Reflecting on the past, I come to the conclusion that life, with its ups and downs, is a chain of bright moments that can be called happiness, inspiration. “Happy by nature in any weather,” I can say about myself. Every minute I feel and realize myself happy. A beloved reliable person walks side by side in life, handsome sons have grown up and matured ...
Was my distant childhood happy? Today I know for sure - it was. She was brought up in a specialized educational institution for musically gifted children in an atmosphere of creativity and goodwill. Wise highly professional teachers with perseverance and faith sought to develop my natural inclinations. They taught me to work hard, to believe in my dream.
Already at the age of 12, I firmly decided to become a choir conductor and became one. But life provided other options. And now I am a teacher. Music teacher and MHC! I love my job and I believe that this is my calling, my state of mind. I can't live without a school, without my students, their pranks and whims, joys and anxieties, delights and insults. They are my pride, my pain, my hope.
Every year, finishing my big teacher's vacation, more and more I find myself thinking about the school, about the students. With spiritual trepidation I go to school on September 1st. Here it is, my favorite "cozy corner" in a huge school - a music room. “This is the most beautiful classroom in the school,” the children say. “What is the owner, such is the office,” echoes the director. The music teacher has a special status among school teachers. It is designed to bring culture to children with its external and internal appearance, to create an atmosphere of beauty and harmony.
Experiencing together with contemporaries the era of pragmatism, spiritual impoverishment, the dominance of entertaining low-grade mass culture, the depreciation of knowledge as spiritual wealth, I am looking for new methods, reviewing the old ones.
Here they are, children's eyes - so different: burning, smart, inquisitive and, which I am very afraid of, indifferent. How can I open to my students a wonderful world in myself and in the surrounding reality? How to teach them to work, to strive for goodness and light? How to convince them of the greatness of music and its beauty? Questions, questions, questions...
The gradually increasing interest in culture in youth circles is encouraging. So, all is not lost yet. I understand that it is impossible to completely protect modern schoolchildren from the influence of mass culture, oriented towards the tastes of the “average” consumer and the vulgarization of the spiritual values of previous generations. Therefore, in the lessons of music and world art culture, it seems important not to cross out this side of reality. On the contrary, carefully consider, study and discuss the phenomena of mass culture from different angles. To reveal the relationship between form and content, comparing the aesthetic ideals of the past and the present. To analyze the “ugly” and “beautiful” in creativity, and thereby develop not only the ability to emotionally perceive a work of art, but also evaluate it from a critical point of view.
It is more important than ever for a modern person to become familiar with world cultural traditions. This increases the adaptive capabilities of a person in unstable conditions, contributes to the success of his socialization, and allows him to be creative in solving problems. Culture acts as a "factor of creative life arrangement". The idea of humanization and humanitarization of education that is currently being declared can be realized, in my opinion, only through the deep penetration of culture and art into the content of education. This will entail a revision of the methods and means of solving educational problems, the expansion of the rights of art at school, and the provision of a worthy place for it in the education system.
I internally protest when music lessons are called “singing” in the old fashioned way. Music, one of the most powerful forms of art in terms of its impact on human feelings, does not tolerate a dismissive attitude towards itself. My students know that a music lesson is serious, responsible and extremely interesting.
The bell rings, noisy fans of “pop” and “rock” gradually subside. The first chords of the piano sound, candles flare up. I open a new world for them, into which they enter at first in disbelief, and then they are completely immersed in the enchanting sounds. I peer into their eyes: do they reflect the feelings that I want to convey to them? .. The lesson is over. Confused and timidly, my students get up from their seats. I hope that each of them has become a little kinder and more tolerant.
An outstanding citizen of his time, Dmitry Borisovich Kabalevsky presented not only a vivid image of a music lesson, but also the image of a Teacher who “... must love music as a living art that brings joy to himself. The teacher should treat music with excitement and never forget that one cannot arouse in children a love for what one does not love oneself. We need to captivate them with something that I myself am not passionate about.” He dreamed of the time when, when asked about his occupation at school, the teacher would answer: “I am a musician. I teach children music.” It's about me.
Description of the operating system
Topic:“Innovative approaches to the organization of music education in a secondary school”
INTRODUCTION
It's no secret that our society is currently experiencing a serious spiritual crisis. One of the main reasons for this crisis is the focus on entertainment forms of mass culture. The greatest damage was done to children's preschool and school musical and aesthetic education. It is replaced by the formation of a consumer attitude towards musical art. Artistic and musical tastes often develop under the predominance of musical consumer goods. This situation worries me very much as a person brought up on the best examples of classical music, as a citizen who observes the loss of cultural traditions in our society, as a music teacher in a comprehensive school. And like any caring person, this concern prompts me to take action: something needs to be changed.
The idea of updating music education at school haunted me, prompted me to look for new forms and methods of work, to revise the program material on music.
The concept of modernization of Russian education puts forward new criteria for the quality of education. A school graduate must receive a system universal knowledge that will help him successfully adapt to the labor market; have a high level of creative thinking that allows them to be creative in solving problems; to be a mature person capable of critically evaluating the surrounding reality and information coming from outside. In the implementation of these tasks, I see the great importance of the subjects of the artistic and aesthetic cycle and music lessons in particular.
Based on the system of musical education by D.B. Kabalevsky, the system of developing education by L.V. Zankova, using the innovative program on music by G.S.
1. CONCEPT BLOCK.
Module 1 Brief description of school programs in music. Contradictions between the goals of music education and the real tasks of music education and upbringing in modern conditions.
In 1977, a program on music for secondary schools (experimental) was published, prepared by D.B. Kabalevsky and his followers: E.B. Abdullin, T.A. Beider, T.E. Vendrova. The program defines the tasks of musical education, based on the general goals of preparing a person of the future, comprehensively developed, who must master the musical culture as an essential and integral part of the universal spiritual culture. Music can bring up kindness, responsiveness, sensitivity towards people, form a moral and aesthetic ideal. These goals are relevant today and even more so than before. Kabalevsky interprets the task of education through musical art as a means of human life (musical language is the language of human relations, thoughts, which is in the context of other arts).
In the 1980s, views on the role of art in shaping the moral and aesthetic feelings of children and youth in the general education school system were revised. There was a problem of creating such a system of musical education that would reflect the specifics of music as a subject. art. For this, the idea of thematic construction of programs is being developed in order to combine all the elements and components of the lesson into a single conceptual and musical art.
Working on D.Kabalevsky's system since 1986, I was satisfied with the content of this program and achieved good results. But, gradually gaining pedagogical experience, like most of my colleagues, I began to notice a number of contradictions:
Firstly, the entire system of school education was based on knowledge, skills and abilities, and in Kabalevsky's program, ZUNs were discussed as if in passing: they were recognized as a necessary, but not sufficient condition for acquiring musical literacy. Why is the level of musical culture of schoolchildren growing so slowly, schoolchildren not only do not acquire musical literacy, but also do not master the elements of musical literacy? What needs to be done to get a qualitative growth in the musical culture of school graduates? This leads to the conclusion that the process of musical education cannot be considered as a simple summation of the processes of education and upbringing. Education should become an independent process aimed at working with the image of the future. A very important link is missing in Kabalevsky's system: its authors did not offer a mechanism for diagnosing the level of education of a school graduate in the subject "Music". Grading system for musical learning not at all suitable for the process education.
Secondly, Undoubtedly, over the years of work under the program of D.B. Kabalevsky, it was possible to raise both the prestige of a music teacher and the music lesson itself at school, but, looking into the future, it is necessary to critically comprehend the problems of music education in a dramatically changed socio-cultural environment, to look for ways to update it. Questions still remain relevant: how to make a music lesson an art lesson? What role is played in this process? music, teacher, her teacher, and to kid, who comprehends it?
