Thesis

Elistratova, Galina Borisovna

Academic degree:

PhD in Philosophy

Place of defense of the dissertation:

VAK specialty code:

Speciality:

Theory and history of culture

Number of pages:

1 METHODOLOGICAL BASIS FOR THE FORMATION OF MUSICAL THINKING

1.1 Musical thinking: multilevel research 11 1. 2 The structure of musical thinking

2 MUSICAL THINKING IN THE SYSTEM OF CREATIVE ACTIVITY

2.1 Perception of music as a creative and active process

2.2 Factors of the social environment influencing the formation of musical thinking

2.3 Basic principles of interaction between a child and a teacher in the space of music

Introduction to the thesis (part of the abstract) On the topic "Musical thinking as a form of creative activity"

The relevance of research. " Music manifests itself as a language, as a sphere of expression of feelings and as thinking» . Indeed, the concept musical thinking» is widely used in philosophical, aesthetic, musicological, and partly psychological and pedagogical works. But among the researchers there is no unity of views on its essence, moreover, there are " discrepancies". In cultural studies, musicology, music pedagogy there are: “intonational-figurative” (V. V. Medushevsky), “artistic-figurative” (N. P. Antonets), “figurative-musical” (JI. G. Archazhnikova) thinking, etc. Most often the concept is used musical thinking”(M. G. Aranovsky, V. Yu. Ozerov, A. N. Sokhor, Yu. N. Tyulin, Yu. N. Kholopov and others).

Researchers consider it legitimate to single out musical thinking as an independent form, to show its specificity in relation to artistic thinking and thinking as a type of human activity: “Musical thinking is a complex phenomenon that requires an integrated approach to itself. It should be studied simultaneously from three points of view: as an example of the discovery of the general patterns of any human thinking, as one of the types of artistic thinking, and as a manifestation of specific properties musical thinking". However, today the concept musical thinking» has not yet received the status of strictly scientific term. The point is not only in the relatively insufficient study of this phenomenon, but also in its differences from what is called thinking proper. And although the area of ​​concepts and logical operations plays known role, as in the process of creating piece of music, and when it is perceived, it is quite clear that it does not determine the specifics of musical thinking. Therefore, the question of the legitimacy of this concept is still open. At the same time, its wide prevalence - along with the concepts of musical thought, musical logic, musical language- is not, as we think, random, which predetermined the choice of the research topic.

The path to defining musical thinking lies through general forms philosophical definition of thinking as the highest form of active reflection of objective reality, consisting in purposeful, mediated and generalized knowledge by the subject of existing connections and relations of objects and phenomena, in the creative creation of new ideas, in predicting events and actions. A special kind of thinking, a type of intellectual activity aimed at creating and perceiving works of art, is artistic thinking, which, broadcasting the basic structures of the philosophical, has its own specifics - a reflection of reality and the expression of the artist's thoughts and feelings in an artistic image. Musical thinking includes its own specific features, qualitative characteristics of artistic thinking and the main patterns of thinking in general. The peculiarity of musical thinking is determined by the intonational nature, figurativeness, semantics of the musical language and musical activity.

Consequently, musical thinking is a special kind of artistic reflection of reality, consisting in purposeful, mediated and generalized cognition and transformation by the subject of this reality, creative creation, transmission and perception of specific musical and sound images.

Musical thinking is formed in creative (English creative - creative) activity, which we understand as the creation, performance and perception of works of art in various forms of professional and amateur art based on the laws of artistic and figurative reflection of reality.

Today, the problem of educating the creative potential of the younger generations, their artistic taste and preferences is acute. Among the goals and objectives of education - the formation of artistic thinking (and as a variety - musical thinking) is very relevant. Therefore, in the work, as an empirical material, separate problems of the development of creative activity are considered, as the basis of artistic and musical thinking.

The state of scientific development of the problem is predetermined by the fact that the research is carried out at the intersection of several scientific disciplines.

The conceptual foundation of the analysis of the concept " musical thinking”are works on the philosophy of researchers F. Schelling, A. Schopenhauer. They consider art as a perfect tool for understanding the Universe. Historically, the question of the specifics of musical thinking is solved in the context of the study of the essential nature of art and science, the dialectics of rational and emotional. In the 19th century a tradition has developed (dating back to G. Hegel, V. Belinsky, A. Potebna) to interpret art as thinking in images, in contrast to science as thinking in concepts.

