Musical culture of society. Musical culture in the development of the teacher's personality The concept of musical culture is its constituent components

It should be noted that the values ​​of musical art can also serve in the choice of axiological landmarks within the framework of universal human values. In the implementation of this approach, an important place is given to the formation of the musical culture of the individual.

In this study, musical culture is understood as a complex integrative educational and educational activity, which includes the ability to navigate in various musical genres, styles and directions, knowledge of a musical-theoretical and aesthetic nature, high musical taste, the ability to emotionally respond to the content of certain musical works. .

If we proceed from the fact that culture is a combination of material and spiritual values ​​created by human society, then it is clear that musical culture is, on the one hand, a part of the general culture, on the other hand, an indicator of the level of this general culture.

We are talking about the musical culture of this or that society, regardless of the degree of its civilization. Nationalities, and even tribes, have their own musical culture, which are very far from the general lifestyle of the modern world. If they have songs and dances, even the most primitive musical instruments, all this together will be their musical culture.

The process of updating the strategy and tactics of musical education is aimed at activating and developing the spiritual forces of the child, who comprehends the richest experience of musical art. In this regard, the main criterion for the development of the musical culture of schoolchildren is not the accuracy of knowledge, but the depth of penetration into music, the content of which is the unity of images of the world and sound.

The process of forming the musical culture of younger schoolchildren can be characterized as the process of emergence, deepening and expression in music of a life meaning that is personally significant for the child. This meaning is defined by us as the main way of comprehending music and life in their unity. This path also allows us to combine a variety of approaches in the classroom and extracurricular forms of musical education of children on a single conceptual basis.

In a broad sense, the formation of musical culture is the formation of a person's spiritual needs, his moral ideas, intellect, and aesthetic assessment of life phenomena.

In a narrower sense, musical education is the development of the ability to perceive music. It is carried out in various forms of musical activity, which aim at developing the musical abilities of a person, educating emotional responsiveness to music, understanding and deeply experiencing its content. In this sense, musical education is the formation of a person's musical culture.

Initiation to music introduces the child to the world of exciting, joyful experiences, opens the way for the aesthetic development of life within the framework accessible to his age.

In order to open the door to this world for a child, it is necessary to develop in him the abilities that allow him to successfully express himself in musical activity. It is necessary, first of all, to educate the child's ear for music and emotional responsiveness - the two most important components of musicality. musical culture personality child

The most important indicator of musicality is emotional responsiveness to music. Musicality also implies the presence of requests, interests associated with diverse artistic works, different types of musical practice.

The formation of musical culture involves the correlation of the objective, social, public musical environment with the subjective experience of a child introduced to music.

It is musical talents that manifest themselves earlier than others, in a bright and supposedly independent form in some children, while in others these manifestations are very modest, timid and imperfect. Therefore, there are sometimes doubts about the appropriateness of the musical education of all children. By removing a less capable child from active communication with music, they deprive him of the source of one of the most vivid experiences that enrich life.

The formation of musical culture is understood as a process of transferring the socio-political experience of musical activity to a new generation in order to prepare it for work not only in this area, but also in other areas. This is explained by the fact that the assimilation of the methods of musical and aesthetic activity comprehensively enriches the personality of the child.

In the process of transferring musical experience, a system of purposeful and organized influences is used. Their purpose is two-sided: teaching knowledge, methods of action and influence on the formation of the child's personality, his musical abilities.

An outstanding teacher V.A. Sukhomlinsky called music a powerful means of aesthetic education. The ability to listen and understand music is one of the elementary signs of aesthetic culture, without which it is impossible to imagine a full-fledged education.

Music reflects reality in motion, in the dynamics of development. As in other types of arts, the center of this movement is a person with his thinking, subjective perception of an objectively existing reality.

“Musical culture,” wrote V.A. Sukhomlinsky, - needs a listener who is able to critically understand artistic musical phenomena, and not a passive contemplator" [i] .

Nowadays, characterized by the development of various types of technical means capable of reproducing music, the flow of musical information is practically unlimited. The more important is the problem of organizing purposeful listening to music, which helps to form the selectivity of consumption of musical impressions in accordance with the level of cultivated artistic taste.

Listening to music is closely connected with musical and cognitive activity.

In the process of diverse forms of musical perception, children learn, comprehend, assimilate the laws of the musical language, learn to recognize and reproduce music, and become familiar with the values ​​of art. All this broadens the horizons of students, makes it possible to significantly develop the musical abilities of children.

Thus, the influence of music on the upbringing of a personality is manifested and carried out in various forms of musical activity:

• a) listening to music
• b) creative activity, performance;
• c) cognitive activity.

All forms of musical activity help to form the skills of active perception of music, enrich the musical experience of children, instill in them knowledge, which in general is an important prerequisite for enriching the musical culture of schoolchildren.

The formation of musical culture is not limited only to the development of individual abilities of children, it provides for both the integrated development of general musicality and the formation of the child's personality as a whole.

The widest nutrient medium is necessary for the formation of a child's musical culture. First of all, the acquisition of the musical experience itself is essential, because a meeting with music is always a meeting with new feelings, emotions, thoughts born of life. At the same time, acquaintance with other types of art, with life itself in its various manifestations, enriches the emotional and musical experience of the child.

Musical development also occurs in the process of assimilation by the child of socially developed methods and actions. This testifies to the close connection that is established between upbringing, training and development.

In the process of acquiring social musical experience by a child, his abilities are revealed and developed on the basis of natural inclinations; interests, inclinations to music are formed; there is an emotional responsiveness, a desire for active creative activity, an evaluative attitude to musical works.