Thirdly, In recent years, the content of music education has been updated in an expanded way: the introduction of folklore, sacred (church) music, new works and genres, and the involvement of other types of art (the so-called integrated lessons). However, this updated content remains alienated from the child, since informative methods of teaching still prevail: everything continues to depend on the teacher, and the child does not “live” the knowledge received and, therefore, does not understand the meaning of his activity.
Time makes completely different demands on a music lesson: the most important role is given to feelings and emotions; complex impact on students (on their psyche, motor skills, physiology); unity of emotional, artistic and conscious attitude to music. The effectiveness of music lessons depends not so much on the program and methods, but on the characteristics of the personality of the teacher, his professional knowledge and pedagogical skills.
Module 2. Theoretical interpretation of experience.
A modern music program must certainly meet the following requirements:
- Recognition of all types of musical activity of the child as equal: choral singing, listening - perception of music, musical and rhythmic movement, playing elementary instruments, musical creativity - improvisation, comprehension of the basics of musical literacy.
- The inclusion of such important components as spiritual (church) music and folklore.
- Direction of work on the integration of artistic disciplines.
- The inclusion of musical psychotherapy as an effective tool in the fight against school neuroses.
- Organization of modern musical leisure for schoolchildren.
- The selection of musical material for choral singing, which is carried out by the teacher himself on the basis of the national characteristics of the musical culture of the people and the traditions of a particular region of Russia.
- These views on modern music education, expressed by V.K. Beloborodova, coincided with my pedagogical plans and helped to resolve my internal contradictions in my professional activities. Unlike educational work, the purpose of which is to “learn”, “repeat”, “fix”, for me it is very important and close to “experience”, “evaluate”, “create”, “express”. I am very impressed with the relationship in the “teacher-student” system with the prefix “with”: empathy, cooperation, complicity, co-creation. All this together led me to implement the concept of developmental education in my school. As you know, the creator of the system of developmental education in elementary school is Leonid Vladimirovich Zankov. The main task of teaching according to its system is: the general development of students, which is understood as the development of the mind, will of schoolchildren and as a reliable basis for acquiring knowledge, skills and abilities.
The system is built on the following didactic principles:
- training at a high level of complexity,
- the leading role of theoretical knowledge,
- studying program material at a fast pace,
- students' awareness of the learning process,
- systematic work on the general development of all students, including both strong and weak ones.
Module 1 Organization of psychological and pedagogical research.
Without pretending to be innovative, I still want to note that the idea of developmental education in the primary grades began to be implemented in the city in several schools, but no one dared to introduce L.V. Zankov's system into music education. Therefore, for music teachers in our city, this approach presented itself as innovative. In order to track the results of the introduction of a new education system, to make timely adjustments, a psychological and pedagogical study was organized jointly with the school psychologist.
A hypothesis was put forward: music education according to the system of L.V. Zankov will contribute to a higher level of general development of cognitive functions, the development of creative abilities, and an increase in students' interest in music lessons.
The work was divided into stages:
I stage preparatory May - August 1999
The study of the theoretical foundations of the system of developmental education.
Stage II - diagnostic, September 1999
- The study of the level of psychological maturity and the development of cognitive functions in
experimental and control classes (1st grades). - The study of attitudes towards subjects (grades 6-7).
- The study of attitudes towards the teacher (7th grade).
- The study of the level of development of musical abilities.
Implementation of the program by G.S. Rigina in the system of developmental education L.V. Zankova. Approbation of educational and methodical sets by T.I. Naumenko and V.V. Aleev in grades 5-6.
IV. stage - analytical:
Collection of evidence using various research methods (questionnaires, testing, creative competitions, music competitions, observation, interviews). Establishing links that confirm the hypothesis (or reject it).
At the 1st stage - May 2002
At the II stage - May 2003
At the end of each academic year, the preliminary results of the study are summed up at the school psychological, medical and pedagogical council.
.Module 2. Methods and techniques of music education in the system of L.V. Zankov.
The methods of music education are understood as certain actions of the teacher and students aimed at achieving the goal of music education for schoolchildren. In the pedagogical activity of a music teacher, almost all general pedagogical methods are used that perform teaching, developing, educating, encouraging (motivational) and control and correctional functions. In the primary grades, the main methods are explanatory-illustrative, reproductive, game. In the middle and senior level, heuristic and research methods come to the fore. In my methodical piggy bank there is enough didactic material for organizing the cognitive activity of students (cards, punched cards, reference signals, etc.). But, based on the specifics of the subject, all general pedagogical methods used in music lessons take on a slightly different form. For example, the most common verbal method in music lessons is used as a figurative-psychological setting for the child's spiritual unity with the art of music. The visual method is refracted into visual-auditory, visual-expressive, etc.
There is a special group of methods determined by the specifics of musical art:
- music observation method;
- a method not to impose music, but to convince with it, not to entertain, but to please;
- improvisation method;
- empathy method;
- the method of musical generalization, running ahead and returning to the past;
- way of thinking about music.
Working on the program of G.S. Rigina in the system of developmental education, I choose methods (both general pedagogical and specific) that contribute to the development of musical and auditory representations, creative imagination, imagination, performing expressiveness. In the plot of the training sessions, I include games and exercises that contribute to the musical and creative self-development of students: “Looking for rhymes”, “On an imaginary harmonica”, “Crescendo in maple leaves”, “Seasons in color and sound”, “Singing questions and answers”, "Continue the story" and others. E.I.Yudina “My first textbook on music and creativity”. M, "Aquarium", 1997 A variety of forms and methods of work, their skillful variation in the lesson allows you to switch the attention of children in time, maintain interest, and prevent fatigue. I attach great importance to the protection of the psychological health of children in educational activities. The music lesson in the structure of the school day may not be at the most productive and favorable time. Sometimes children come to class overly excited or, conversely, morally depressed, nervously exhausted. In my arsenal there is a set of musical works that have a psychotherapeutic effect on students. For example, to reduce irritability, I include Beethoven's Moonlight Sonata or Prokofiev's Sonata in D Minor; to reduce feelings of anxiety and insecurity - Strauss' Waltzes; to raise the general vitality - "Hungarian Rhapsody No. 2" by Liszt.
It is very important to optimally balance the cognitive, behavioral and emotional components in the lesson. To do this, I try to avoid the following situations:
- information overload with an underload of emotional and behavioral spheres - children are bored, tedious;
- emotional and information overload - children begin to have a headache, fatigue is observed;
- behavioral overload - a string of monotonous exercises without motivation.
Module 3 Accounting for the psychological, age and individual characteristics of students.
In educational and extracurricular activities, I interact with all age groups of students, but to a greater extent I come into contact with younger students and teenagers. Younger schoolchildren are distinguished by a special susceptibility to various types of art. The high sensitivity of the sensory zones of the nervous system, all sensory organs allows them to intensively enrich their visual, auditory, olfactory and especially verbal-auditory representations, which are the basis of figurative memory, figurative thinking, rich imagination and associations. The recreating imagination of children is characterized by strength, brightness, liveliness. Children easily transform into various heroes of works of art. Younger students are emotionally responsive, directly and frankly express their experiences and feelings. But at the same time, they are distinguished by great emotional instability, involuntary attention prevails in them. Another very important feature of this age is the low distribution of attention - only two or three objects. Taking into account these features, I manage to create optimal conditions for the cognitive and creative activity of students in the classroom.
