Rus', modern culture, pop culture, Slavic culture, popular culture, the culture of ancient Egypt);

12. "the totality of extra-biological manifestations of a person."

Music(from Greek - the art of muses) - a kind of art that reflects reality in sound artistic images and actively influences the human psyche. Music is able to concretely and convincingly convey the emotional states of people. It also expresses ideas of a generalized plan connected with feelings. Music often draws on the means of other arts, such as the word (literature).

We perceive a piece of music in a completely different way than, for example, works of fine art. Music has a temporary nature, flows in time. A sculpture or a painting can be examined for a long time and in detail, but music does not wait for us, it constantly moves forward, “flows” in time. However, this property, called the temporal nature of music, gives musical art huge advantages over other types of creativity: in music, development processes can be depicted.

The sound nature of music gives it the opportunity to establish a connection with the sounds of the surrounding reality. Musical sounds and their combinations can resemble the sound phenomena of the outside world (singing birds, buzzing bumblebees, trampling horses, the sound of train wheels, the rustling of leaves, etc.) - this property is called "onomatopoeia" or "sound representation". Of course, the image in music is conditional, but it gives an impetus to the listener's imagination.

More than anything else, sound representation in music brings it closer to the natural world. This is the ability to imitate natural phenomena (imitate them), such as: birdsong P. I. Tchaikovsky "Song of the Lark" from the "Children's Album" new performing techniques of playing the piano - singing, cries, habits and gaits of the diverse world of birds - he kept them at home "Exotic Birds"); the splashing of waves, the murmur of a stream, the play of water, the splashes and splashes of a fountain (the musical “marinists” are, first of all, N. Rimsky-Korsakov’s symphonic suite “Scheherazade part 1 “The Sea and Sinbad’s Ship”, C. Debussy “The Sunken Cathedral”, M .Ravel "Water Play", B. Smetana symphonic poem "Vltava", F. Glass "Waters of the Amazon", pictures of nature, reflection of the seasons, Vivaldi "The Seasons", G. Sviridov "Troika", "Spring and Autumn"; time of day, E. Grieg "Morning", R. Strauss - "Sunrise" From the symphonic poem "Thus Spoke Zarathustra"), storm, thunder, gusts of wind (in Beethoven's Pastoral Symphony, in the symphonic poem Wind of Siberia by Boris Tchaikovsky ). Music can also imitate other manifestations of life, imitate, transmit with the help of musical instruments or by introducing specific sounding objects, the sound realities of the life around us. For example, pistol or machine-gun shots, war drum shot (Onegin's shot in P. Tchaikovsky's opera Eugene Onegin, machine-gun bursts in the part "Revolution" from S. Prokofiev's cantata To the XXth Anniversary of October), clockwork, bell ringing (in operas by Boris Godunov M. Mussorgsky, Piano Concerto No. 2 by S. Rachmaninov Part 1), the work of mechanisms, the movement of the train (the symphonic episode "The Plant" by A. Mosolov, the symphonic poem Pacific 231 by A. Honegger).

Topic 6. The child as a subject of musical education

Questions:

1. The concept of the musical culture of the individual

2. Features of the development of the components of the musical and aesthetic consciousness of preschoolers

3. The concept of musicality as a complex of musical abilities. Her interpretation

4. Theories of determination of musical abilities

5. Features of the development of musicality of preschoolers. Diagnostics of musical abilities and control over their development in preschool age

The recognition of a person as a biosociocultural being allows us to speak of the formation of personality as a process of familiarization with culture. The essence of education in this context is "the transformation of the culture of society into the culture of this particular individual" (M.S. Kagan).

Since the development of any sphere of the culture of society by a person is possible only through activity, the level of mastery of the activity can serve as a criterion for the external manifestation of the level of culture of the individual. In a broad sense, activity is a specific human form of active attitude to the surrounding world, the content of which is its expedient change and transformation. In musicological and musical-pedagogical literature, the concept "musical activity", the essence of which is interpreted in such its main manifestations as creativity, performance, perception (B.V. Asafiev, A.N. Sokhor, N.A. Vetlugina, D.B. Kabalevsky, etc.), characteristic of preschool children age.