Musical images, in the totality of their melodic, harmonic, modal means, have an aesthetic impact on the child. However, it is quite obvious that, given their versatile influence on the child's body, it is possible to help strengthen his nervous system, cause joyful experiences and thereby contribute to physical development. It is also known that various phenomena of life can be the subject of aesthetic feelings caused by music. Hence, there is more opportunity for the formation of the child's moral image by means of music. In the process of musical perception, the child makes the first generalizations, he has comparisons, associations.

Beautiful music awakens in the child the desire for beauty, educates him as an artist, makes him an accomplice in the creative process.

The formation of musical culture is also understood as a process of transferring the socio-historical experience of musical activity to a new generation in order to prepare it for the upcoming work not only in this area, but also in other areas. This is explained by the fact that the assimilation of the methods of musical and aesthetic activity comprehensively enriches the personality of the child.

In the process of transferring musical experience, a system of purposeful and organized influences is used.

Musical development is a complex, multi-component phenomenon. Various interrelations are established between its components: between natural inclinations and musical abilities formed on their basis; internal development processes and experiences that are transmitted to the child from outside; the assimilation of experience and, at the same time, development, etc. Thus, there is a combination of various internal processes and external influences on them.

The formation of a student's musical culture is also understood as a transition from the manifestation of simple, lower forms of aesthetic attitudes and abilities to more complex and higher ones. If new qualities are obtained in these relationships and abilities, then we can talk about the musical development that has taken place.

Sometimes there is a gap between the first reactions to music and the timing of the start of organized education. So, sometimes these reactions appear very early, and the impact is delayed, and for some time the child is left to himself, which either delays development or gives it the wrong direction. But it happens that external influence is very plentiful and premature and does not take into account the degree of readiness of the child. These contradictions indicate that it is necessary to conduct research on the level of musical education of children and, based on the results obtained, develop a program for the formation of the musical culture of schoolchildren.

Sometimes incorrect connections are established between the forms of musical activity and the needs of children. So, one and the same nature of activity, one and the same sequence of tasks are formed. The life of a child is richer in musical impressions. He has new requests and interests, he wants to prove himself in other situations.

Contradictions also arise between the personality of the child with its characteristic originality of musical manifestations and its participation in collective activities. There is a problem of the formation of the musical abilities of children with different data, and sometimes with different training in the conditions of collective musical events. In this situation, it is precisely the (concert) musical events of cultural institutions that are necessary, since here children find themselves in equal conditions.

A harmonious combination of mental and physical development, moral purity and aesthetic attitude to life and art is a condition for the formation of a holistic personality. Properly carried out musical development is always associated with the improvement of many qualities and properties of the child.

If children are brought up in the spirit of responsiveness to everything beautiful in life, if they receive a variety of impressions, come into contact with various types of musical activity, then the formation of a musical culture will be fruitful and successful.

Music always acts in the unity of its content and form. It appears in its immediate integrity. Changing the musical sound causes a new experience for the listener. It is created as a result of the perception of musical images expressed by peculiar combinations of expressive means. Some of them are more pronounced and dominate. But these expressive means, always being in various harmonic combinations, act precisely in their own complex. Thus, the perception of even the simplest works is a complex process for a child. Therefore, the formation of musical culture, the development of the aesthetic perception of music requires a certain system and sequence. With regard to school-age children, by selecting works, it is possible to evoke various emotions in children. In addition, the simplest skills are instilled in them, the first foundations of a listener's culture are laid: the ability to listen to the end of a piece, follow its location, memorize it, distinguish its main idea and character, the most striking means of musical expression.

Music is an art that is based primarily on the auditory experience of a person, uses musical sound to embody the ideological and aesthetic meaning of the work, spiritual development for the listener, society as a whole. It enhances the influence of the theater and other arts, coming into contact with them, and accompanies many areas of human activity.

The very experience of beauty in art acts as a measure of a broader attitude of a person to the world - and knowledge, and appreciation, and enjoyment, and communication. First of all, the sense of beauty stands out here, which intensely captures the imagination, mind and emotional sphere.

Features of the influence of music are manifested in intonation, and in rhythm, and in its other aspects; on the basis of a multitude of perceived musical works, types of intonations, genres, styles, etc. are comprehended.

A piece of music is directed towards the listener, designed for the possibilities of his perception, his abilities. In turn, the perception of music is not a passive process, it has a creative activity,

For a full-fledged perception of complex forms of musical art, a certain internal preparation is needed, at least a minimum listening experience is needed. However, in order to properly perceive the meaning of music, one should be clearly aware of what the specificity of this art is.

Music differs from other art forms in many ways - its expressive means and images are not so obvious. Music operates by means of a purely emotional impact, refers mainly to the feelings and moods of people. It tends to convey the moods of people in very generalized and specifically conditional sound images. Through associative comparisons, special artistic hints, music creates a vivid idea of ​​space and movement, of dark and light tones, of grandiosity or fantastic miniature. Musical images, intonations and combinations of sounds cannot be translated into the language of concepts; they always allow a certain freedom of perception and interpretation. That is why the same images often receive sound expression in music as in other arts.

Understanding musical works by children of primary school age will contribute to the formation of a worldview and moral ideals, the need for systematic communication with the art of music, and the development of artistic taste.

The culture of taste is built on a combination of cultural factors and acts as a condition for a broader, embracing the entire culture of the individual - the culture of thinking and activity, when such an important quality of the individual as integrity arises. Only then the meanings of the work are most fully revealed to the listener. Thus, we can say that the formation of a student's musical culture includes the development of taste.

Each stage of the formation of musical culture is marked by a desire for the unity of the artistic world, the integrity of the child. But this integrity can be achieved in full measure only on the basis of a harmoniously developed personality.