The problem of forming teenagers' interest in musical development and learning is more complex, but no less important. Adolescents are distinguished by great emotional excitability, a violent manifestation of their feelings, they passionately take up an interesting business, passionately defend their views, and are ready to explode at the slightest injustice to themselves and their comrades. They are distinguished by greater stability of emotional experiences in comparison with younger schoolchildren, inconsistency of feelings. Adolescents have a strongly developed sense of belonging to a group, so they are more acute and more painful to experience the disapproval of their comrades than the disapproval of a teacher. For them, interpersonal communication among peers is of great importance. Given these features, I try to provide opportunities in the classroom for those who wish to demonstrate their abilities in front of their peers, I carefully listen to the point of view of everyone, I am especially careful about the musical interests and passions of teenagers. One careless value judgment about any modern performer or group can cause isolation, isolation, or even hostility of the student. It is very difficult to evoke an emotional response to serious music in a teenager. And here various discussions and disputes play a decisive role, where teenagers feel on an equal footing with adults and defend their right to their own point of view.
Module 4 Non-traditional forms of organization of educational and extracurricular activities of students.
In order to coordinate the activities of the school in the artistic and aesthetic education of schoolchildren, a club for communication with art “Souls are beautiful impulses” was created. According to the Regulations on the club, its members can be students, teachers, parents. The club organizes meetings with interesting people, musical and literary drawing rooms, debates, art festivals, music competitions, musical and literary evenings. Every year the school holds a week of music, a children's choir and a vocal group perform on school and city stages.
The Club Council discusses the work plan, organizational issues for the preparation of events, and analyzes their effectiveness.
In educational activities, such non-traditional forms as integrated lessons of literature and music, lessons of the interpenetration of classical and modern music, lessons-courts, lessons-concerts, etc. have become “traditional”.
One of the striking features of the didactic system of L.V. Zankov is the strict requirement for the teacher to ensure good, trusting relationships with students, saturated with positive emotions.
The following were taken as a basis: the program for the 4-year elementary school by G.S. Rigina “Music: Education. Creative development. Upbringing". in grades 5-6 - a methodological manual by T.I. Naumenko and V.V. Aleev. in the 7th grade - the program of D.B.Kabalevsky, revised within acceptable limits.
Having a fairly substantial music library of program works, a video library with recordings of concerts of outstanding musicians, dancers, etc., sets of teaching aids for students, being the head of the city methodological association of music teachers (and this obliges to engage in innovative activities) in 1999, she began to implement the system L.V. Zankova in her school together with the primary school teacher Nepsha L.V.
III. REFLECTION OF PEDAGOGICAL ACTIVITY.
Module 1 self-analysis of the lesson.
Each lesson in the system of music education performs its strictly defined role, solves a specific problem. Self-analysis of each lesson conducted allows you to adjust the goals and objectives in time, encourages you to look for new forms and methods. When preparing a lesson, I pay great attention to maintaining the integrity of the lesson, creating the intonational atmosphere of the era, country, season, in which students need to be “immersed”. And, starting to reflect on my activities in the lesson, first of all, I evaluate whether this has been achieved. A very important aspect for me is the climax of the lesson. It is he who can create an indelible impression of what he heard and saw and fix it in the long-term memory of the child. Equally important is the success of communication through verbal and non-verbal means of communication. Analyzing the lesson from this point of view makes it possible to anticipate “unforeseen” situations in the lesson, when students (especially teenagers) are reluctant to make contact with the teacher. Only after such a deep inner understanding of the lesson can one answer the main question: did the lesson achieve its goal?
Module 2. The effectiveness of music education.
Pedagogical diagnostics (analysis of progress in the subject, Olympiads, observation of students) shows a fairly high level of student learning - 78-81% of students study at "4" and "5"; more than 30% of students study at the municipal School of Arts; Olympiads in music revealed the winners mainly from the 4A class, studying according to the system of L.V. Zankov. And I consider the increased creative abilities of students to be the greatest achievement: they independently write stories, poems and songs.
In the course of a psychological and pedagogical study, a comprehensive diagnostics of the cognitive abilities of students studying according to the L.V. Zankov system and the traditional system was carried out for 4 years: from the moment the children entered the 1st grade and when they graduated from elementary school. Diagnostics of the psychological readiness of children for schooling showed that at the beginning of the year, the level of readiness of students in grade 1A was almost the same as the level of grade 1B (control). Those. training according to the system of L.V. Zankov (1A) and according to the traditional system (1B) began with equal starting conditions. At the end of the school year, the results in grade 1A were significantly higher (see Fig. 1).
Diagnosis of the psychological readiness of students to study at school
(beginning and end of the year).
Psychologist: T.M. Panova
Fig.1
Conclusion: The diagram showed that at the beginning of the year the level of readiness of students in grades 1A and 1B (control) was almost the same. Those. training according to the L.V. Zankov system (1A) and according to the traditional system (1B) began in equal starting conditions. At the end of the academic year, the results in grade 1A turned out to be much higher.
Also, for four years, the intellectual abilities of students in the same classes were studied. The level of development of intellectual abilities was revealed at the beginning of education in grades 1A and 1B, control diagnostics were carried out at the end of the school year and upon graduation from primary school (in grades 4A and 4B). As the results showed, in the class studying according to the system of L.V. Zankov, the indicators of intellectual development are significantly higher than in the control class (see Fig. 2). Analysis of the structure of the intellect also showed a higher level of mastery of such logical operations as analysis, synthesis, classification, generalization.
Diagnostics of thinking
Psychologist: T.M. Panova
Rice. 2
Conclusion: By means of standardized intellectual tests, groups of children with a high and above average level of thinking were revealed. At the beginning of education in grade 1, the number of students with a high and medium level of thinking in grades 1A and 1B was almost the same (66% and 65.5%). At the end of the first year of study and upon graduation from primary school, the indicators of the level of development of thinking are much higher in the 4th grade. Children successfully mastered logical operations: analysis, synthesis, classification, generalization.
In the sixth and seventh grades, a survey of students was conducted to identify interests in academic subjects. Compared with the subjects of mathematics, Russian language, literature, physical culture, students prefer the music lesson. This indicates a fairly high level of development of educational motivation for this subject (see Fig. 3).
Map of interest in academic subjects among students of 6th - 7th grades
(2002-2003 academic year)
Psychologist: T.M. Panova
Rice. 3
Conclusion: A survey of students on the map of interests showed that students show significant interest in the music lesson. This indicates a fairly high level of development of educational motivation for this subject.
In order to identify the attitude of students to the teacher, a survey of seventh grade students “Teacher through the eyes of children” was conducted. The students highly appreciated the teacher's gnostic abilities, empathy and emotionality. The results of the survey revealed the teacher's democratic style of communication with students, his high professionalism, the desire to establish trusting constructive relationships (see Fig. 4)
The attitude of students towards the teacher.
Evaluation of his professionalism and communication style.
In order to identify the attitude of students to the music teacher A.V. Tkacheva, a survey was conducted among students in the 7th grade. The results of the survey indicate a positive attitude of students towards the teacher in general. The Gnostic abilities of the teacher were highly appreciated. Children note the high professionalism of the teacher, erudition. The abilities for empathy, cooperation, i.е. empathic abilities. The style of communication between teachers and students is democratic. The teacher seeks to build his relationship with students on a constructive basis, on respect for their personal characteristics.
Psychologist: T.M. Panova
Fig.4
.Module 3 Prospects for the development of pedagogical experience.
An analysis of the results of work on our own system of music education allows us to conclude that it really contributes to the disclosure of the creative potential of children, creates conditions for the development of their natural inclinations, and forms a creative personality. This leads to reflections on the nature of creativity, its psychological prerequisites, and creative talent. There was a need to study theoretical developments in this area:
- “Psychology of art” L.S. Vygotsky;
- “Psychology of musical abilities” BM Teplov;
- works of foreign authors K. Taylor, E. Torrens, domestic - N. Leites, A. Matyushkin about the structure of children's giftedness and ways of its development.
Naturally, I'm more interested in musical talent. B.M. Teplov calls musical talent “... a unique qualitative combination of abilities, on which the possibility of successfully engaging in musical activity depends.” As part of musical talent, a complex of individual psychological abilities, called musicality, stands out. The main sign of musicality is the experience of music, which in its essence is emotional experience. If a child reacts emotionally to music (I strive for this in my lessons), then he can already be considered potentially gifted in the field of music. How, by teaching everyone, to create conditions for the development of children with special musical abilities?
