Tutorials for initial period learning.
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, who are actively and very successfully dealing with the problems of the initial period of education, and who have created their own unique techniques based on the ideas of S. Suzuki, M. Martenot and K. Orff are Maltsev, S. Izmailova, I. Smirnova, K. Grinshtein, Timakin, T. B. Yudovina-Galperin.
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. Value children's creativity- 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 fantasy. 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 active development 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";
Good "Figurative speech of the teacher" // Contemporary 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 creativity in the initial period
learning".
Improvisation training. // " Music 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 advanced planning pedagogical work. Awareness of the individual characteristics of the student, contact with the student, goodwill, interest.
Drafting individual plan 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 strengths and weaknesses. 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 music text works - revealing it artistic intent. Work on a piece of music is a research process and "endless listening" to the musical fabric.
^ Topic 10 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 intensive development musical perception and development of musical abilities. The child must succeed!
The joy of creativity and sincere expression - mandatory conditions for successful future activities. 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 the 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 articulatory 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".
Contemporary 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 form in dance compositions, analysis of the form of inventions. The role of the theme in imitative polyphony. Characteristics of the form elements and their meaning in the disclosure musical image: "theme", "answer" "interlude" (of the final and developing type, "stretch", "reversal", "increase" of the topic, as the principle of development and culmination).
"Law of the theme" - the unity of articulation, intonation of accents with a tonal and register variety of sound.
Analysis of work on polyphony.
Preparatory stage - definition art form works → 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 clavier works Bach in
music school."
Bodka "Interpretation of Bach's Clavier Works".
Nosin "Symbolism of Bach's Music".
Kalinin "Clavier music of Bach in 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 music school student determined by the nature, 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".
Fisher " piano sonatas Beethoven” (Performing Arts of Foreign Countries No. 8).
Literature for analysis:
Works by Clementi, Haydn.
Sonatinas by Mozart Sonatinas.
Sonatas by Beethoven.
Bach Concerts.
STATE BUDGET PRESCHOOL EDUCATIONAL INSTITUTION KINDERGARTEN № 48
KIROVSKY DISTRICT OF SAINT PETERSBURG
Article
"Modern methods of musical education of children"
Prepared by:
music director -
Sholokhova Nina Nikolaevna
Saint Petersburg
2013
Modern methods of musical education for children
CURRENT STATE OF THEORY AND METHODOLOGY
MUSICAL EDUCATION
IN modern conditions there is an intensive development of the theory of musical and aesthetic education. This is due to fundamental shifts in the social, economic and cultural life countries.
At present, the Federal State educational standard preschool education, where one of 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.
Social experience of any field of human activityreflected in certain norms, standards (in music, norms expressed in musical notation). The child learns them in the form of certain knowledge, and already at preschool age, children learnsimple ideas and learn to act in accordance with certain norms. For example, they not only distinguish, but also reproduce musical sounds according to their height, 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.
CLASSIFICATION OF MUSIC EDUCATION METHODS
IN music pedagogy 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).
The methods of music education can be defined as a system of interrelated actions of a teacher and a child aimed at mastering the spiritual and moral potential of music and achieving the goals of music education.
As well as in general pedagogy, in music education preschool age methods are widely used, which are classified by the source of transfer and acquisition of knowledge (visual, verbal and practical), by the nature cognitive activity(explanatory and illustrative, reproductive, game), for didactic purposes (methods that contribute to the assimilation, consolidation and improvement of knowledge). However, it should be noted that general didactic methods in music education have their own specifics, due to the peculiarities of music. At the same time, the process of figurative and artistic experience of music acts as the most important characteristic of the target function of general didactic methods, influencing the concretization of their formulations:visual-auditory, visual-visual, artistic-practical, musical-playing.
visual-auditorythe method is associated with the influence of the music itself on the aesthetic sense of the child in the process of perceiving musical works. The object of visualization can be musical works performed by a teacher or reproduced with the help of musical and technical means. Understanding the nature of the development of musical intonations is essential condition implementation of the visual-auditory method. In its content, it is close to the “method of observing music” (B. V. Asafiev), which forms the ability to meaningfully perceive the content of music, following the change in its intonations.