Each art has its own, special laws of reflection of the surrounding world, its own expressive language. It is also inherent in music. In order to learn to understand this language, it is necessary, first of all, to distinguish between the elements of which it consists, to feel their expressive properties.

The formation of musical culture begins with the acquisition of experience, the components of which are listening to music and the creativity of the children themselves.

Creativity disposes children to freedom and discovery, to adventure and original expression. Musical activity can then be creative if you actively participate in it. Children can either improvise songs, or compose on close and familiar subjects.

Children's activity is regarded as creative in the event that a new, previously unknown to the individual or the children's team is created. Children's creativity is evaluated not by its objective high qualities, but by virtue of its educational value for the "creators" themselves.

The second feature of children's musical creativity is reflected in the desire to emphasize the role of children's emotional desire to express their feelings.

The theoretical basis for interpreting the concept of children's creativity is based on the recognition that children have innate inclinations that are independently and spontaneously revealed in the activities of children. In early childhood, the so-called free creativity is already taking shape, which later is destined to become an activity. At the same time, the importance of innate instincts is emphasized, the role of unconscious drives and aspirations is exaggerated. Children's creativity is understood as an independent artistic activity.

The sources of creativity in many cases are life phenomena, music itself, the musical experience that the child has mastered.

So, speaking about the essence of musical culture, it is important to emphasize that it helps to form the spiritual needs of the child, expands his moral ideas, develops the intellect, the ability to give an aesthetic assessment of life phenomena.

Based on the foregoing, we can conclude that the process of educating and shaping musical culture among younger students involves a broad acquaintance with musical phenomena, understanding their meaning, problems associated with introducing the individual to culture, the process of including the individual in the musical culture of society and assimilating its norms. , values, ideals of society through the prism of musical art.

Thus, in the implementation of this approach, an important place is given to the formation of the musical culture of the individual.

The formation of good taste must begin

In the earliest childhood. Only love and

the habit of genuine art can become

reliable immunity against vulgarity,

against bad taste!

D.B.Kabalevsky

MUSICAL CULTURE OF PRESCHOOL CHILDREN

Musical art and musical culture enrich the spiritual world of a person, reveal the concepts of beauty, harmony, the meaning of life and its moral guidelines. In modern society, the child is under the influence of the musical information flow, and the boundaries of its positive and negative impact are not always defined.

Listening to musical works of a low artistic level and seeing a positive attitude of an adult towards them (with an insufficiently developed musical and general culture of teachers), the child is disoriented in ideas about the beauty of music, about the value standards of musical art.

The orientation of a preschool child on the values ​​of musical culture as part of a general spiritual culture is important not only for the musical, but also for the general development of the child, the moral and aesthetic development of the personality.

The core of the concept of "musical culture of a preschooler" isemotional responsiveness to highly artistic works of musical art,which plays the role of an initial positive assessment for the child and contributes to the formation of interest in music, the beginnings of taste, ideas about beauty. The development in children of emotional responsiveness and awareness of perception (emotional and evaluative attitude to music) leads to manifestations of preferences, a desire to listen to musical masterpieces, and gives rise to creative activity.

The musical culture of a preschooler is formed in all types of musical activities (perception, performance, creativity, musical and educational activities, musical and gaming activities), based on the development of aesthetic emotions, interest, taste, ideas about beauty.

Preschool age is extremely important for further mastery of musical culture. It is in childhood that the standards of beauty are formed, the experience of activity is accumulated, on which the subsequent musical and general development of a person largely depends. The earlier a child gets the opportunity to accumulate the experience of perceiving folk music and masterpieces of world musical classics of different eras and styles, the richer his thesaurus, the more successful his development and spiritual development is achieved.

Musical masterpieces form a child's ideas about beauty, standards of beauty, the foundations of aesthetic taste.

As a result of the development of the foundations of musical culture, the child develops initial value orientations: the ability to appreciate beauty in life and art. The creative perception of music by children contributes to their overall intellectual and emotional development.

Therefore, the formation of the foundations of musical culture, and through it the artistic and aesthetic culture of the child, is the most important task of today, which makes it possible to realize the possibilities of musical art in the process of becoming a person.

At the same time, it is very important that the value orientations of the individual can be brought up only on the perception of true values ​​and their constant assessments by the child.

Receiving artistically full-fledged musical impressions from childhood, the child gets used to the intonation language of folk, classical music, comprehends the “intonation dictionary” of music from different eras and styles.

MUSICAL CULTURE

multi-level system, including decomp. types and genres of music. art-va, composer and performing arts, concert, theatrical and musical educational institutions, musical institutions. about-va, clubs, mugs, life. and home music.

In the development of music life of Ekat. reflected the processes of merging Nar. Russian traditions. us., representative other nationalities and prof. music to-ry European type. In the sphere of life. music, forms and genres typical of the mountains were affirmed. to-ry. One of its signs is mountains. orc., the presence of which was obligatory at all festive evenings of the local nobility. Since 1843, the muses have gained great popularity. performances, which was facilitated by the arrival in the city at the invitation of V. Glinka theater. troupe P. Sokolov. Vaudeville and op., presented by guest performers, were a resounding success, which served as an impetus for the implementation of the idea of ​​​​creating your own mountains. t-ra. H. actors of the troupe, incl. prima donna E. Ivanova, as well as a small instrumental ensemble that accompanied the performances, remained in Ekat. In 1847 on Ch. Ave. for t-ra they built a kam. building (now k / t "Coliseum").

In the 70s of the XIX century. begins to actively develop op. claim. In 1874 on the stage of the mountains. t-ra toured in the city of soloist imp. t-ditch D.Leonova staged op. G. Verdi "Troubadour". Its success led to the emergence of Ekat. music mug (1880), where, on the initiative of P. Davydov and G. Svechin, op. staging.