The problem of the development of creative individuality is a new, very interesting topic for me in self-education. And this means that I have to search again, test, doubt and search again.
LITERATURE:
- Pilichauskas A. Knowledge of music as an educational problem. M., "Miros", 1992
- Astafiev B.V. Selected articles about musical enlightenment and education. L., 1973
- Kabalevsky D.B. Basic principles and methods of the music program for the secondary school. M., 1983
- Teplov B.M. Psychology of musical abilities. M., 1997
- Vygotsky L.S. Psychology of art.
- Vygotsky L.S. Collected works v.3, 4, 6.
- Smirnova E.O. The problem of communication between a child and an adult in the works of L.S. Vygotsky and M.I. Lisina, f. “Issues of psychology. ”, 1996, No. 6.
- Elkonin D.B. Child psychology. M., 1960
- Beloborodova V.K. Methods of musical education. M., "Academy", 2002
- Dmitrieva A.G., Chernoivanenko N.M. Methods of musical education at school. M., "Academy", 1998
- Zankov L.V. Selected pedagogical works. M., 1990
- Smirnov M.S. The emotional world of music. M., “Music. ” 1990
- Lys L.I. Musical thinking: essence, categories, research aspects.
Digest of articles. Kiev, “Musical Ukraine”, 1989 - Yakimanskaya I.S. Student-centered learning in modern school. M., 1996
- Usov M.V. Questions of musical pedagogy. Issue 10. M., “Music”, 1991
- Leites N.S. Psychology of giftedness in children and adolescents. M., "Academy", 2000
- Shiyanov E.A., Kotova I.B. Development of personality in learning. M., "Academy", 2000
- Regina G.S. Music lessons in elementary school. M., “Enlightenment”, 1980
- Regina G.S.. The program "Music" according to the system of Zankov L.V. (1-3). M., "Enlightenment", 1996.
- Regina G.S. Music program (1-4). M., “Enlightenment”, 2001
- Amonashvili Sh.A. Unity of purpose. (Good luck guys). A guide for teachers. M., “Enlightenment”, 1987
- Amonashvili Sh.A. Personal and humane basis of the pedagogical process. M., “University”, 1990
Teaching aids for the initial period of study.
At present, a lot of attention is paid to the problems of primary music education all over the world. Everyone understood that music should be taught from childhood, turning lessons into an entertaining game.
The most popular systems in the world are the system of S. Suzuki, K. Orff, M. Martenot.
Suzuki and Martenot created well complementary methods of individual learning. The goal - music educates the soul of the child. Music is taught like a native language - it is necessary that the child be immersed in music, so that he hears those melodies daily, which later, when they become part of himself, he will learn to play.
Everything is done by ear and by imitation. The Martenot method is based on singing, the child's ability to imitate, immersion in music. Russian teachers, actively and very successfully dealing with the problems of the initial period of education, and who have created their own unique methods based on the ideas of S. Suzuki, M. Martenot and K. Orff, are Maltsev, S. Izmailova, I. Smirnova, K. Grinshtein, Timakin, T. B. Yudovina-Galperina.
Benefits for the initial period of study:
1) Bartok "For Children".
2) Barenboim "The Way to Making Music".
3) Bogino "Games and tasks for beginners".
4) K. Grinshtein "Musical ABC".
5) Cecile Lupan "Believe in your child."
6) Malakhov "First Steps in Music".
7) Beginning pianist.
8) Basement "I compose music."
9) Smirnov "Allegro" intensive course.
10) Sokolov "Child at the piano".
11) Turgenev "Pianist - dreamer".
^ Topic 7. Development of creative skills of students. Rekindle the flame of falling in love with serious music.
Creative development - the search for independent sound solutions, discoveries. The value of children's creativity is the process itself. It is necessary to teach kids the perception of music and the ability to operate with musical material, based on the development of hearing and creative imagination. Great importance is attached to the change of new musical impressions - how much we read - so much we know.
It is necessary to teach the child to perceive the main means of expressiveness - dynamics, registers, strokes, form. To teach a child to listen to human speech - in the intonation of "question", "answer", "sigh", "call", etc. and stimulate the transmission of intonations by intervals known to him.
The main task is the active development of musical ear. The big role of singing, selection by ear, transposition of familiar songs, chants. Ensemble game. Accompaniment selection method: bourdon accompaniment, simple harmonic turns, different types of texture.
Operating with musical material develops
Musical thinking: for example,
1) a short melody is given - how to turn it into a joyful waltz, playful polka, etc.;
2) playing sequences from short tunes;
3) compose a melody for this rhythm;
4) guess a familiar melody by rhythm; 5) chord in various keys;
6) composition of rhythmic and melodic endings, question-answer; 7) playing derivative melodies (any sounds in any
Sequences, but no more than three), etc.
Education of skills in reading from a sheet and "analysis" of a work built on analysis.
1) the size of the piece, lobar pulsation (clapping of the pulse of the piece with the gradual inclusion of rhythmic details separately by each hand and together;
2) texture analysis - identification of the main melodic line, bass line, figuration, voice movement pattern, stroke analysis;
3) simplification of textural complexities into harmonic verticals - a change in texture.
Literature:
Barenboim "The Way to Making Music";
Blagoi "The Figurative Speech of a Teacher" // Modern Music. - 1966 No. 6.
Bryanskaya "Skill of playing from a sheet, its structure and principles of development".
(Issues of piano pedagogy, issue 4.)
Galich "Development of inner hearing, fantasy initiatives".
Iglamov "Development of creative abilities in the initial period
learning".
Improvisation training. // Musical Life, 1990. No. 9, 11, 13.
Tsypin "Learning to play the piano"
Yavorsky "About performance".
Specialty lesson.
Individual planning.
Piano teaching methods.
1. The need for current and long-term planning of pedagogical work. Awareness of the individual characteristics of the student, contact with the student, goodwill, interest.
Drawing up an individual plan of the student, including a comprehensive description of the student, the formulation of the main tasks of the current and future work, and the selection of the student's repertoire, taking into account the prospects for his development, his advantages and disadvantages. The repertoire should include works of various styles, all genres, works for "sketch" study, cover all types of technology.
2. Lesson - the main form of the pedagogical process. Contact with the student, "feedback" communication, features of individual lessons. Modern pedagogy - the principle of "general to particular". The teacher should be everywhere where it is possible to move from specific instructions to generalized provisions.
Forms of lessons: complex, thematic.
At the lesson, the teacher must set new tasks for the student, the lesson must be generalized, completed, must give an emotional charge, desire to work, equip the student with various ways of working.
Preparing the teacher for the lesson. Planning, task goals, improvisational moment in the lesson, teacher's demonstration, teacher's speech. The role of evaluation, encouragement, "punishment". Distribution of lesson time (taking into account the various stages of work on a piece of music).
Pedagogical forms of influence on the student. Methodological errors in the lesson:
1) the method of passing corrections;
2) stencil methods of work;
3) randomness, disorder.
Literature:
Good "Figurative speech of the teacher". // Modern music, 1966. No. 6.
Nikolaev "A few words about the children's piano repertoire" //
Issues of piano pedagogy, issue 1.
Child at the piano.
Feigin "The individuality of the student and the art of the teacher."
"Plan - analysis" of the performing and pedagogical features of the work.
Author's intention. Music notation is the final act of the composition. Reading the musical text of a work is the disclosure of its artistic intent. Work on a piece of music is a research process and "endless listening" to the musical fabric.
^ Topic 10. Program requirements and tasks of teaching in the lower grades of the children's music school.