The principle of the unity of consciousness and activity indicates the sphere of internal manifestations of any personal education, including musical culture. So, musical consciousness, being an internal plan of musical activity, forms, according to R.A. Telcharova, the second component of the musical and aesthetic culture of the individual, repeating it in content and different in form. It is "a set of socio-psychological processes and expresses the ideal form of external practical-operational actions that determine the state of musical activity." At the same time, musical activity, reflecting the level of consciousness of the individual, stimulates its development.

The connecting link between activity and consciousness in the structure of the musical and aesthetic culture of the individual are capabilities. The domestic theory of abilities (S.L. Rubinshtein, B.M. Teplov, B.G. Ananiev, K.K. Platonov and others) proceeds from two methodological provisions: the formation and development of abilities in activity and the dialectical unity of natural and acquired in personality structure. Turning to abilities in musical activity, following B.M. Teplov, N.A. Vetlugina, K.V. Tarasova needs to emphasize both the importance of general aesthetic abilities and musical and auditory abilities, traditionally defined by the term "musicality".

Content of the concept musical culture of the child in the works of the founders of the national methodology of musical education, starting from the theoretical works of the 20s of the 20th century, it was revealed through the analysis of the content of the general aesthetic components of the musical culture of the individual. So, B.V. Asafiev and B.L. Yavorsky, opposing the dry teaching of music, emphasized the importance of educating the need to communicate with music, the ability of aesthetic perception and appreciation of music. Aesthetic experiences, judgments, evaluation of music by V.N. Shatskaya directly connected with the success of musical activity. The program of musical education of D.B. Kabalevsky, in fact, developed the ideas of pedagogy of the 20s, and set the goal of educating the personality of the child through the development of musical culture, the formation of a person through art, i.e. considered the formation of the student's musical culture as an integral part of his spiritual culture.

The issues of the formation of the musical culture of preschoolers have been studied to a lesser extent, which is associated with the increased relevance of considering the issues of forming the culture of the personality of a preschooler only in the last decade. On the whole, their solution proceeded in ways similar to the solution of the problem of determining the essence and structure of the musical culture of schoolchildren.

The research of K.V. Tarasova (musicality), N.A. Chicherina (prerequisites for musical taste), I.V. Gruzdova (emotional responsiveness to music), A.V. Shumakova (emotional responsiveness to music), G.A. Nikashina (aesthetic feelings), E.V. Mogilina (musical abilities).

For the first time, O.P. Radynova. In her interpretation, the musical culture of a preschooler is “an integrative personal quality that is formed in the process of systematic, purposeful education and training based on emotional responsiveness to highly artistic works of musical art, musical-figurative thinking and imagination, the accumulation of intonational cognitive-value experience in creative musical activity, development of all components of the musical and aesthetic consciousness - aesthetic emotions, feelings, interests, needs, taste, ideas about the ideal (within the limits accessible to age), giving rise to the emotional and evaluative attitude of the child to music, actualized in the manifestations of aesthetic and creative activity. This definition contains a direct indication of the role of such components of musical culture as musical activity, musical consciousness, musical abilities, evaluative attitude. In a similar way, A.I. Katinen, highlighting musical activity, musical experience, musical and aesthetic consciousness. At the same time, the researcher speaks of the need to systematically develop the musical culture of the child, starting from the age of 4.

Thus, the formation of the foundations of a child's musical culture involves purposeful work:

On the development of the musicality of the child

On the formation of skills and abilities in various types of musical activity

On the formation of musical interests, taste prerequisites, evaluative attitudes as components of musical consciousness

On the formation of a value attitude to music

“Culture is the result of all the achievements of individuals and of all mankind in all areas and in all aspects, to the extent that these achievements contribute to the spiritual improvement of the individual and general progress,” thinker and musicologist A. Shveytsar

culture

Society culture activities Personal culture norms laws rules

Art culture -

Artistic culture is considered as the most specific layer of general culture; it covers a certain part of the material and spiritual culture of society. The values ​​of artistic culture, or artistic values ​​are works of art

Artistic culture artistic artistic culture culture of the society of the individual artistic activity

Through what can one see artistic culture?