In the 1880s, a noticeable shift in the development of choral art took place in the city. Along with choral performances of Nar. songs and church performances of choirs of muses become popular. mug and chapel of S. Gilev, who included in their repertoire works. classical music. Sacred music concerts of united amateur choirs and churches are successfully held. choristers. Highest choral art reached a rise in the beginning. 20th century thanks to the activities of A. Gorodtsov and F. Uzkikh, who led the free choral regent courses of the lips. to-ta guardianship about nar. sobriety.

At the turn of the XIX-XX centuries. in Ekat. there is an increase in the level of instrumental performance. On the initiative of V. Tsvetikov, P. Basnin and others, chamber meetings are organized in the city, historical events are held. concerts. In the summer garden of the Society. coll. under the direction of dir. O. Kassau, S. Hertz and others are regularly symphonic. concerts, in the Kharitonovsky garden - concerts of light music (see Ork. Ekat.)

In the beginning. 20th century in Ekat. new concert and theater buildings appear: Verkh-Isetsky Nar. t-r (1900, see People's House), I. Makletsky Concert Hall (1900), Concert Hall of the Commercial Assembly. (1910). This contributed to a significant increase in the number of concertos and op. productions. The most important events in the music life of Ekat. occurred in 1912: the New Mountains opened. t-r (see Ekat. state acad. t-r op. and ballet), who declared 50 op. in the repertoire at once, earned Ekat. Department of the Imp. Rus. music about-va, which laid the beginning. development of prof. music education in the city. In 1916, music. class IRMS with the patronage of D. Solomirsky are transformed into muses. school, where V. Bernhard and N Ivanova-Kulibina work, who later became authoritative muses. ped.

After 1917 pl. established music. city ​​structures cease to exist. Premises op. t-ra and concert and theater buildings are used for watered. coll. and rallies, often accompanied by mass singing roars. songs and music performances. products, consonant with the roar. events. In the 1920s, the activities of choir circles were acquired by the slave. and Red Army clubs.

In the 1920s–1930s, the Central Musical life Ekat.–Sverdl. becomes op. t-r. A. Ulyanov, F. Mukhtarova, S. Lemeshev, I. Kozlovsky, D. Agranovsky, V. Ukhov, G. Pirogov sang on its stage, I. Paliev, I. Palitsyn, A. Pazovsky, A. Margulyan conducted. In the summer, when the theatrical season ended, ork. t-ra gave traditional symphonies. concerts in the garden Weiner (former Club).

Since 1925, a new means of propaganda of muses. the lawsuit becomes Sverdl. radio. Muses. ed. V. Trambitsky and B. Pevzner worked as radio broadcasters. Radiok-t had its own soloists and orchestra, which in 1934 was expanded and transformed. in symph. orc. Sverdl. state Philharmonic Society (see Ural. State Academic Philharmonic Orchestra) under the direction of M. Paverman.

The 1930s were marked by the creation in Sverdl. institutions that greatly enriched the muses. to-ru city. In 1933, the activity of the t-ra of muses began. Comedies The troupe was led by an experienced director invited from Leningrad. A. Feona, the basis of the acting team was S. Dybcho, M. Viks, A. Marenich, P. Emelyanova. Already after 10 years, tr was recognized as a “lab. owls. operettas". In 1934, she began the first study. Ural. state Conservatory, in 1939 Sverdl was approved. Department of the USSR IC (see Ural. Department of the Union of Composers of Russia).

In the years Vel. Fatherland music wars. k-ra Sverdl. continued to develop rapidly. 40 members lived and worked fruitfully in the city. UK, incl. evacuees R. Glier, T. Khrennikov, A. Khachaturian, V. Shebalin, D. Kabalevsky and others. musicians. In Sverdl. for a long time was Mrs. orc. All-Union. radio, the Kiev Conservatory, G. Neuhaus, D. Oistrakh, E. Gilels, L. Oborin successfully gave concerts. At this time, the creation Ural. nar. choir (see Ural state acad. Russian folk choir), philharmonic choir, choir of the region. radiokt. For the years war only Sverdl. state the Philharmonic has organized more than 20,000 concerts.

In the postwar period on the state of music. to-ry had a serious impact post. Central Committee of the All-Union Communist Party of Bolsheviks of February 10. 1948. Accusations of "anti-people" and "formalism" also touched the Urals. composers. The policy of the "cold war" and entrenched in Sverdl. the status of the closed city contributed to the artificial isolation of Sverdlovsk from the world. music to-ry. And yet the music life of the capital U. did not stand still. The song genre developed intensively. Creative success accompanied B. Gibalin, E. Rodygin, L. Lyadova in this direction. Song festivals organized by the Choral Society, led by G. Rogozhnikova, were very popular. Song material, osn. to the Ural folklore, formed the basis of the symphony. G. Toporkov and N. Puzeya, op. G. Beloglazova "Ohonia", music. comedy K.Katsman "Mark Beregovik".

Performing skills have reached a high level. Pianist I. Renzin, violinists M. Zatulovsky and N. Schwartz, cellist G. Tsomyk, singers J. Vutiras, N. Dautov, V. Kitayeva, M. Glazunova, A. Novikov, I. Semenov performed in the 1950s–1960s . World. Izv. purchased by Ural graduates. state the conservatory art. USSR B. Shtokolov and Yu. Gulyaev. When the Philharmonic formed highly professional. instrumental ensembles: Ural. string quartet them. N. Myaskovsky and the Urals. accordion trio.