Visual-visualthe method is based on the concretization of the child's ideas about the artistic image piece of music. Visual clarity (the use of pictures, drawings, objects, etc.) directs the child's perception in a certain direction, so its use before listening to a piece of music is not always justified. The application of this method is directly dependent on the level of development of the musical thinking of the child.
Comparison method corresponds to the most important principle of artistic didactics, substantiated by the outstanding teacher-musician D. B. Kabalevsky, the principle of "similarity and difference". The methodical principle of similarity and difference is adequate to the principle of identity and contrast - the principle of organization of the musical form itself. The use of the comparison method in musical pedagogy makes it possible to clarify the child's ideas about the nature of the development of a musical image in one or more musical works that are similar or contrasting in figurative-emotional structure, to compare different types of art, etc. Creation problem situations in the process of using the method of comparison allows you to develop the child's imagination, his figurative and associative thinking, which ultimately affects not only the process of its formation musical culture but also the whole culture of perception of life and awareness of one's life impressions.
verbal method in music education is used not so much to convey the necessary information, but to create a figurative-psychological mood in a situation of perception or performance of music.
The main varieties of the verbal method in musical pedagogy act as guidelines for the child in the perception and performance of music. These include:conversation, story, explanation.
Conversation - a kind of verbal method in music pedagogy, aimed at identifying a child's emotional response to a piece of music heard or concretizing the content of a piece of music before listening to it. A conversation with children is usually built in the form of questions and answers. When conducting a conversation, it is recommended to keep the following sequence of questions:
- what feelings does the music convey? (Characterization of the emotional-figurative content of music);
- what does the music say? (The program of a musical work, its visual moments);
- how does the music tell? (Analysis of the expressive means of music and their role in creating a musical image).
Story is used, as a rule, in work with children of primary and secondary preschool age before the perception of program musical works and conducting plot music games. This kind of verbal method actualizes the associative and creative thinking of children, develops their imagination, deepens the child's understanding of the musical image.
Explanation as a kind of verbal method is used in the process of getting to know a new piece of music. The explanation should be short, clear and precise, which contributes to the understanding of the task facing the child in the process of his communication with music, and good quality its implementation. The explanation may be accompaniedshowing some action.
Artistic and practicalthe method is associated with the motor reactions and active actions of the child in the process of his communication with music (reproduction of music and the transfer of experiences caused by music in various forms of performing activity, such as vocalization, plastic intonation of music, rhythmic movements to music; expression of music experiences with the help of creative methods of action in various types of musical activity, etc.).
The peculiarity of the methods of music education is due to the specifics of music as an art form. Defending the dialectical principle of the correspondence of the method of studying an object to the nature of the object itself, JL S. Vygotsky wrote: “... art is special way thinking, which in the end leads to the same thing that leads to scientific knowledge.. but in a different way. Art differs from science only in its method…”
The originality of methods in the field of music education is determined by their focus on the development and appropriation of the spiritual values of musical culture in the unity of the activities of the composer - performer - listener.
An analysis of modern methodological literature allows us to identify a number of methods of music education that reflect the specifics of music as an art form. Let's take a look at their characteristics.
Method for creating an artistic contextis aimed at developing the musical culture of the child through "exits" beyond the limits of music. At the same time, various connections of music with other types of art, life situations and images act as a mechanism for creating an artistic context. At the same time, the musical culture of the child is enriched by identifying the general and the special in the specifics of both musical and pictorial or literary image, concentrating in itself the subject of art - music, painting, poetry, etc.
Composing methodprovides for the unification of different forms of communication between the child and music in the performance of one work. The basis of the method is the syncretic (Greek “connection, association”) nature of art, as well as of all culture as a whole. The forms of communication between a child and music can be:
- music vocalization;
- its reflection in the drawing;
- the embodiment of music in the plasticity of movements;
- reflection of the content of music in orchestral improvisation-theatricalization;
- orchestration of a piece of music.