1. Masterpieces: uniqueness, durability, communication
2. Public consciousness (aesthetic consciousness)
3. The main indicator of personality culture:
4. Aesthetic consciousness of personality: intellect, feelings, spirituality

musical culture

• musical culture types of musical musical culture
• individual activity society
• Music. Musical and aesthetic consciousness
• society (tastes) consciousness of the individual
• Music.works
• (meet the requirements
• masterpiece)
• social institutions and
• institutions associated with
• storage, execution, etc.

Musical and aesthetic consciousness of the personality is an internal ideal plan of musical activity, which forms the second, repeating the content of musical activity, but differing in form, component of the musical culture of the personality.

Based on the provisions of psychology on the role of activity in personality development, several components are distinguished in the structure of the child's musical culture

Musical culture of the child Musical activity Perception Performing Creativity Musical and music educational activities Knowledge, skills Experience Performing: Creative: General perception singing, rhythm, perception, knowledge playing musical instruments expressive about music, performance, etc. cultural skills

Musical and aesthetic consciousness Aesthetic Aesthetic emotions Aesthetic need, experiences, evaluation, taste, attitude, feelings interest in music

With the help of musical and aesthetic consciousness (aesthetic attitude to the world), musical works are comprehended, one's own impressions of them. Developing in musical activity, it helps a person to perceive the content of a musical work and determine its meaning for himself.

The structure of musical and aesthetic consciousness:

• Aesthetic installations
• aesthetic needs
• Aesthetic interests
• Aesthetic emotions
• Aesthetic experiences
• aesthetic feelings
• Aesthetic evaluations
• aesthetic tastes
• Aesthetic ideals
• Aesthetic theories

For adults only

The initial forms of musical and aesthetic consciousness are revealed quite early.

• Up to 3 years: musical emotions are formed, the need for music, the simplest judgments appear
• From the age of 4: interest in music, in certain types of musical activities
• From the age of 6: the ability to motivate evaluation, the beginning of musical taste

The quality of musical and aesthetic consciousness is determined by:

• The level of development of the musicality of the individual
• Musical erudition
• Knowledge of elementary means of expression and the ability to recognize and integrate them

The main means by which musical and aesthetic consciousness and musical culture as a whole are formed is music itself.

Only music can cause (or not cause) the child's emotional reactions, which are the basis of musical and aesthetic consciousness.

It is important that the content of music (feelings, emotions) be accessible to children, evoke an emotional response.

Conditions for educating the aesthetic attitude of children to music:

• Problem situations - the acquisition of musical experience, mastering it creatively, independently
• The development of special artistic abilities, as well as appreciation, taste as indicators of the level of musical and aesthetic consciousness of children

Culture Philosophical Encyclopedic Dictionary, ed. S.S. Averintseva, M.: Soviet Encyclopedia - 1989 - p.293. a specific way of organizing and developing human life activity, represented in the products of material and spiritual labor, in the system of social norms and institutions, in spiritual values, in the totality of people's relations to nature, to each other and to themselves. The concept of "Culture" fixes both the general difference between human life activity and biological forms of life, as well as the qualitative originality of the historically specific forms of this life activity at various stages of social development within certain eras, socio-economic formations, ethnic and national communities. Culture also characterizes the features of consciousness, behavior and activities of people in specific areas of public life. In culture, the way of life of an individual (personal culture), a social group (for example, class culture) or the whole society as a whole can be fixed.

Culture Dictionary of Aesthetics, ed. Belyaeva A. A., Politizdat, M.: 1989, p.167

a historically determined stage in the development of society and man, expressed in the results of the material and spiritual activities of people, in the "second nature" they create. The concept of k. characterizes both the level of development of certain historical epochs, socio-historical formations, specific societies, nations and nationalities, and the degree of improvement of various spheres of human life. In the broadest sense, the term “K.” covers everything that determines the specifics of human existence in the world, in a narrower sense, it refers only to the sphere of the spiritual life of people.

Personality Philosophical Dictionary, ed. I.T.Frolova, M.: political literature - 1987, p.238

the human individual in the aspect of his social qualities, which is formed in the process of historical specific activities and social relations

Masterpiece Dictionary of Aesthetics, ed. Belyaeva A. A., Politizdat, M.: 1989, p. 399

The perfect work of art, achieved when