Arts developed actively. amateur performance. Muses worked in the houses of the k-ry under the guidance of experienced musicians. mugs and even op. studios. More than ten op. staged by an amateur studio in the recreation center of the Verkh-Isetsky factory (headed by P. Lantratov). Husband. choir Sverdl. bugle in-ta (headed by V. Glagolev) became a laureate of the All-Union. music festival (1957), choir Ural. state un-ta (headed by V. Serebrovsky) - laureate of the World Festival of Youth and Students in Vienna (1959), pop-symphony orc. DK railway workers (headed by V. Turchenko) - laureate of the World Festival of Youth and Students in Sofia (1968).

In the 1960s, widespread development in student circles and the mountains. intelligentsia receives the genre of author's song. Amateur song clubs are being organized, from which many came out. Izv. bards (A. Dolsky and others).

New rise Ural. school games on nar. instruments occurred in the 1960s. in the Urals. state the conservatory is created by a special department, which was headed by izv. in the country and abroad, the balalaika performer E. Blinov (1963). Ped. and pupils of this department. repeatedly won the All-Union. and international competitions. Orcs are organized. nar. instruments, original music for which is written by V. Bibergan (“Ural. nursery rhymes”) and other Urals. composers.

In the 1970s-1980s in the music. life Sverdl. new names of talented musicians appeared. victory at the international competition them. Beethoven in Vienna (1977) was won by the pianist N. Pankova; E. Kolobov (Sverdl. op. and ballet), V. Kozhin (symphonic orchestra. Sverdl. State Philharmonic). For staging op. "Prophet" in Sverdl. t-re op. and ballet composer V. Kobekin, dir. E. Brazhnik and dir. A.Titel were awarded the State. etc. (1987). In 1987, the Mus. about-in Sverdl. region, which was headed by Nar. art. USSR V. Baeva.

In the 1980s and 1990s, a youth movement openly declared itself. A rock club arose in the city (1986), and the best gr. - "Nautilus Pompilius", "Agatha Christie", "Chayf", "Semantic Hallucinations", "Chicherina" - took a leading position in Russia in this music. direction. “Grandfather Ural is actively working. rock "composer A. Pantykin (see Rock music). The activity of masters and jazz lovers revived. Created Ural. state orc. jazz music (headed by N. Baranov), jazz festivals are regularly held. World. Izv. received a pupil of the Urals. conservatory jazz musician V.Chekasin. Pop music (V. Presnyakov Jr., A. Malinin) and author's song (A. Novikov) are developing.

The remarkable phenomenon of music. life of Ekat. last decades of the twentieth century. - the emergence of many independent concert, musical and theater structures and the strengthening of foreign countries. connections. They successfully tour abroad and participate in international. philharmonic orchestra competitions. under the direction of D. Liss, orchestra. nar. hand tools. L.Shkarupy, chamber orchestra. V-A-S-N (founded in 1990 by S. Dyachenko), "Lyceum", "Camerata" (headed by Honored Art. of the Russian Federation V. Usminsky), folk ensembles. instruments "Ayushka" (headed by V. Zykin) and "Ural" (headed by M. Ulyashkin), the choir "Domestik" (headed by V. Kopanev, Gub. pr. 1998), etc. The creative contacts of the Urals have strengthened. conservatories with music universities in France and Italy, which is the great merit of the rector of the UGK, pianist M. Andrianov. Of particular importance are victories at the international. competitions for young Yekaterinburgers: children. choir "Aurora" (headed by V. and N. Bulanova), male choir. choral lyceum (headed by S. Pimenov), choir and dance ensemble "Smile" Det. Philharmonic Society (headed by Y. Bondar, O. Zhuravleva), etc.

Lit .: From the musical past: Collection of essays. Issue. 1. M., 1960; Issue. 2. M., 1965; About music and musicians of the Urals // Scientific and methodological notes of the UGK. Issue. 3. Sverdlovsk, 1959; Belyaev S. History of musical culture of the Urals: a course of lectures. Yekaterinburg, 1996.

OK. Shabalina

Encyclopedia of Yekaterinburg. EdwART. 2010 .

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MUSICAL CULTURE IN THE DEVELOPMENT OF THE PERSONALITY OF THE TEACHER

Obskova Natalya Ivanovna

studentVcourse, Faculty of Theory and Methods

preschool education MGPI

music director, Kindergarten No. 2443, Moscow

Yakusheva Svetlana Dmitrievna

scientific supervisor, Ph.D. ped. Sciences, Associate Professor, Moscow State Pedagogical Institute, Moscow

Cardinal changes in the socio-economic structure of modern society have led to the emergence of innovative trends that determine the various vectors of educational systems at all levels.

In the modern education system, special attention is paid to the development of the creative potential of a teacher with modern thinking and personal culture.

Art is a kind of spiritual assimilation of reality by a person, the purpose of which is the formation and development of his ability to creatively transform the world around him and himself according to the laws of beauty. Art cannot exist outside of culture, one of the areas of which is musical culture.

The problem of the development of the musical culture of the individual was developed in the works philosophers(Aristotle, G.W.F. Hegel, I. Kant, M.S. Kagan, A.F. Losev, Plato, A. Schweitzer, V. Shestakov, A. Schopenhauer); psychologists(L.S. Vygotsky, E.V. Nazaykinsky, B.M. Nemensky, V.I. Petrushin, S.L. Rubinshtein, G.S. Tarasov, B.M. Teplov, P.M. Yakobson); musicians-teachers(O.A. Apraksina, M.M. Berlyanchik, E.V. Boyakova, N.A. Vetlugina, N.L. Grodzenskaya, I.V. Gruzdova, A.I. Demchenko, E.A. Dubrovskaya, M B. Zatsepina, D. B. Kabalevsky, L. N. Komisarova, K. V. Tarsova, B. L. Yavorsky); musicologists(B.V. Asafiev, V. Vasina-Grossman, G.G. Kolomiets, V.V. Medushevsky, V.N. Kholopova).