The trainee should know the requirements of the "program", at least for the student. The repertoire should include works of various genres and styles, great attention should be paid to the performance of cantilena and polyphony.
The main thing is to keep the interest and enthusiasm of the student. The gradual complication of the content of musical works and the depth of musical images require the intensive development of musical perception and the development of musical abilities. The child must succeed!
The joy of creativity and sincere expression are prerequisites for successful further activity. Auditory tasks and performing techniques become more complicated - contrasting strokes, dynamics, work on sound, articulation, phrasing. In the lower grades, it is necessary to introduce the child to all the basic elements of technology: scales, arpeggios, chords. It is necessary to introduce the child to the concepts: position, articulation, various strokes - the basis of a diverse expressive sound. Pay special attention to the formation of auditory control in the student; to develop the sphere of his emotional perception, the joy of playing music. Introduce the student to the various functions of the pedal, introduce direct and delayed pedals, introduce pedal exercises.
^ Topic 11. Junior classes of children's music school. Work on small-form plays. Sound. Melody. Phrasing. League.
The most important role of plays in the development of the child's imagination. Work on sound production, educating the young pianist's melodious playing skills. The ability to extract a lingering, deep sound and "lead" it, listen to it to the end - one of the prerequisites for the melodiousness of the game.
Working on phrasing: hearing the whole musical phrase, mastering the sound, combining the melodic line with the help of dynamics, internal gravity of sounds, analogy with expressive recitation and singing. Various endings of phrases, separation of constructions by means of caesuras.
Different league values:
phrasing,
dashed,
legato.
Literature:
Beilin "In the class of Professor Razumovskaya".
Kogan "The work of a pianist".
Levin "Basic Principles of Playing the Piano".
Malinkovskaya "Piano - performing intonation".
Milic "The Education of a Pianist's Apprentice".
Neuhaus, On the Art of Piano Playing.
Timakin "Education of a pianist".
Feigin work on the melody.
Feinberg "Pianism as an art".
Topic 12. The basis of piano technique. Types of piano technique. Organization of pianistic movements in basic piano formulas.
Performing technique in a broad sense is the sum of skills, skills, playing techniques, with the help of which the pianist achieves the desired sound result, the entire arsenal of pianistic expressiveness. Technique grows out of the artistic intentions of the student!
Technique - in the narrow sense:
A) contact with the keyboard, "weight" contact and its diversity.
B) the development of independence of the fingers, the organization of an independent
finger strike.
Timakin: 1) quickly taking a key with a fingertip;
instant release from pressure on the key;
preparing your finger for the next key;
finger rebound.
The main thing is the uniformity, independence of the fingers, their mobility, evenness of sound, melodic expressiveness (the leading role of the fingertip). Training process:
3 types of Chopin exercises.
It is good to feel the rhythm, the energy of movement
Search for comfortable hand shapes (“collected” hand without unnecessary movements).
Liszt: "The technique does not depend on the exercise, but on the technique of the exercises." Requirements for scales in elementary grades.
Gamma is a musical line symbol.
romance style,
3-layer piano sound,
Melody, bass, figurations,
Passing from hand to hand, crossing hands,
guitar texture,
bass, chord,
horse racing,
The emergence of jazz formulas and syncopated movements.
Work on a work is the creation of a clear performance plan. performance brightness.
Literature:
Kuzemin “Performing aesthetics of B.L. Yavorsky".
Kogan "About piano texture".
Bartok "Microcosmos".
Contemporary piano music. Compiled by Kopchevsky.
Field "Nocturnes".
Khachaturian "Children's Album".
Tchaikovsky "Children's Album".
Chopin "Nocturnes".
Schumann "Album for Youth".
Topic 18. Polyphony. types of polyphony. The complexity of the tasks facing the performer. Work on polyphony in the junior grades of the children's music school. Processing of folk songs. Canon.
Different eras - hear differently. Modern music requires polyphonic hearing. In polyphony, all voices perform a melodic function. Coordination of themes is the task of the polyphonist. The performance of polyphony poses a difficult task for the performer: he must simultaneously lead several melodic lines, informing each of its characteristic carcass, dynamic plan, phrasing, combining them at the same time into a single process.
Undertones are a variant of the main voice, each undertone contributes to the singsong of the theme. Work separately on the expressive performance of each voice. The combination of voices: the performance of a polyphonic fabric with a teacher, the playing of one and the singing of another voice, the playing of all voices with a more prominent selection of one of them. Careful work on the individual elements of the polyphonic fabric and their relief combination, revealing voices through different sound strengths, coloring and articulation. Gradual development of the student's ability to hear the simultaneous development of 2 voices and the ability to lead these voices, individualizing their phrasing, dynamics, coloring. Work on the canon (simple short pieces, often arrangements of folk songs, for example, "At Marusya's Hut").
1. Make a simple imitation from a stretch imitation and play with fragments.
2. It is necessary to observe articulation and dynamic designations.
3. It is useful to play without notes by ear.
4. Sing along with the teacher.
6. Play with the teacher.
Music Literature:
Collection of polyphonic pieces. Compiled by Lekhovitskaya.
"Anthology". Compiled by Lyubomudrov.
"Young pianist"
Bartok "Children".
Mozart "Notebook".
A.M. Bach "Notebook".
Nikolaev "School of playing the piano".
Modern pianist.
Gnessin "ABC".
Literature:
Milic "Education of a pupil - a pianist".
"Child at the Piano"
The work of J.S. Bach is the pinnacle of the development of polyphony. Baroque traditions did not allow self-expression. "Music should serve the glory of the Lord and the resurrection of the human spirit." J.S. Bach - philosopher and theologian.
The symbolism in Bach's music is recognized, but the highly artistic embodiment of these symbols delights and amazes.
J.S. Bach style; instrumentation - their determining value in the choice of dynamics ("Terrace-like" dynamics and intra-motive), contrasting comparison - theme, interlude.
The problem of tempo, ornamentation, articulation. Table of "affects", the main thing is to find the true affect of the play; tempo groups of Bach's music.
Adagio, andante, moderato, allegro, presto.
Metronome 40 60 80 100 120
Tempo and system of affects, metronome - determines the tempo, "training" tempo, affect and articulation; table of decorations by J.S. Bach.
Articulation is intermotive, intramotive.
The problem of rhythmic pulsation, rhythm and articulation are the main means of expression.
The problem of harmonic language. Baroque - the era of the bass general. Characterization and analysis of the form in dance compositions, analysis of the form of inventions. The role of the theme in imitation polyphony. Characteristics of the elements of the form and their significance in the disclosure of the musical image: “theme”, “response”, “interlude” (of the final and developing type, “stretta”, “reversal”, “increase” of the theme, as the principle of development and climax).
"Law of the theme" - the unity of articulation, intonation of accents with a tonal and register variety of sound.
Analysis of work on polyphony.
The preparatory stage is the definition of the artistic form of the work → the nature of the sound, the reception of sound extraction.
stage - connection of voices → distribution of weight between hands,
vertical hearing with timbre originality of voices.
stage - creation of a holistic musical form - auditory
representation of a holistic musical form, its motor
embodiment.
Work on each voice, "speech" expressiveness.
Two-voice in one hand to teach with two hands.
Two voices are played by the teacher, the third by the student.
Play two voices, sing the third.
Playing on 2 pianos.
Know the parts of the hands by heart.
Move the voice to another register.
The use of the pedal is a linking function, or harmonic support, the metro is rhythmic, the pedal should not interfere with voice leading.
Literature:
Braudo "On the Study of Bach's Clavier Works in
music school."
Bodka "Interpretation of Bach's Clavier Works".
Nosin "Symbolism of Bach's Music".
Kalinin "Bach's Clavier Music in the Piano Class".
J.S. Bach Notebook
A.M. Bach, small preludes and fugues.
suites, HTC 1.11 volumes.