This method, by introducing game element in the process of mastering a musical work, significantly enriches the musical and performing experience of children.
Method of thinking about music aimed at development of a child's conscious attitude to music, the formation of his musical thinking.The method actualizes the problems of personal, individual appropriation by a child of spiritual values embodied in music. The use of this method is based not on the assimilation of ready-made knowledge about music, fixed in various concepts and categories, but on the formation of the child's ability to individually hear and creatively interpret music, during which the child, relying on his own musical and life experience, imagination, fantasy, intuition, compares, compares, chooses, comes to the discovery of new truths that were not previously realized by him.
In the process of implementing this method, the teacher encourages the child to comprehend not only music, but also his own "I" and the world around him. At the same time, such psychological processes as co-experience, co-feeling, co-creation are stimulated.Objective function of the methodnot in "assimilating", "reinforcing", "repeat", but in "experiencing", "evaluating", "expressing".
The method of running ahead and returning to the past (D.B. Kabalevsky), or the method of perspective and retrospectivefocuses the teacher on the formation in children of a holistic view of the art of music, the development of their ability to comprehend the material covered at a new level.
Method of emotional dramaturgyactivates the emotional attitude of the child to music, aims the teacher to take into account the features of the construction and development of a musical work when developing the structure music lessons(creating emotional contrasts, determining the culmination of a lesson, choosing a sequence of forms and types of music lessons in a given group of children, etc.).
Method of musical generalizationsused in the implementation of music education programs that have a thematic structure. The method is aimed at summarizing the knowledge about music, embodied in the theme of the program.
Method for modeling the artistic and creative processis aimed at increasing the active development of works of art, at developing the child's ability to individually interpret the process of creating a musical work - from the birth of an idea to the moment of its implementation. The method of modeling the artistic and creative process reveals a connection with the problematic method, as it affects the level of thinking and the quality of the child's knowledge of music.
The implementation of this method in the field of music education requires the child to be independent in acquiring and appropriating knowledge about the musical and creative process, carrying out activities based on fantasy, intuition, imagination, the ability for individual hearing and their own interpretation of music.
The technology of practical implementation of the method includes the followingchild's sequence:
- awareness of the creative intent and content of the musical image;
- development of the logic of the development of the plot and the musical image;
- the choice of means and techniques for the embodiment of a musical image (voice, in the plasticity of movements, on a musical instrument, etc.);
- giving completeness to the product of creativity, registration of the result of the creative process.
"Life in the image" leaves an imprint on the nature of the child's activity, which, in the process of creativity, compares, correlates, chooses and finds what, in his opinion, can best express his hearing and vision of a particular phenomenon or artistic process.
Method for modeling elements of musical languageVarious types of modeling of rhythmic, pitch relations, dynamics, tempo, musical form, etc., used in the process of implementing the method, make it easier for children to perceive and understand the expressive means of music.
Plastic intonation methodaimed at conveying the intonations of music in the plasticity of movements. An effective technique of this method is "free conducting" in the process of music perception.
The method of activating the creative manifestations of the childThe method is based on an improvisational and creative game that combines music, speech and movement.
The method of understanding the personal meaning of a musical workis aimed at verbalizing not music, but the child's own experiences in a situation of music perception. The method can be used in work with children of senior preschool age, since its implementation requires a certain level of development of the child's musical thinking, the ability to correlate his musical and life psychological experience with the perceived piece of music.
The method of musical re-intonationaims the teacher to systematically reveal to the child the meaning of music through intonation in the process of its changes and development, comparison of intonations within one image, in different parts of one work, in musical works of various styles and genres.
The listed methods are multifunctional in nature and are aimed at comprehending music by means adequate to the nature of art (using the language that art itself speaks).
The choice of methods for musical education of children depends on the skill of the teacher, the age and individual characteristics of the children, the level of their musical development and life psychological experience.