Education, intelligence, spirituality and culture, the desire for creativity and the ability to navigate in changing conditions are the most important factors in the development of the personality of a modern professional.

Today, as before, the issue of culture, "culture" is the main one in the context of the development of our Fatherland. It is necessary to increase the intellectual, moral potential of the culture of the people. Without a qualitative shift in the field of education and upbringing, this development is unlikely to take place, because education is nothing more than the transfer of culture from one generation to another.

In this regard, the choice of the research topic "Musical culture in the development of the teacher's professional skills" was not accidental.

To study the psychological and pedagogical aspects of the development of musical culture in the development of the teacher's professional skills, it is necessary to analyze the substantive foundations of the categories "culture", "musical culture", "musical art", as well as to consider the concepts of "personality" and "formation".

Culture is as capacious and complex formation as life itself, therefore, within the framework of research, one can find a wide variety of ideas about culture.

Hegel argued that culture is a "second nature" created by man.

In the explanatory dictionary of V.I. Dahl's concept of culture is interpreted as processing and care, cultivation, cultivation; this education is mental and moral.

IN AND. Maksakova argues that various cultural concepts converge in that culture distinguishes a person from other living beings. It is in culture that social inheritance, the connection of generations, the preservation and development of the ethnos take place. Culture allows individuals to comprehend the world around them more or less equally, to perform actions that are understandable to others, and to treat each other adequately.

There is a tendency to understand culture as the entire content of life that is characteristic of humanity as a whole, specific communities of people (peoples and countries, industrial and informal associations, etc.), for each person - an adult and a child.

Culture reveals and studies the most important laws of origin, functioning and development.

The laws of cultural development are objectively existing, recurring, leading connections of phenomena or stages in the sphere of society. According to a number of authoritative scientists (L.N. Kogan and others), there are several of them.

The Law of Unity and Diversity of Culture states that culture is the cumulative collective property of all mankind; it embodies the generic property of man and mankind; all cultures of all peoples are internally united and at the same time original, unique. Each nation, having its own culture, makes an independent and original contribution to the common treasury of the cultural achievements of mankind. The diversity and unity of the cultures of the peoples inhabiting the planet is an objective reality. The loss of the cultural conquests of any people, even the smallest, inevitably turns into a loss for all mankind.

Law of succession and development of culture is the most important in the content of cultural studies. Culture is, first of all, the historically inherited experience of generations. Where there is no continuity in the development of culture, there is no culture itself. Continuity is the basis for the development of culture.

The law of discontinuity and continuity in the development of culture states that culture is a complex system, which in its development is both discontinuous and continuous. Each epoch in the development of mankind has its own type of culture as a historical integrity. In connection with the change of these epochs (formations), there is a change in the types of culture - they leave, they are replaced by others - this is how discontinuity appears in the development of culture. Each new stage in the development of mankind necessarily inherits the cultural achievements of previous eras, including them in a new system of social relations. Therefore, discontinuity is relative, and continuity is absolute.

The law of interaction and cooperation of various, often conflicting cultures. Different epochs, the cultures of different peoples developing in them, each in its own way expressed its own understanding of the world, its development (“worldview”). Each culture, with all its specific features, contributes to universal human achievements, the general progress of world society.

At present, it is customary to single out the following "aspects" of culture: 1) genetic; 2) epistemological; 3) axiological; 4) humanistic; 5) normative; 6) sociological.

IN genetic aspect, culture appears as a product of society; epistemological (cognitive) aspect, culture acts as a set of achieved material and spiritual values; axiological in the aspect, culture is a phenomenon that reflects the spiritual nature of a person in the aggregate of its basic values ​​and moral norms; humanistic aspect, culture is revealed as the development of the person himself, his spiritual, creative abilities; regulatory aspect, culture acts as a system that regulates social relations in society, orienting a person in the world; sociological aspect, culture is expressed as the activity of a historically specific social subject, as well as the state and development of a particular mode of production.

In the axiological aspect, culture is a totality, a system of material and spiritual values ​​created by man. Culture absorbs different ways of life and has material, spiritual, and artistic manifestations.

Spiritual culture is ideas, thoughts, experiences expressed in a symbolic form that reinforces certain meanings that are transmitted to people.

According to David Matsumoto, "culture" is a complex concept rooted in numerous aspects of human life. Some aspects involve material objects such as food and clothing; others refer to social and structural entities, such as the organization of power and the structure of society; still others deal with individual behavior, reproduction, or organized activities such as religion and science.

The Latin term "culture" means cultivation, improvement of something. Accordingly, and in relation to a person, this is the cultivation, improvement, formation of his image. Taking into account this interpretation, culture acts as a prerequisite and result of human education.

The concept of value is closely connected with the concept of culture as a way of objectifying the historically developed creative activity of a person. Since all human achievements had their own goals, and goals are regulated by needs and values, the world of culture is also a world of values.

If culture is an aggregate, a system of values ​​developed by a person, then musical culture is an aggregate, a system of musical values, values ​​of music, musical creativity.

IN ancient society almost all free citizens were trained in music. A component of a “cultured person” in ancient society was the ability to play a string instrument, to understand musical works and their influence on morality - “signs of a cultured person”.

The very concept of "music" was interpreted by the ancient Greeks in a narrow and broad sense: in a narrow sense - as the art of music or the science of music, and in a broad sense - as a complex of knowledge related to general culture and education. .

Plato believed that music contributes to the improvement of the soul. A true musician is not one who plays or listens to music, a true musician is a sage who has mastered the connection between harmony and number, music and mathematics, which is “really amazing and divine for a thoughtful thinker.”