Topic 20. Features of work on the classical sonata form.
The value of working on a large form. Large form - as a genre, and in particular sonata allegro - is the source of the formation of a sense of form, as a process of interaction of opposite principles.
The problem of choosing a work for a music school student is determined by the nature and content of the musical image. The sonority of the work is determined by the orchestral, timbre thinking of the classics, the operatic dramaturgy by Mozart, and the large symphonic composition by Beethoven. On the other hand, Mozart's timbre colors are mediated by the sound of the harpsichord.
In the process of working on a large form of composition, it is necessary to clearly substantiate the logic of the appearance of each construction, the plot-tonal thread, the dynamic plan, the development of this or that image. The principle of developing topics in development, or the appearance of an “episode” instead of development, creates a certain dramatic effect. Careful work on articulation involves a variety of intonation. The abundance of designations of various strokes and touches requires quick and varied emotional reactions and sensitive fingertips from the performer.
To perform the entire sonata allegro at the same tempo, special work is needed on the intralobar pulsation, the metrical organization of measures (strong and weak), and the conductor's beginning in the left hand. Characteristics of the size of the composition, determination of the unit of movement, choice of the tempo of the work, analysis of the texture of harmony, agogics of the pedal, dynamics. The role of cadence in the construction of a phrase, the form of an essay. Analysis of editions, choice of editions.
Literature:
Badura - Skoda "Interpretation of Mozart".
Vinogradov "The meaning of fingering".
Essays on methods of teaching piano playing.
Savshinsky "Pianist and his work".
Fischer "Beethoven's Piano Sonatas" (Performing Arts of Foreign Countries No. 8).
Literature for analysis:
Works by Clementi, Haydn.
Sonatinas by Mozart Sonatinas.
Sonatas by Beethoven.
Bach Concerts.
At present, the Federal State Educational Standard for Preschool Education has been developed and approved, where one of the educational areas is artistic and aesthetic, which, in turn, includes the musical development of preschool children
In accordance with the main educational program of preschool education, implemented in the preschool educational institution, the main task of musical education for preschoolers is to develop the musicality of children, the ability to perceive music emotionally.
The social experience of any area of human activity is reflected in certain norms, standards (in music, norms are expressed in a musical system). The child assimilates them in the form of certain knowledge, and already at preschool age, children assimilate the simplest ideas and learn to act in accordance with certain norms. For example, they not only distinguish, but also reproduce musical sounds in accordance with their pitch, duration, etc.
But, of course, sensory development does not exhaust the question of the formation of mental abilities necessary for successful musical activity. The artistic thinking of the child is closely connected with the practical development of the environment, which is reflected in their minds, artistic ideas, concepts, judgments.
That is why, already at the stage of preschool childhood, musical education and upbringing should be carried out by a competent person in the field of musical activity, that is, having a musical and pedagogical education and owning modern methods and technologies of teaching music.
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Modern methods of musical education for children
Obedkova Lyudmila Anatolyevna
Teacher of additional education
MBOU DOD DTDM g.o. Tolyatti
In modern conditions, there is an intensive development of the theory of musical and aesthetic education. This is due to fundamental changes in the social, economic and cultural life of the country.
At present, the Federal State Educational Standard for Preschool Education has been developed and approved, where one of the educational areas is artistic and aesthetic, which, in turn, includes the musical development of preschool children
In accordance with the main educational program of preschool education, implemented in the preschool educational institution, the main task of musical education for preschoolers is to develop the musicality of children, the ability to perceive music emotionally.
The social experience of any area of human activity is reflected in certain norms, standards (in music, norms are expressed in a musical system). The child assimilates them in the form of certain knowledge, and already at preschool age, children assimilate the simplest ideas and learn to act in accordance with certain norms. For example, they not only distinguish, but also reproduce musical sounds in accordance with their pitch, duration, etc.
But, of course, sensory development does not exhaust the question of the formation of mental abilities necessary for successful musical activity. The artistic thinking of the child is closely connected with the practical development of the environment, which is reflected in their minds, artistic ideas, concepts, judgments.
That is why, already at the stage of preschool childhood, musical education and upbringing should be carried out by a competent person in the field of musical activity, that is, having a musical and pedagogical education and owning modern methods and technologies of teaching music.
In defining methods, "Theory and Methods of Music Education" relies on general pedagogy. At the same time, the criterion for choosing methods of work in the context of the specifics of music education depends on the characteristics of the content of the educational material (its complexity and novelty), specific pedagogical goals, the preparedness of children, and the individuality of the teacher. Along with general pedagogical methods, "Theory and Methods of Music Education" has its own methods, due to the aesthetic essence and intonational nature of musical art.
In music pedagogy, the methods of music education are considered as ways of organizing the assimilation of the content of the subject, meeting the goals and leading tasks of the pedagogical process (E. B. Abdullin).
In contact with
LECTURE 5
Music Education Methods
In the pedagogy of music education under method in a broad sense The word is understood as a set of pedagogical methods aimed at solving problems and mastering the content of music education.
AT narrow sense of the word method is considered as one or another means, a technique aimed at developing the experience of an emotional and value attitude to music, a culture of feelings, at mastering musical knowledge, skills, experience in musical educational and creative activities, at forming musical interests, needs, taste; general and musical abilities, memory, thinking, imagination, etc.
Among the methods of music education, one can single out general didactic methods, which receive their specific refraction in music classes, and musical methods proper.
Methodology studies the patterns of musical education in order to improve its content and methods. The development of methodology as a science comes from the development of society. Culture, musical art in general, schools.
SPECIFIC APPLICATION OF GENERAL DIDACTIC
As you know, in general pedagogy, the position has been established, according to which methods are divided into methods of teaching and methods of education. In the pedagogy of music education, the specificity of which is determined by music as an art, the line between education and training is largely blurred. As a result, the line between the methods of musical education and the methods of musical education is blurred, each of which, as a rule, performs both teaching and educating functions.
In general pedagogy, various classifications of methods are accepted:
According to the source of knowledge, according to the source of information (verbal, visual, practical, etc.),
According to the degree of independence and activity of thinking of schoolchildren, according to the nature of cognitive activity (reproductive, productive, explanatory and illustrative, partially exploratory, heuristic, research)
By purpose (acquisition of knowledge, formation of skills and abilities, etc.),
According to didactic goals (methods that contribute to the primary assimilation of the material, its consolidation, etc.). All of them are applicable in the pedagogy of music education.
A kind of "metamethod" related to this area of education is comparison method in all its varieties. It is widely used in music education, since it corresponds to the auditory nature of musical art and involves observation (B.V. Asafiev’s term) of contrasting and identical elements of the musical fabric at all its levels.
This refers to the application of this method in relation to such primary elements of musical material, such as, for example, strong and weak beats of the measure, forte and piano, the comparison of different tempos, timbres, etc., which are considered as a vast area of rhythmic, dynamic, timbre contrasts .
Contrasts can also be traced in various ways of organizing the musical fabric in instrumental and vocal music, including vertical and horizontal writing, homophony and polyphony, unison and polyphonic construction, theme and surrounding background, etc.
According to B.V. Asafiev, “the whole meaning of development is based on the main dramatic opposition of two themes or two thematic departments.” Developing this idea, the researcher singles out such juxtapositions in music that can be called "architectonic", i.e. types of symmetrical and asymmetric formations.
From a pedagogical point of view, B. V. Asafiev considers such contrasts as fundamentally significant: the comparison of plays of different genres, various methods of sound writing, prose and verse, improvisational presentation with strictly canonical, etc.
In music lessons comparison method It comes in various modifications:
1. method for identifying similarities and differences which D.B. Kabalevsky singles out as one of the most important in musical education. In his opinion, this method can be used "starting from the perception and awareness of the slightest" building "elements of music up to the distinction of complete dissimilarity or, on the contrary, a significant proximity of the creative styles of different composers";
2. identification method - identification of objects, objects, phenomena, processes, their identification (as, for example, recognition of a familiar work among others);
3. transcoding method - representation of the content in a different sign system (for example, the expression of a musical image by means of musical-plastic intonation), etc.