The aesthetic level of this problem considers musical thinking as an integral component of musical activity, as creative thinking (M. S. Kagan, D. S. Likhachev, S. Kh. Rappoport, Yu. N. Kholopov, etc.).

The culturological level of musical thinking is revealed in the works of V.V.

The social aspect of the problem is studied in the works of A. N. Sohor, R. G. Telcharova, V. N. Kholopova.

In the works of B. V. Asafiev, M. G. Aranovsky, L. Bernstein, A. F. Losev, V. V. Medushevsky, R. Muller-Frayenfels, E. V. Nazaykinsky, G. Riemann, G. Fechner etc., considered the historical formation and development of musical thinking.

Musicological level, primarily through intonation specificity musical art, as the basis of the musical image, is set forth in the works of B. V. Asafiev, M. G. Aranovsky, L. A. Ma-zel, E. V. Nazaykinsky, V. Yu. Ozerov, A. N. Sokhor, Yu. N Tyulin, Yu. N. Kholopov, B. L. Yavorsky and others. Researchers, linking the peculiarity of music with the nature of intonation, understand it as " the art of intonation». Musical intonation- this is a "clot" of culture, deployed in different ways at the historical, national, individual levels musical creativity, clearly manifests itself in stylistic and genre traditions (V. V. Medushevsky, E. A. Ruchyevskaya).

Research in the field of psychology of art was involved in revealing the specifics of musical perception - the initial stage of musical thinking, the process of cognition of the ideological and emotional content, as a person's expression of his "I" (B. V. Asafiev, L. S. Vygotsky, A. L. Gotsdiner , V. Medushevsky,

M. K. Mikhailov, E. V. Nazaikinsky, V. I. Petrushin, A. V. Razhnikov, S. L. Rubinstein, B. M. Teplov, G. S. Tarasova, and A. V. Toropova V. A. Zuckerman and others).

Let us single out musical and pedagogical works that substantiate the ways, methods and means of forming musical thinking in a specific musical and pedagogical activity: Yu. B. Aliev, V. K. Beloborodova, L. V. Goryunova, D. B. Kabalevsky, N. A. Terentyeva, V. O. Usacheva and L. V. Shkolyar.

For our study, the works of A.F. Losev are of methodological importance. Music as a subject of logic», « The fundamental question of the philosophy of music”, which formed the basis of the approach to determining the essence of musical thinking.

Such a wide range of study directions is due to the purpose and composition of the tasks of the dissertation research.

The purpose of the study is to consider musical thinking as a form of creative activity.

The ways to achieve the goal are specific tasks that are solved in the work:

Analysis of the multilevel nature of the problem under study;

Consideration of the structure of musical thinking;

Determination of social factors influencing the formation of musical thinking;

Identification of new principles of interaction between a child and a musician-creator in the space of music.

The object of the study is musical thinking as one of the forms of artistic consciousness that contributes to the formation musical culture society.

The subject of the research is the formation of the problems of musical thinking as a phenomenon.

The theoretical and methodological basis of the study are the works of domestic and foreign scientists: M. M. Bakhtin on the dialogue of cultures; A. F. Losev about the essence of music; M. S. Kagan on the structure of artistic creativity; intonation theory of B. V. Asafiev; the duality theory of musical form by VV Medushevsky; scientific ideas about the relationship between form and content in music (B. V. Asafiev, V. V. Zaderetsky, A. N. Sokhor, etc.); national school of psychology of thinking (L. S. Vygotsky, A. Ya. Zis, A. G. Kovalev, A. N. Leontiev, V. N. Myasishchev, V. N. Petrushin, S. L. Rubinshtein, etc.) ; the concept of the musical language of L. Berstein; the works of modern didacts on the development of the personality of a teacher and a student in joint activities; musical and pedagogical concepts of author's programs.

The following research methods were used:

Integrative, which allowed us to consider musical thinking as a category not only musicological, but also philosophical, aesthetic, social, logical, historical, psychological and pedagogical;

Historical reconstruction, with the help of which the main stages in the development of the theory of musical thinking are revealed;

Modeling - built the structure of musical thinking;

Analytical, contributing to the identification of factors of the social environment that influence the formation of musical thinking, new principles of interaction between the student and the teacher in the space of music.

Scientific novelty. The novelty of the dissertation lies in the complex understanding of musical thinking. Defense provisions include the following:

Various approaches to the study of musical thinking were identified on the basis of theoretical analysis: philosophical, aesthetic, cultural, sociological, logical, historical, musicological, psychological and pedagogical, which made it possible to fill this category with the following content: musical thinking - includes the basic laws of thinking in general, and its specificity is determined by figurativeness, the intonational nature of musical art, the semantics of the musical language and the active self-expression of the individual in the process of musical activity. Intonation is the main category of musical thinking.