Aristotle emphasized the peculiarities of the influence of music on the human psyche. “... Or, rather, one should think that music leads to virtue, and that it is capable, just as gymnastics affects physical qualities, to influence the moral warehouse of a person, developing in him the ability to rejoice correctly; or ... does it contain something that serves for the enjoyment of leisure and for the development of the mind?

In the works of Aristotle, music is an object that forms a “man” in a person, which is why “ancestors ... placed music among the general educational subjects.” According to the philosopher, playing music is “beautiful in itself” and beyond practical use. In addition, music lessons lead in the future to an understanding of the meaning of life as “blissful activity”, open the doors to the philosophical call: “know thyself”. Musical science was part of the philosophical education in the school of Aristotle. Discussing the most valuable property of music - its ability to influence the soul and temper of a person, he believed that the power of music should be used to educate young people ..

Plato and Aristotle considered music as an exclusive means of creating a certain mental mood - ethos. Music tames licentiousness, subdues passions, turns people into well-behaved and steadfast in their high spirituality.

Antiquity gave culture the image of music as harmony, as an ideal image of harmony, harmony.

“We have to wonder,” noted the famous researcher of ancient culture Alexei Fedorovich Losev, “how sensitive the Greeks were to the musical harmony. They associated each mode with such a specific ethical and aesthetic content that even now this content can be clearly imagined.

Philosopher of the Middle Ages Bede The Hon. in his treatise "Practical Music" put music in first place among the arts. As proof of the incomparable perfection of music, he cited the thesis that the only ancient science is capable of being the property of not only the learned representatives of the church, but of the whole world in general: “The use of it (music) is great, amazing and very perfect, since it dared to go beyond the limits of the church. After all, not a single science dared to go beyond the boundaries of the church.

Kant I saw the value of art in that it allows a person to expand the boundaries of his consciousness, "to experience productive moments of self-exceeding." According to him, aesthetically fruitful is that which awakens the imagination, promotes the play of cognitive abilities, and art cultivates this human ability in every possible way. "Beauty in nature is a beautiful thing, and beauty in art is a beautiful representation of a thing".

Hegel defined the value of art in the ability to awaken feelings, infect with "disturbances of the soul", and also serve as a means of moral influence. The highest goal of art is to reveal the truth in a sensual form. The most important feature of art is the ability of a person as a spiritual being to double himself in the images of the outside world he creates.

Music as a part of spiritual culture contains the values ​​of the human spirit (aesthetic, moral, ideological). The content core of spiritual culture is also made up of human values, which means that music is the intonational way of existence of these values ​​(L. Sachs). According to B. Asafiev's definition, music is the art of intoned meaning, since the nature of music is not so much sound as intonation - from the tone, intonation of human speech that carries meaning, thought.

V.N. Kholopova defines intonation in music as "an expressive and semantic unity that exists in a non-verbal-sound form and functions with the participation of musical experience and extra-musical associations".

Musical art, having a strong emotional impact, on the one hand, charges our emotions, has the ability to cause a special upsurge of feelings, can cause a direct physiological reaction that does not affect the intellect in the form of a rhythmic movement of the body, on the other hand, it discharges, promotes purification, catharsis, calm and appeasement . However, there is a paradox that the priority of the sensual principle in music (there are well-known sayings: music is needed for the soul; “where words end, music begins”) exists antinomially with the opposite point of view: “according to a tradition that has been going on since ancient times, music is recognized the most generalized abstract art - the artistic equivalent of philosophy and mathematics.

The rationale is the opinion of the modern French composer J. Xenakis, who said that the essence of music is to express the intellect with the help of sounds.

Music as an art form combines the sensual and rational principles, performs the function of both pleasure and food for the mind, develops thinking. The perception of high music, being an aesthetic act, includes the work of sensations and emotions, affects the sensual side and, at the same time, involves the work of the intellect.

In the scientific literature, the theoretical foundations of the process of development of musical culture are given, its specific features are highlighted:

A. Sohor argues that the musical culture of society is the unity of music and its social functioning.

M.G. Rytsareva believes that musical culture is the same subtle organism as, for example, the economy. Everything is interconnected in it. If one of its links gets upset, the whole culture "sicks".

M.I. Najdorf states that musical culture in its quite definite meaning: a qualitative characteristic of musical communities as that specific social environment that arises from the social existence of musical texts.

Musical culture is focused primarily on revealing the unique personality of a person.

Personality is a person integrated in a culture that is in dialogue with it. In modern conditions, the most prestigious properties of a person of culture are freedom, spirituality, humanity, creativity, therefore, a person in the modern view is a free, spiritual, humane, creative person, capable of moral choice and responsible behavior.

Personality is a social quality of a person. And quality has a degree of development: from a minimum of personality ( awareness of my self...) to the author's, creative personality. A personality develops through its activity - subjectivity: the ability to make a life choice, social action, responsibility for it.

According to A.N. Leontiev, personality is not only “a moment of activity, but also its product”, “it is not born, but becomes”. A lot depends on what opportunities the environment will provide for the realization of personal potential.

A person's personality is formed and developed under the influence of numerous factors - objective and subjective, natural and social, internal and external, independent and dependent on the will and consciousness of people acting spontaneously or according to certain goals. At the same time, a person is not a passive being, he acts as a subject of his own formation and development.

A person builds his subjectivity from his mental and psychological properties: biogenic, sociogenic and spiritual resources, correlating them with the content of the problem being solved.

"Personal work" includes: introspection, reflection, correlation of meanings, values ​​of activities with the meaning and values ​​of the personal I; psychosynthesis, "stitching" of various facets "I am experience"(personal activity) into a single canvas of personal life; psychological protection of the personality from negative, destructive contents; and most importantly - spiritual work: spiritual self-determination, the development of a value-semantic code.