Method of contrast and identity
Allows you to develop the skills of analyzing a particular work of art through contrasting comparison with other works, in order to more vividly and fully shade the content and structural side of the first. Comparison through contrast emphasizes the most significant artistic and expressive moments of this work. Comparison through identity implies greater subtlety in the perception of a work of art, more attention to its artistic features.
These methods can be used to some extent in solving any of the problems of music education. Each of them manifests itself differently in one or another type of musical activity, finding its own specific embodiment. At the same time, the comparison requires special auditory observation on the part of students.
Method comparisons can be applied not only to the musical works themselves, but also to their various performance interpretations. It acquires special significance in performing activities, demonstrating examples of correct or incorrect possession of performing skills, etc. This method is used to develop auditory and visual representations, associations, etc. in their relationship.
Describing general didactic methods, it should be noted that when considering a particular musical phenomenon (composer's work, means of musical expression, etc.), a teacher-musician, as a rule, comes from visual methods (auditory, visual and motor clarity) to verbal methods , suggesting a description of the phenomenon in verbal form.
Let us consider visual and verbal methods from these positions.
Methods Auditory visibility (or visual-auditory display) in listening activity, they are expressed mainly in the demonstration of a musical work by students (means of expression, performing interpretations, etc.), they are realized through musical illustrations (own performance), recordings, vocal demonstration, literary reading, poetry reading, retelling of the work.
The same methods in performing activities can be represented as follows: showing not only a certain musical work, but also the necessary quality of singing sound, ways to achieve it in live performance, etc. When gaining experience in musical and creative educational activities, visual-auditory display methods are used to demonstrating an example of performing a creative task by a teacher or students, ways of working with models proposed for composition, etc.
Motor visibility realized through gestures, hand movements, mimic and plastic illustrations;
visual clarity- display of reproductions, illustrations, filmstrips, slides, posters, etc.
Practical music-making, performing musical activities of students are based on various interpretations of practical methods, in particular exercise method : singing, improvisation and composing music, sound-pitch and plastic modeling, plastic improvisation, etc.
verbal methods ( story, lecture, conversation, dispute, dramatization, explanation, clarification) when considering a particular musical phenomenon have a dual purpose. On the one hand, they help students to comprehend, realize the received musical and auditory representations and translate them into their usual verbal form. On the other hand, to operate in their reasoning with generally accepted musical terms. At the same time, the figurative side of the verbal utterance is of paramount importance.
Story – a lively, figurative, emotional narrative about an artistic or musical phenomenon considered in the lesson. The story should be short, bright, imaginative, meaningful and must correspond to the age of the audience. It is important not only what teacher says, but how He says.
A special role belongs to the method of conversation. Conversation is a dialogical form of teacher's work with students. And it has great potential, because it helps to connect the educational material with the personal experience of students, with their knowledge.
D.B. Kabalevsky, attaching great importance to this method, distinguished two types of conversation:
story-talk
Conversation-dialogue.
In a conversation-story, the teacher himself leads the students to correct judgments and conclusions. In a dialogical conversation, the students themselves play the leading role, and the teacher, like the director, only directs the conversation and leads the students to the right answers.
Types of conversation according to B.S.
During heuristic conversation the independent thinking of students is activated, and the question posed by the teacher is usually followed by several answers from students.
Hermeneutical conversation involves a detailed consideration, explanation of the phenomenon under study.
During Socratic conversation the ability to think ambiguously, to take different points of view on the phenomenon under discussion is stimulated. As a result of this kind of conversation, there is often no unequivocal conclusion, which is important when discussing the content and meaning of a work of art.
Possession of the technology of conducting a conversation is an important professional quality of a music teacher.
Consider the basic requirements for conducting a conversation.
Clear goal setting, building a logical sequence of questions, in compliance with the hierarchy of complexity;
Argumentation of students' answers;
Inclusion in the work of most of the class, a combination of individual and frontal forms of work (the question is addressed first to the class, then to the student);
All questions of the teacher should be suggestive, the teacher should not prompt and offer obvious answers that do not require argumentation;
It is important to give the student enough time to answer, listen to each answer, delve into its content, include students in the discussion of the content of the answer, encourage them to dialogue, dispute, discussion.
2.2.1 The concept, functions and specificity of methods, techniques and technologies of music education.
The concept of the method: in the broad sense of the word as a set of pedagogical methods aimed at solving problems and mastering the content of music education; in the narrow sense as a technique aimed at mastering musical knowledge, skills and abilities.
The specifics of the methods and means of music education, their focus on the development of the personality and creative abilities of students.
Various classifications of music education methods. Characteristics of the methods in terms of their connection with the main tasks of music education:
a) methods aimed at developing students' empathy, emotional and value attitude to music;
b) methods aimed at developing students' artistic and cognitive abilities, the ability to listen and hear music;
c) methods aimed at developing students' self-expression in the art of music.
2.2.2 General pedagogical methods of teaching music
According to the source of knowledge: verbal, visual (visual-auditory, visual-visual), practical, work with literature, video method;
By appointment: the acquisition of knowledge, the formation of skills and abilities, the application of knowledge, creative activity, consolidation of acquired knowledge, verification of ZUN;
By the nature of cognitive activity: explanatory-illustrative, reproductive, heuristic, research, game;
For didactic purposes: methods that contribute to the initial assimilation of the material, consolidating and improving the acquired knowledge (methods of comparison, generalization, design, planning, research methods, etc.).
General pedagogical technologies in music education: student-oriented, problematic and developing.
SPECIAL METHODS OF MUSICALEDUCATION
Along with general pedagogical methods in the pedagogy of music education, special methods have also been formed - musical methods proper.
First of all, these are methods that cover different types of musical activity of students, related to the ability of students to understand, evaluate and analyze specific means of musical and artistic expression (that is, associated with practical forms of work).
The method of emotional dramaturgy at a music lesson (D.B. Kabalevsky, E.B. Abdullin).
The idea of creating a lesson as a kind of work aimed at realizing a common goal was first put forward in general pedagogy by M. N. Skatkin. The method of emotional dramaturgy is aimed at creating a lesson in which a certain dramatic decision takes place:
Some kind of introduction, introduction, where the vector of the emotional orientation of the entire lesson is indicated;
Construction of a composition that organically combines contrasts and similarities of musical works of different nature, types of musical activities of students, forms of work, musical works performed by the teacher and children, etc .;
The presence of an emotional and aesthetic culmination of the lesson associated with the students themselves listening to or performing a bright work of art;
Pre-thought-out completion of the lesson with a work of a certain mood and character, logically completing the overall musical composition of the lesson.
The method of emotional dramaturgy does not mean the need to strictly follow the scheme, including the one above. Here, only a certain theoretical construction is presented, allowing for any options creatively created by the teacher himself, depending on his musical and pedagogical imagination, professional capabilities, the level of musical and general development of students, and the conditions for conducting classes.
Moreover, the actual course of the lesson may necessitate changing the pre-designed dramaturgy of the lesson, especially since we are talking primarily about dramaturgy. emotional, and therefore amenable to change, adjustment, one or another creative content in nature.
The method of "running" forward and "returning" to the passed at a new level (D.B. Kabalevsky),
or the method of perspective and retrospective in the course of a musical lesson, a number of lessons, the entire process of musical education (E.B. Abdullin), is aimed at establishing a wide variety of connections between the topics of the program, specific musical works, emerging musical skills and abilities, experience in musical and creative activity etc.
Following this method contributes to the formation in the minds of students of a holistic picture of musical art, a consistent and ever deeper knowledge of a particular topic, a particular significant work of art, a more effective assimilation of skills, etc.