Two structural levels are distinguished: "sensual" and "rational". The link between them is the musical (auditory) imagination. The following components were assigned to the first level: emotional-volitional and musical performances. To the second - associations; creative intuition; logical methods of thinking (analysis, synthesis, abstraction, generalization); musical language. And, finally, "superstructure" - the qualities inherent in creative thinking: fluency, flexibility, originality.

It has been determined that musical thinking is formed in the social environment, its development is influenced by various factors: family, inner circle (relatives, friends), means of individual and mass communication, music lessons at school, etc. Effective leadership is necessary for its implementation, based on personal approach, provided with the principles of music education: dialogization, problematization, personification, individualization, which allows creating creative interaction based on music.

The practical significance of the study lies in the possibility of including the results of the study in the general theoretical concept of musical thinking. Analysis materials can be used in the development teaching aids, lecture courses on cultural studies, aesthetic theory, methods of musical education.

Approbation of work. The main theoretical provisions and conclusions of the dissertation research were presented by the author in publications and speeches at the Ogarevsky Scientific Readings (Saransk, 1999 - 2003), at the All-Russian Scientific and Practical Conference "Trends in the Development of Regional Systems of General and Professional Music Education" (Saransk, 2002); at the conference of young scientists (2003); at postgraduate seminars (Saransk, 2000-2003).

Work structure. The dissertation consists of introduction, two chapters, conclusion, bibliography. The list of used literature includes 234 titles.

Dissertation conclusion on the topic "Theory and history of culture", Elistratova, Galina Borisovna

CONCLUSION

The study presented as part of the dissertation work made it possible to draw a number of main conclusions during the analysis and generalization of its results.

Having studied the state of the problem of the formation of musical thinking in scientific and methodical literature, we found that this problem has not been sufficiently substantiated so far. The phrase " musical thinking» musicians have been using it for a long time, although it has no terminological status. It, as noted by N. I. Voronina, reflected an intuitively correct conviction that music is a special kind of intellectual activity, in some ways very close to thinking. The researchers of this problem to some extent touched upon this problem, but the conditions and means of forming the desired quality are not sufficiently disclosed.

The analysis of curricula and the study of the experience of leading musicians-teachers showed the fact that during the teaching of music in a general education school, significant material has been accumulated in the field of theory and practice of the formation of musical thinking. However, despite the successes, the state of affairs in this area is such that a huge number of people cannot navigate in the sound space, their musical preferences stop at the music of entertainment genres. Thus, the relevance of the problem and the need for its scientific development were revealed.

In the dissertation, the following tasks were set and consistently solved: consideration of the multilevel nature of the phenomenon under study; revealing the essence of musical thinking and its creative incarnation; building the structure of musical thinking; consideration of the relationship between musical perception and musical thinking; disclosure of social factors influencing the formation of musical thinking; revealing the basic principles of interaction between a child and a musician-creator in the space of music.

An important direction of the study was the analysis of scientific and specialized literature, which made it possible to solve the problem of theoretical substantiation of the problem.

Musical thinking is a kind of artistic reflection of reality, consisting in purposeful, mediated and generalized cognition and transformation by the subject of this reality, creative creation, transmission and perception of specific musical and sound images. Analysis of special literature showed that intonation is the main category of musical thinking. It is the intonational nature and imagery, the semantics of the musical language that determines the specifics of musical thinking.

Indicators of the development of musical thinking are: the volume of the musical-intonation dictionary; the general functional connection of all these intonations, since, first of all, the attention of the musician is directed to grasping internal communications works and analysis of the causes of these connections-relations (semantic side); developed imagination and associative sphere; a high degree of mastery of musical and artistic emotions, as well as emotional and volitional regulation.

The structure of musical thinking reflects the process of musical development. In it, we have identified two levels: sensual and rational. The link between the two levels is the musical imagination. And “superstructure”, where we attributed the qualities inherent in creative thinking: fluency, flexibility, originality. Methodological basis the structure of musical thinking was the concept of S. L. Rubinshtein and V. P. Pushkin’s remark about the procedural side of thinking.

The formation of musical thinking is influenced by factors of the social environment: family, inner circle (relatives, friends), means of individual and mass communication, and a music lesson. The role of the family and the school is to work together to develop a developed musical mind and taste in the child.