LITERATURE:
1. Abdullin E.B., Nikolaeva E.V. Methods of musical education. - M., Music, 2006.
2. Abdullin E.B. The theory of music education. - M., Academy, 2004.
3. Vygotsky L. S. Psychology of art. - Rostov n / D .: publishing house "Phoenix", 1998.
4. Kabalevsky D.B. Basic principles and methods of the music program for the secondary school. - M., 1980.
5. Methodological culture teacher-musician / Ed. E.B. Abdullina. - M., Academy, 2002.
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 mass culture, devaluation of knowledge as spiritual wealth, looking for new methods, reviewing 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 artistic culture it seems important not to cross out this aspect 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 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 join the 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 that which 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
Subject:“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 to musical art. Artistic and musical tastes often develop in the conditions of 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. Zankov, using the innovative music program by G.S. Rigina, methodological manuals by T.I. Naumenko and V.V. academic work, created its own system of organizing music education at school.
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?
Third, 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 very different requirements for a music lesson: essential role 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.
- Enabling Music Psychotherapy as effective remedy in the fight against school neuroses.
- Organization of modern musical leisure schoolchildren.
- The selection of musical material for choral singing, which is carried out by the teacher himself on the basis of national characteristics musical culture of the people and traditions of a particular region of Russia.
- These views on contemporary music education, expressed by V.K. Beloborodova, coincided with my pedagogical plans and helped to resolve my internal contradictions in 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 difficulty level,
- the leading role of theoretical knowledge,
- studying program material at a fast pace,
- students' awareness of the learning process,
- systematic work on common development all students, both strong and weak.
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 primary school 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
Studying theoretical foundations developmental education systems.
Stage II - diagnostic, September 1999
- Level learning psychological maturity and 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 contests, music olympiads, observation, interview). 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 school year preliminary results of the study are summed up at the school psychological-medical-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 primary school, the main methods are explanatory and illustrative, reproductive, and playful. 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 according to the program of G.S. Rigina in the system of developmental education, I choose methods (both general pedagogical and specific ones) that contribute to the development of musical and auditory ideas, 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" 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 characters 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. I manage, taking into account these features, to create in the lesson optimal conditions for cognitive and creative activity students.
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 beautiful impulses". 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 have become "traditional" such non-traditional forms as integrated lessons of literature and music, lessons of interpenetration of classical and modern music, lessons-courts, lessons-concerts, etc.
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 innovative activities) in 1999, she began to introduce the system of L.V. Zankov 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: Through standardized intelligence 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 learning motivation to 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 positive attitude students to 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, forms 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?
Development problem creative individuality- This 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
Theory and methodology of musical education. Tutorial Bezborodova Ludmila Aleksandrovna
5. Music education methods
In defining methods, "Theory and Methods of Music Education" relies on general pedagogy. At the same time, the criterion for choosing methods in the context of the specifics of work on music education depends on the characteristics of the content. educational material(its complexity and novelty), specific pedagogical goals, preparedness of children, as well as 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.
The methods of music education (following the literal translation of the word "methodos" from Greek as "the path to something") are understood as certain actions of the teacher and students aimed at achieving the goal of musical education of schoolchildren, or the ways the teacher and students work. These are ways of interconnected activities of a teacher and students aimed at solving the problems of music education, upbringing and development of students. Methods consist of more particular techniques that concretize and detail them.
Of the general pedagogical methods, the following group of methods is used:
- according to the source of knowledge (practical, visual, verbal, work with a book, video method);
- by purpose (acquisition of knowledge, formation of skills and abilities, application of knowledge, creative activity, consolidation, testing of knowledge, skills and abilities);
- by the nature of cognitive activity (explanatory-illustrative, reproductive, heuristic, research, game);
- for didactic purposes (methods that contribute to the primary assimilation of the material, consolidating and improving the acquired knowledge).
All of the methods of general pedagogy listed above perform: a teaching role, developing, educating, encouraging (motivational) and control and correctional functions in the musical education of children.
Naturally, general pedagogical methods in music education have their own specifics. So, for example, the widespread verbal method, the efficiency and effectiveness of which in pedagogical practice was noted by a number of Russian scientists (M.N. Skatkin, I.Ya. Lerner, etc.), in music education is understood not so much as the transfer of necessary information, but rather as a figurative-psychological attitude aimed at the spiritual communication of the child with the art of music. That is, for a verbal explanation of music, speech should not be everyday, but figurative.