The result of the indicated work of the personality is a change, development, the process of personality neoplasms.

Personality, according to G.S. Tarasova has inner motives, motivation, needs that characterize the potential for her cultural and creative growth.

In the concept of man, developed by Russian philosophers N.A. Berdyaev, N.O. Loskim, P.F. Florensky, he appears as the epicenter of culture, its highest spiritual value.

Each person needs to know his abilities and use them rationally, plunging deeper into his own spirituality and comprehending more and more the meaning and beauty of the Universe. For the development of human sensibility, there is no other way than to cultivate a taste for the treasures of world art.

Art becomes a powerful factor in the humanization of the individual, as it stimulates the development of the spiritual sphere, the formation of a holistic picture of the world in accordance with the canon of beauty developed by man.

In this regard, the problem of building relationships between the individual and culture and art is of particular importance.

According to S.D. Yakusheva, the specificity of art lies in the fact that it develops a universal universal human ability, interacts and forms the spiritual world of a person, his worldview, morality, culture.

Art does not exist outside of culture, it is a workshop and its self-knowledge. The dominant position of art in a number of "objects" capable of actively forming a holistic, competent, developed personality is also explained by the fact that in communicating with works of artistic creativity, a person joins the world of a brilliant artist, identifies himself with him, "lives" together with his author. intellectual and emotional life.

A.A. Oganov believes that art creates a self-portrait of society and is the self-knowledge of culture.

According to L.A. Zubareva in the process of the comprehensive development of the personality, musical culture plays a crucial role, because although the basis for the comprehensive development of the personality is life itself, in which purposeful creative work plays the main role, life without art does not form and educate a person who is holistic, comprehensively and harmoniously developed.

According to the interpretation of art historians, musical culture is a complex system, the elements of which are, on the one hand, types of musical activities with their infrastructure and musical values, on the other hand, types of music belonging to different eras and world cultures; The factors in the development of this system are the interaction of elements and the unity of music with the context of culture, the purpose is characterized by social polyfunctionality, the embodiment of the value orientations of culture and the focus on the spiritual improvement of man.

Despite the different approaches available in modern research to the definition of the concept of "personality culture" and the originality of theoretical concepts to identify the essence of the subjective level of culture (M. Kagan, L. Kogan, W. Suna, etc.), the recognition of the active essence of a person remains unshakable, according to in which the personality is formed in activity, as a result of which it changes the environment, changes and develops itself as a subject.

An analysis of the psychological and pedagogical literature made it possible to find out that, firstly, the development of musical culture occupies an important place in the development of a holistic personality of a teacher, and secondly, the effectiveness of musical culture depends on the development of a person’s musical abilities, enabling him to most fully embrace, understand, comprehend nature of music, thereby delivering aesthetic pleasure to a person; thirdly, the effectiveness of the impact of musical art on the comprehensive development of a person depends on its skillful use in the pedagogical process, i.e. the success of the process of forming the teacher's musical culture is mediated by the level of his pedagogical support; fourthly, the musical culture of the teacher's personality plays an important role in its health protection: resistance to adverse factors, the ability to overcome life's difficulties, the formation of self-control to curb aggressive reactions.

Based on the foregoing, S.D. Yakusheva defines the musical culture of the teacher as the formation and measure of the development of his creative activity in the process of their implementation and improvement. Thus, by definition, S.D. Yakusheva, the musical culture of a teacher is an integrative personal quality, which is characterized by a certain level of musical development, awareness of the ways to achieve this level and manifests itself in various types of activities aimed at mastering the musical and pedagogical experience developed by mankind, controlled by musical and aesthetic consciousness, in order to form the foundations for schoolchildren musical culture as an integral part of their spiritual culture.

The theoretical analysis of psychological and pedagogical research on the problem of the development of the musical culture of the individual allows us to draw the following conclusions:

1. musical culture - a phenomenon of spiritual culture, the social activity of mankind in the sphere of production, distribution and consumption of the results of creative activity, the artistic values ​​of which are works of musical art;
2. various types of musical activity, as well as the musical and aesthetic consciousness of people that have developed in the process of this activity, and the activities of various institutions related to musical education and upbringing, musicology, and training of personnel form the musical culture of society;
3. the musical culture of the individual is a complex dynamic formation, which is characterized by a certain level of musical development, awareness of the ways to achieve this level and manifests itself in various activities aimed at mastering the musical and pedagogical experience developed by mankind, controlled by musical consciousness, in order to develop the foundations of musical culture as an integral part spiritual and personal culture of the teacher;
4. the development of a teacher's musical culture is a complex process that is carried out on the basis of the interaction of social and natural factors of personality development and is expressed in the features of the internal transformations of the future teacher's personality, the formation of which is influenced by musical education in pedagogical universities.

Thus, education is considered as a powerful factor of culture, which should contribute to the self-realization of the individual, his potentialities and abilities. Today, the individual himself must be responsible for his educational potential and social trajectory. Vocational education becomes a process in which the personality of a specialist is born, possessing a creative type of thinking, a developed musical and aesthetic culture, high professionalism and moral values ​​that ensure its real competitiveness.

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Chapter I Philosophical Foundations of the Problem of Musical Culture

1.1. The concept of musical culture

1.2. Functions of musical culture.

1.3. A systematic approach to the study of musical culture. Musical culture as a system of elements

Chapter II Basic elements of the structure of musical culture

2.1. Music as an expression of the essential forces of man and as a dominant element of musical culture.

2.2. Musical Theory and Musical Criticism as Structural Elements of Musical Culture

2.3. Music education and musical education as structural elements of musical culture

Introduction to the thesis (part of the abstract) on the topic "Musical culture as a system"

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