Formation creative personality child, his consciousness is possible only with effective leadership based on a personal approach provided with adequate content and principles of music education. For our study, the approach of A. B. Orlov was of interest, who formed four interconnected principles for organizing pedagogical interaction in the space of music, contributing not only to the transfer of knowledge, skills and abilities from a teacher to children, but also to their joint personal growth, mutual creative development. Joint activity in music lessons is a community of a teacher and a student, which is not given permanently, in finished form, but is a dynamic process of self-organization of the personality of students, which is possible when relying on the principles of student-oriented pedagogical interaction. Following the principles - dialogization, problematization, personification, individualization - allows us to consider joint musical activity not only as a process of mastering subject knowledge, but, first of all, as an expression and formation of human individuality, creativity.

At the same time, we believe that the study carried out does not exhaust the entire depth and diversity of the problem. In the context of a constantly evolving educational system, the emergence of new forms and methods of musical education opens up wide opportunities for further research in this area.

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Development of musical thinking of younger schoolchildren in music lessons

graduate work

1.1 Musical thinking: multilevel research

Thinking (English - thinking; German - denkens; French - pensee), in general view, is defined as a process of generalized reflection of reality, which arose from sensory cognition on the basis of human practical activity.

Being a complex socio-historical phenomenon, thinking is studied by many sciences: philosophy (in terms of analyzing the relationship between subjective and objective in thinking, sensual and rational, empirical and theoretical, etc.); logic (the science of forms, rules and operations of thinking); cybernetics (in connection with the tasks of technical modeling of mental operations in the form of "artificial intelligence"); psychology (studying thinking as an actual activity of the subject, motivated by needs and aimed at goals that have personal significance); linguistics (in terms of the relationship between thinking and language); aesthetics (analyzing thinking in the process of creation and perception of artistic values); science of science (studying the history, theory and practice scientific knowledge); neurophysiology (dealing with the brain substrate and physiological mechanisms of thought); psychopathology (revealing various types of violations of the normal functions of thinking); ethology (considering the prerequisites and features of the development of thinking in the animal world).

AT recent times the increased interest of philosophers, aestheticians, musicologists, teachers is caused by the problems of the development of musical thinking. Naturally, this problem is multifaceted, and when considering it, researchers also rely on data from different sciences.

The general philosophical level considers musical thinking as one of the types of artistic thinking. According to modern philosophical concepts, "thinking is defined as the highest form of active reflection of objective reality, consisting in a purposeful, mediated and generalized knowledge by the subject of existing connections and relations of objects and phenomena, in the creative creation of new ideas, in predicting events and actions." .

The musical material is not just a natural sound, but a sound that is artistically meaningful and appropriately transformed into a sensory-figurative material. musical reflection. Therefore, musical thinking as an activity is a process of transforming sound reality into an artistic-figurative one. It is determined by the norms of the musical language, “filled with “linguistic content”, since the elements and rules of a given language become its material, and appears as “linguistic thinking”, as a realization in reality of a specific “musical and auditory ability”. . Such an understanding of musical thinking is fully consistent with the well-known position of philosophy on the essence of thinking that develops in connection with language and on the basis of practical (in this case, musical) activity.

aesthetic level. Many works on aesthetics (M.S. Kagan, D.S. Likhachev, S.Kh. Rappoport, Yu.N. Kholopov, etc.) are based mainly on the analysis of artistic, including musical creativity, as the main material in the study of aesthetic exploration of the world, aesthetic ideal, creative methods. Thinking is an integral component of human activity, its ideal plan. Hence, musical thinking, as artistic thinking, is a creative process, since music, like other forms of art, is a kind of aesthetic activity that has a creative character. At the same time, quite often, the concept of "musical thinking" is identified with the composer's, as the most creative, productive type responsible for creating new music. The listener's thinking acts as a more passive - reproductive type, associated with mental acts that serve the perception of already existing music. The common object of thought of the composer, performer and listener is a piece of music. At the same time, the features of the activity of each of the participants in musical communication are associated with the allocation of specific objects in this object. So the composer's thinking concentrates on the task of creating, on the basis of his musical and figurative representations, the musical text of a musical work, the performer's thinking is on the task of the sound embodiment of this text, and the listener's thinking is turned to figurative representations produced by musical sound. Moreover, works of art “can be perceived only if the laws by which musical perception is carried out correspond to the laws of musical production. In other words, music can only exist if, in some very important part, the laws of musical creativity and musical perception coincide…”. .