Similarly to the above, there is an originality of other general pedagogical methods in the musical education of schoolchildren, which consists in the use of visual and practical methods, which is reflected in the wording itself, which has undergone some transformation: visual-auditory, visual-expressive and artistic-practical methods.
The group of methods determined by the specifics of musical art, well-known teachers-musicians attributed and still include:
- the method of observing music (and not teaching it), the method not to impose music, but to convince with it, not to entertain, but to please, the method of improvisation (B. V. Asafiev);
- empathy method (N. A. Vetlugina);
- methods of musical generalization, running ahead and returning to the past, reflections on music, emotional dramaturgy (D. Kabalevsky and E. B. Abdullin);
- a method for the development of style discrimination in adolescents (Yu. B. Aliev);
– method of musical interview (L. A. Bezborodova);
– a method of intonation-style comprehension of music and modeling of the artistic and creative process (E. D. Kritskaya and L. V. Shkolyar).
A group of methods was developed by O.P. Radynova for the musical education of preschoolers. These are methods of contrasting comparisons of works and likening the nature of the sound of music, which contribute to awareness of the perception of music, the creation of problem situations, deepen emotional responsiveness to music, develop the imagination and creativity of children. In the method of contrasting comparisons, O.P. Radynova developed a system of tasks that compares contrasting works of the same genre, plays with the same titles, contrasting works within the same mood (distinguishing shades), comparing intonations of music and speech, comparing different interpretations of one work ( orchestral sound and solo, options for performing interpretation on the piano).
The method of assimilation to the nature of the sound of music, developed by O. P. Radynova, involves the activation of various creative actions aimed at understanding the musical image. Radynova uses various types of assimilation to the sound of music - motor-motor, tactile, verbal, vocal, mimic, timbre-instrumental, intonational, color, polyartistic.
The main thing is not to forget that in musical education it is important to comprehend music through intonation, comprehend music with music, music with other types of art, the life of nature and man, and not with separate musical means torn from the whole.
All methods of musical education are aimed at developing the artistic thinking of schoolchildren and are adequate to the aesthetic essence of musical art, as well as to the goals and objectives of musical education.
Thus, the method of musical generalization involves the formation of a system of knowledge among students, the development of a conscious attitude to music.
E. B. Abdullin defines a series of sequential actions of this method:
- activation of the musical, life experience of schoolchildren in order to introduce the topic or deepen it;
– familiarization with new knowledge through a task clearly set by the teacher, joint decision her with the students and the formulation of the conclusion by the children;
- Consolidation of knowledge in different types of educational activities of the child.
Due to the orientation of the generalization method on the development of artistic thinking, D. Kabalevsky considered this method to be the main one in the musical education of schoolchildren.
The method of looking ahead and returning to the past is aimed at developing a holistic view of music in children. In Kabalevsky's program, this method is implemented at several levels of connection between the stages of training, themes of quarters and musical works in the process of studying the topics of the program. So, for example, in the program of the 2nd grade of Kabalevsky everyday genres marches, dances and songs familiar to children in the 1st grade are transformed into such essential qualities music, as marching, dance and song. At the same time, in accordance with the principle from the unconscious to the conscious, children in the 1st grade intuitively experienced the transformation of the three main types of music as associative models into something more capacious, getting acquainted with the works of J. Bizet, P. Tchaikovsky, S. Prokofiev, etc. In this sense the return to the knowledge acquired from year to year, in fact, is an expression of a qualitative transformation of the consciousness of children.
At the level of connection between the topics of the quarters, the implementation of the method of running ahead and returning to the past is even more obvious. So, the first half of the 3rd grade is called “Music of my people”, the second - “Between the music of my people and the music of different peoples there are no impassable borders in the world." Returning to past works similarly implies not just a repetition of it, but the perception of a familiar under conditions new topic. So, in the 2nd grade, children turn to Preludes No. 8 and No. 20 by F. Chopin in the first and third quarters, first, when they go through the topic “Marching, song, dance”, and later, when they comprehend the principles of music development.