Musical generalization method (E.B. Abdullin)
It is aimed at the assimilation by students of the key knowledge contained in the thematic nature of the program and aimed at the development of musical thinking. This method includes a series of sequential steps.
The first action sets the task of activating the musical life experience of schoolchildren, those knowledge about music and skills that are necessary for the subsequent assimilation of the essence of the topic under study.
The second action aims to introduce children to a new topic for them, revealing some pattern of musical art, its connection with other types of art, with life itself. At the same time, reliance on the auditory musical experience of schoolchildren, the creation of a search situation that activates the thinking of children, their desire to come to independent conclusions and conclusions related to new knowledge, is of paramount importance.
The third action of the method is connected with the consolidation of ideas about new knowledge in different types of musical activity of students, with the development of the ability to learn music more and more independently and in depth on the basis of previously acquired knowledge.
Method of thinking about music (D.B. Kabalevsky).
The author of the method reveals its essence as follows: “It is important that the solution of new questions takes the form of short interviews between the teacher and the students. In each such interview, three inextricably linked moments should be felt: the first is a task clearly formulated by the teacher; the second is the gradual solution of this problem together with the students; the third is the final conclusion, which the students themselves must pronounce (whenever possible).
Describing this method, D.B. Kabalevsky emphasizes that the clash of opinions causes a “creative conflict”, which leads to the discovery of new, more precisely, to the realization of long ago (in practice) known, but previously not realized truths (for example, about the possibility of “meeting » in one work of the genre foundations of music, about the relationship between expressiveness and figurativeness in music, about different facets of intonation, stylistic features of a particular composer, etc.).
Composing method (L.V. Goryunova)
It is aimed at combining different types of musical activity (listening to music, choral and solo singing, playing elementary musical instruments, playing four hands with a teacher, moving to music, etc.) while performing the same piece of music. This method allows you to include all the children in the class in active musical activity and at the same time contributes to the most complete study of a musical work.
Method for creating an artistic context (L. V. Goryunova)
It is aimed at developing the musical culture of students through “exits” beyond music (appeal to related arts, history, nature, certain life situations, etc.). This method makes it possible to present music in the richness of its various connections, to understand the similarities and differences from other types of art, to realize the connection with history, etc.
The method of establishing the relationship between artistic and technical on the basis of intonation (E.V. Nikolaeva).
This method implements the intonation theory of B. V. Asafiev in relation to the problems of music education. The very understanding of the term “intonation” has many meanings: as an artistic category (because the musical meaning is “folded” in intonation), and as a “technical” category, in which the narrowly technical meaning of the purity of intonation is understood as a condition for achieving its expressive beginning.
Through the prism of the method of establishing the relationship between artistic and technical on the basis of intonation, let's consider methods related to various types of musical activity.
Methods for developing skills and abilities to listen to music for a long time were based on the approach of N. L. Grodzenskaya, who singled out four stages in the form of a kind of “sonata allegro”: 1. Introductory speech of the teacher (introduction). 2. Listening to a work performed by a teacher or recorded (exposition). 3. Analysis ("analysis") of the work (development). 4. Repeated listening to the work at a higher conscious and emotional level (reprise). 5. Repetition, fixing music in memory (code).
The outlined scheme for organizing listening activities is largely of a general pedagogical nature, since it takes into account, first of all, the psychological and pedagogical features of children's perception of new musical material, which requires a certain attitude of the student to listening to the work, initial acquaintance with it, its analysis, and repeated listening. In one form or another, this logic of building educational material is applicable to any musical samples offered to children for listening.
At the same time, it should be borne in mind that the central musical and didactic element in this scheme is the analysis of a musical work. It is in it that the general strategic approach is reflected, which determines the depth of students' immersion in musical material and, more broadly, in the process of learning musical art. Such analysis can be carried out at different levels:
At the level of the method of establishing relationships between individual means of expression and the artistic image of a given particular work;
At the level of the method of intonational analysis, which involves tracing the process of formation and development of its intoned meaning in a musical work (B.V. Asafiev).
important aspects of studying the topic "Intonation" is the identification of intonation "grain" in a musical work and ways of its development.
The implementation of the method of artistic and technical unity on the basis of intonation in relation to singing activity lies in the fact that schoolchildren learn to comprehend expressiveness in music and prepare for its expressive intonation directly through understanding the musical intonation itself. At the same time, children are specially placed in conditions where the priority in revealing the artistic image of the work and the expressiveness of the exercise is for them not so much the words as its own musical side. Therefore, while learning such material, they can approach its conscious expressive intonation, mainly through understanding the expressiveness of musical intonation, without or with minimal help from a verbal text. This becomes possible with the consistent and gradual complication of the tasks that are set for students.
Using a specific example, we will show the possibilities of implementing this method in the practice of music lessons.
Already from the first lessons, little singers need to be taught not only to sing in the nature of the music: joyfully, sadly, tenderly, affectionately, etc., but, what is especially important, to feel the finest shades of musical intonation in their performance. For this, it is necessary to develop their emotional hearing and lead them to comprehend music as an art of intonation. Such an orientation of the work should be decisive both when learning songs, and when students sing, and when practicing vocal and choral exercises. It is important that students learn to feel the beauty of singing sound and be able to meaningfully intotone even a single sound, putting one or another emotional coloring into their performance, not to mention the combination of several tones in a melodic turn, and even more so in a whole phrase.
Schoolchildren can be prepared for this with the help of a variety of methodological techniques that fix their attention on the effect that a performing interpretation can have on the musical perception of the same material. To this end, at the initial stages of learning, children first of all get acquainted with how the singing sound changes not only of the whole phrase (performed in the form of vocalization), but also of a separately sung sound, depending on the emotional coloring that the performer gave them. All such tasks are aimed at attentively listening to children in the singing sound, their understanding of its emotional coloring, and the children's search for ways to convey this or that mood in their singing.
The second important task is to teach children to listen, and then to hear and convey in singing the nature of the conjugation of several sounds in small intonational turns, including intervals. It is the interval, according to B.V. Asafiev, in music that is the exact determinant of the emotional and semantic quality of intonation. And if “you don’t bring up in yourself to perfection a “vocal”, that is, a “weighty” feeling of the intensity of intervals and their interconnection, their elasticity, their resistance, you cannot understand “what is intonation in music ...”.
To help schoolchildren navigate this complex process, it is useful to introduce special exercises for children to master various melodic intervals in the educational material. At the same time, each studied interval should be considered as an intonation complex, which does not have a strictly assigned expressive meaning, but has certain potentialities. Moreover, the implementation of any of them depends on the nature of the subordination of sounds (the combination of controversy and aspiration in them, the direction of melodic movement, metrorhythmic and dynamic correlation, the method of sound science, the register characteristics of sounds in relation to the singing voice of performers, etc.).
Thus, the same combination of sounds in pitch, thanks to the use of this method, appears in the minds of students as a multitude of intonations that are different in their emotional and figurative structure. Therefore, students have the opportunity to choose from a diverse palette of sound intonation complexes the one that best suits the general artistic context.
This approach involves the search for similar ways of rethinking all the methods used in the theory and methodology of choral and solo singing, choral studies, such as, for example, the formation of singing breathing, sound production, diction, choral order, ensemble. At the same time, it should be borne in mind that each of them has its own technology in accordance with the nature of the formation of a particular skill. But all of them in the process of musical intonation act as a means of embodying the intonation meaning inherent in a certain musical material.
So, when developing the skills of cantilena singing, one cannot but take into account the fact that, on the one hand, this is a completely specific way of sound science, on the other hand, when a particular musical style is implemented, it will have its own characteristics.
In recent years, in the pedagogy of music education, such a
Method of composing already composed (V.O. Usacheva)