Music, in its cultural and historical patterns, presents us with a unique opportunity to revive the "petrified time" of the past in the process of performance and perception and again make it lasting and aesthetically experienced. This is due to the fact that the perception of musical works of previous eras goes through intonations, genres, styles, characteristic of the culture of that time.

The most important general artistic category is intonation. Intonation is inseparable from society; it is a specific aspect of the ideological and ideological essence of a particular social era reflected in a specific way. It is through intonation that the artist is able to reflect reality. Intonation carries informational qualities, since it conveys the results of reflection to the listener. Thus, intonation is a generalization of the artistic value of each historical era.

One of the key, in the understanding of musical art in the process of musical thinking is the category of "genre". “The musical genre is the axis of the connection of musical art with the most real reality; musical genre - a steadily recurring type of music that is fixed in public consciousness... ". This is how V. Kholopova answers this question. . Thus, we can say that a genre is a type of musical work that has developed within the framework of a certain social purpose and form of existence of music, with an established type of content and means of performance. Being the basis of any musical and communicative process, the genre acts as an intermediary between the listener and the composer, between reality and its reflection in a work of art. That is why the category "genre" becomes one of the key ones in understanding the art of music in the process of musical thinking.

In the context of this section, an understanding of the meaning of the term "style" is necessary. According to the theory of V. Medushevsky, “style is the originality inherent in the music of a certain historical period, the national composer's school, and the work of individual composers. Accordingly, they talk about the style of the historical, national, individual. .

We find a different, more capacious interpretation of "style" in other sources. So, according to the theory of M. Mikhailov, style is a system of expressive means that serves to embody one or another ideological content and has developed under the influence of extra-musical factors of musical creativity (M.K. Mikhailov, E.A. Ruchevskaya, M.E. Tarakanov and others. ). These factors include the worldview and attitude of the composer, the ideological and conceptual content of the era, the general patterns of the musical and historical process. As the main determinant of the musical style, researchers call the nature of the creative person, her emotional traits, the features of the composer's creative thinking, "spiritual vision of the world". At the same time, the importance of socio-historical, national, genre and other factors of style formation is also emphasized. To comprehend the style, in the process of musical thinking, such concepts as “intonation reserve”, “sense of style”, “style setting” become relevant.

A sophisticated listener is easily oriented in styles and thanks to this he understands music better. He easily distinguishes, for example, dissected, strict and slender, almost architectural forms. musical classicism from the fluid massiveness of the baroque, feels the national character of the music of Prokofiev, Ravel, Khachaturian, recognizes Mozart, Beethoven or Schumann music by the very first sounds.

Musical styles are associated with the styles of other arts (painting, literature). Feeling these connections also enriches the understanding of music.

logical level. Musical thinking implies understanding the logic of organizing various sound structures from the simplest to complex, the ability to operate with musical material, find similarities and differences, analyze and synthesize, and establish relationships.

In the most general way logical development musical thought contains, according to the well-known formula of B.V. Asafiev “imt”, where i is the initial impulse, m is movement, development, t is completion.

The comprehension of the logical organization of the sound fabric, on the one hand, and the experience of the expressive essence of the musical artistic image, on the other hand, create in their synthesis musical thinking in the full sense of this concept. Thinking in this case is a reflection in the mind of the subject of musical activity of the musical image, understood as a combination of rational and emotional. Only the fusion of these two basic functions of musical thinking makes the process of musical and mental activity artistically complete.

The sociological level emphasizes the social nature of musical thinking. “All forms of musical thinking are carried out on the basis of a special “language”, which differs from the usual verbal (verbal), and from the language of mathematical or logical formulas, and from the “language of images”. This is the "musical language" .... The musical language (like the verbal language) is a product of society. . True, not ready-made “words” of the musical language live in public consciousness and public practice, but only more or less stable in each era, but gradually changing under the influence of socio-historical conditions, “types of words”, on the basis of which the composer creates his own, individual intonations. . Thus, the material used by the musical thinking of the composer, performer and listener has a social origin.

In different peoples and different eras we meet along with similar laws of musical thinking and very different, specific to individual cultures. And this is natural, since each era creates its own system of musical thinking, and each musical culture generates its own musical language. Musical language forms musical consciousness in the process of communication with music in a given social environment.