The method of emotional dramaturgy activates the emotional attitude of students to music, and also contributes to the creation of enthusiasm and keen interest in the art of music. An equally important function of this method is "directing" the structure of the lesson, determining its climax. In this sense, the method of emotional dramaturgy (E. B. Abdullin) is close to the method of emotional influence (L. G. Dmitrieva and N. M. Chernoivanenko).
The principles of the method of emotional dramaturgy are: emotional contrast and consistent saturation of the emotional tone of the lesson.
Activate the attention and interest of students, especially younger children, various tasks before listening to music. For example, raise your hand when the music changes or when the violin (flute, etc.) sounds; raise your hand every time the main theme sounds; do it in the place that the student likes the most; recall other works of the same nature, mood. When introducing younger students to more complex images of "adult" classical music, it is useful to use the technique of "pair perception" of works, which facilitates the process of listening. It consists in the fact that for each more difficult to perceive classic a simple children's play similar in mood is selected, the content of which is carefully examined with the children, and when they "enter" the mood of the play, they are invited to listen to an already "serious" work. The mood that arose when listening to a children's play is transferred to it, which facilitates perception (from the experience of Yu. B. Aliev).
To include children and adolescents in active and pleasant activities for them when listening to or performing a work, Yu. B. Aliev recommends a number of effective techniques that are especially useful in the musical education of younger students.
Movement. With the help of movements, it is easier for children to "enter the image", to feel the music "with the whole body", to be more deeply imbued with its mood. Since there is little space for movements in the classroom, they can be performed sitting or standing near the desks; you can also suggest individual groups move to the music along the rows of desks.
Movements should be simple, easy to perform without special training, rhythmic and, most importantly, match the mood of the music. For example, to cheerful music - “dance” in the air with your hands, stamp your feet (sitting), make elementary dance movements (standing). To sad or calm music - walk quietly (on the spot) or make smooth movements with your hands. Under the "mysterious" music - to portray curiosity or fear, the desire to hide.
At first, the teacher himself shows the students various “patterns of movements” - this way it is easier for them to improvise new ones. Children are very fond of moving to music, and those works that were associated with movement, they remember better and love more.
Orchestra play. This methodical technique creates in children the impression of participation in the performance of music. This activates their perception and they like it very much. To participate in the game, students (the whole class or individual groups in turn) are given elementary musical instruments: sticks, bells, rattles, metal and wooden spoons (they can bring all this from home). To the sound of the work performed in the recording, the children quietly perform the rhythms set by the teacher. When they get used to this kind of playing, you can invite them to improvise the rhythm. The teacher, during the performance of the music, indicates which particular group it was the turn to enter with their instrument. One should play in the orchestra in accordance with the mood of the music: cheerfully, cheerfully, loudly - or quietly, gently, or secretly, with fear.
Improvisation of melodies. In order for students to better perceive the emotional content of music, you can offer them to improvise the melody themselves in the same mood (for a given text). Your own melody, composed to a sad, cheerful, mysterious or heroic text, will help you more fully perceive a piece of music that is similar in mood. It is also useful to sing melodies, themes (if, of course, they are available to children) from the works being listened to. This will help you feel and remember the music better.
Drawing pictures. After listening to the work two or three times again, when the children already know it, you can invite them to draw (at home or in class visual arts in the classroom) a picture that arose in their imagination when they perceived the music.
In order for students to remember a piece of music better, it must be repeated. Repetition can be done in game form- quizzes, riddle concerts, concerts by request.
Characteristic and adequate to the aesthetic essence of musical art is empathy method. A. A. Melik-Pashaev, defining the significance of this method in the pedagogy of art, noted that if the emotional and sensory experience of the child precedes conscious activity according to the rules, working with terms, concepts, signs, then the history of art itself will open to children not as a set of external factors and objective relationships, but as a treasury of spiritual contents that the student empathizes with, finding analogies to them in his own inner experience, learning and developing his soul, experiencing involvement cultural creativity humanity. Necessary condition The emergence of empathy is the formation of a certain context of consciousness, when the recipient is given the impression of contemplating works of art. At the same time, one should not forget that, while awakening inner empathy in children, the technique should be aimed at tactfully supporting aesthetic impressions. Naturalness this provision is determined by the understanding of aesthetic perception as a personally conditioned process, and aesthetic experience as a specific manifestation of a person's individual position.
Each method of musical education, training and development of children includes a set of clarifying and detailing methodological techniques. So, the problematic method, according to Kabalevsky, involves the following algorithm of actions: a clear formulation of the task by the teacher, a gradual solution of the problem by the mutual efforts of the teacher and students, the formulation of conclusions.
In a music lesson, as a rule, various methods are used in combination, taking into account the source of acquiring knowledge, types of artistic activity of children, types of lesson, as well as the tasks of developing a person’s artistic and creative abilities.
From the book Theory and Methods of Music Education. Tutorial author Bezborodova Ludmila AleksandrovnaSection 1 History of Music Education and
From the book History of Professional Music Education in Russia (XIX - XX centuries) authorChapter 3 The main trends in the development of the socio-cultural sphere and music education at the present stage The current stage of development of the socio-cultural sphere in Russia is characterized by a number of features. One of them is due to the current
From the book Fundamentals of Musical Psychology author Fedorovich Elena NarimanovnaSection 2 Theory of Music Education
From the author's bookChapter 1 General questions of musical theory
From the author's book1. The essence of the theory of music education The theory of music education of schoolchildren is considered as a system of scientific knowledge and concepts about the laws governing the musical development of a child, educating his aesthetic feelings in the process of familiarization with music
From the author's book2. The specificity of musical art The external form of art in general and musical art in particular has two dimensions - ontological and semiotic, since it is a kind of material structure and at the same time must function as
From the author's book From the author's book2. Principles of music education General pedagogy defines the methodology as scientific discipline studying the general laws of the pedagogical process on the material of any subject. This means that the method of musical education of schoolchildren should be understood as
From the author's book4. Dramaturgy of a musical lesson Music as an art form obeys the laws of dramaturgy, which is already at the heart of every piece of music and is determined by its substantive basis. It is possible to single out dramaturgy as an emotionally meaningful
From the author's book From the author's bookCHAPTER 1. ORIGIN AND ESTABLISHMENT OF THE SYSTEM OF PROFESSIONAL MUSIC EDUCATION OF SECULAR ORIENTATION IN THE 19TH - BEGINNING OF THE 20TH CENTURIES 1.1. The origin of piano pedagogy in Russia The concept of "Russian piano pedagogy" arose in the second half of the 19th century. -
4.2. Neuropsychic features of musical thinking The roots of the features of the flow of any thought processes are in the human brain. The activity of the cerebral hemispheres, their different parts provides the neuropsychic basis of all intellectual and
From the author's book4.3. The Temporal Nature of Musical Thinking Music is the art of time, and among other arts that have a temporary nature, it is distinguished by the fact that it has “pure” time as its basis. All types theatrical art, cinema art is based, in addition to time, on
From the author's book7. FEATURES OF PSYCHOLOGY OF MUSICAL CREATIVITY 7.1. General characteristics of creativity. Psychological features of a creative personality Creativity is understood as the process of creating new material and spiritual values in the field of science, art or technology. According to
Vysotskaya Alla Viktorovna, Teacher of special piano, Children's music school named after V.V. Andreeva, E-mail:
[email protected] , Russia, Moscowmethodical note
Radical economic and social transformations recent years in Russia, they demand from the education system a more flexible anticipatory response to changes in the socio-cultural environment of adaptation to them. Under these conditions, the improvement of the basic link of music education is of particular relevance. Musical education at the initial stage performs 2 most important educational ones - the development of musical and creative abilities and the formation of the artistic culture of students. Currently, there are 2 trends in the field of primary music education. The first one is related to the development of new methods and technologies of the educational process --- pedagogical innovations. special meaning belongs to both tendencies. The most important task of introducing modern approaches into the process of the initial musical development of children is to take into account the DIFFERENT DEGREES OF GIVENESS of students and, in this sense, the creation of various levels of complexity methodological developments manuals of repertoire collections for training. The system based on the statement about the equality of children's abilities and the possibility of applying strict normative moves in the education of students needs to be updated. Unique in the sense of presenting innovative approaches to primary music education can be considered the method of preschool musical development by Yudovina-Galperina At the piano without tears or I == children's teacher and the author's school of piano playing A. Melnikova Birth of a toy. In domestic pedagogy, the concept of substantiating innovations in the practice of primary learning to play the piano was undertaken in the collections V Korolkova Krokha-musician ch 1 2 Getalova V music - with Alterman's joy 40 lessons of primary music education for children 4-6 years old notebook 1 and 2 Starovoitova Playing in playing the piano, etc. The methodological basis of this work is research on the problems of piano pedagogy in the works of A. Alekseev A. Artobolevskaya L. Barenboim A. Goldenweiser J. Milstein G. Neuhaus A. Nikolaev Yudovina-Galperina. Renewal and enrichment of the musical and pedagogical repertoire on the basis of innovative approaches to primary musical education contributes to the individual and personal development of the child, the realization of his creative potential. The developing function of the musical repertoire of modern textbooks is determined by the most important criteria of highly artistic content, accessibility, pedagogical expediency and educational orientation. The success of pedagogical activity in working with children is determined by the establishment of creative trusting communication between the teacher and the student in the form of interactive cooperation, which implies respect for the child and overcoming the harsh manipulation of his consciousness. The development of the child is facilitated by his emotional and personal interest in the process of mastering the content of modern teaching aids. The practical significance of this methodological note is determined by the ability to optimize the initial stage of musical upbringing and education through the consistent introduction of modern innovative technologies and theoretical and methodological achievements into the educational process, to ensure the process of interaction between the teacher and the child in the lesson.
Conclusion
Objective and subjective prerequisites for crisis phenomena in the theory and practice of the system of additional music education are associated with the presence of a contradiction between outdated educational programs teaching aids and the requirements of modern times One of the ways to overcome these contradictions is to comprehend the innovative potential of modern teaching aids. In connection with the changed approaches to the development of the child's personality, the need for analysis and systematization of modern innovative theories and methods aimed at optimizing the educational process in the system of primary music education is obvious. Obtaining effective results in primary piano learning is possible due to the comprehensive introduction of innovative technologies and methods of developmental education in primary music education. The essence of the developmental education concept is to create conditions for the fullest development of the child’s natural potential. providing an emotional and value attitude to the content and process of education for the formation of a humanistic orientation of the individual. Pedagogical innovations introduced in the process of primary learning to play the piano will contribute to the improvement of musical education, provided that they are humanistic and aimed at the individual development of the student's personality for a more complete realization of his creative potential. The successful introduction of pedagogical innovations into the practice of primary piano teaching is facilitated by the establishment of creative trusting relationships between the teacher and the student, carried out in the forms of interactive cooperation (emotional subject-active game) in which the teacher acts as a universal source of knowledge carrier cultural norms and values. Creative application of the principles of humanistic pedagogy and individual approach to the student in the process of developing his mental, intellectual and moral qualities forms him as an independent thinking and acting personality capable of making informed choices in a variety of educational and life situations. A comprehensive analysis of pedagogical innovations in musical repertoire in order to identify its compliance with the most important evaluation criteria, highly artistic content, accessibility, intelligibility, pedagogical expediency and educational orientation.
Literature
1.I. S. Avramov On the issue of updating the piano repertoire in the modern music school
2.A D Alekseev History of piano art
3.SH A Amonashvili Personal and humane basis of the pedagogical process
4.B L Berezovsky The activities of the music school teacher and ways of its further improvement
5.O A Getalova On the ways of developing a harmonious creative personality
6. G G Neuhaus Reflections memoirs diaries
7.B Teplov Psychology of musical abilities
8. T B Yudovina-Galperina At the piano without tears