Psychological level. The study of works of art allows psychologists to judge the laws of thinking, the interaction of "logical" and "emotional" spheres, abstract and figurative representations and associations, imagination, intuition, etc. Therefore, musical thinking, according to musical psychologists L. Bochkarev, V. Petrushin, B. Teplov, and we share their point of view, is nothing more than a rethinking and generalization of life impressions, a reflection in the human mind of a musical image, which is the unity of the emotional and the rational.

Also, researchers of this level distinguish three types of thinking: composer, performer and listener (Nazaikinsky, Petrushin, Rappoport, etc.).

At the same time, the listener will operate in the process of his musical perception with ideas about sounds, intonations and harmonies, the play of which awakens in him various feelings, memories, images. Here we are faced with an example of visual-figurative thinking.

A performer dealing with a musical instrument will comprehend the sounds of music in the course of his own practical actions, finding the best ways to perform the musical text offered to him. So, if a person, when comprehending music, is dominated by psychomotor, motor reactions, then this indicates the predominance of a visual-effective type of musical thinking.

Finally, the composer, wishing to convey his life impressions in the sounds of music, will comprehend them using the laws of musical logic, which is revealed in harmony and musical form. This is manifested by abstract-logical thinking.

pedagogical level. The well-known teacher V. Sukhomlinsky argued that "musical education is not the education of a musician, but, above all, the education of a Person." Based on his words, the goal and meaning of pedagogy in general and music pedagogy in particular are now clearly identified: this is the formation and development of the child's personality. Forming a personality, we develop its intellect, its individual abilities, form its consciousness as a regulator of behavior and develop thinking, forming the core of the personality - its self-consciousness.

What is the role of art, music in this process? "Music, performing many vital tasks, is called upon to solve, perhaps the most important - to instill in children a sense of inner involvement in the spiritual culture of mankind, to instill a life position of children in the world of music." . Over the entire history of Russian musical pedagogy, the most interesting theoretical and practical experience has been accumulated, which convinces us that the process of perception of music, starting from childhood, and all types of musical and performing activities are controlled and regulated by the artistic (musical) consciousness, which is formed and developed. through the processes of artistic (musical) thinking. .

Forming musical thinking, we introduce a person into the world of art because this is a world that, unlike the world of science, contains spiritual, moral values: this is TRUTH, BEAUTY, GOOD, as the greatest value in itself. Therefore, by opening the world of art to a person, we help him go the way of knowing himself and the world in which he lives. With this approach, artistic thinking and, as a variation of it, musical thinking, is a process of self-knowledge and manifestation of the spiritual beauty of a person on the path of creative comprehension and transformation of life and art. L.V. Goryunova, analyzing the content of music classes at school, emphasizes the need to understand it as a single joint artistic and creative activity of the teacher and students, aimed at understanding the world and themselves, at self-creation, at revealing the moral and aesthetic essence of art, at appropriating universal values .

Musical level. According to leading domestic musicologists, the most characteristic feature of music is its intonational nature. The word "intonation" in the history of musical art has existed for a long time and has various meanings. Intonation was called the introductory part before the Gregorian chant, the introductory prelude on the organ before the singing of the chorale, certain exercises in solfeggio, intonation in the performing arts - pure or false playing on non-tempered instruments based on sound-pitch micro-ratios, pure or false singing. The whole intonation concept of music was developed by B.V. Asafiev. He scientifically substantiated the view of musical art as intonational art, the specificity of which lies in the fact that it embodies the emotional and semantic content of music, just as internal state person is embodied in the intonations of speech. Asafiev used the term intonation in two senses. The first is the smallest expressive and semantic particle, "grain-intonation", "cell" of the image. The second meaning of the term is used in a broad sense: as an intonation equal to the length of a musical work. In this sense, music does not exist outside of intonation. Musical form is the process of changing intonations. . It is the intonational nature that determines both the specifics of both the musical thinking itself and the approach to considering its components.

The main carrier of musical meaning and meaning in a piece of music is intonation.

Following B. Asafiev, intonation theory was further developed in the works of V. Medushevsky. “Musical intonation is a direct, clear embodiment of the energies of life. It can be defined as a semantic-sound unity. .

From this it follows that for the development of musical thinking it is necessary to form a systematized intonation dictionary.

Thus, from the foregoing, we can conclude that musical thinking, a kind of artistic thinking, is a special kind of artistic reflection of reality, consisting in purposeful, mediated and generalized cognition and transformation by the subject of this reality, creative creation, transmission and perception musically. - sound images. The specificity of musical thinking is determined by the intonational and figurative nature, the spiritual content of musical art and the active self-expression of the individual in the process of musical activity.

The peculiarity of musical thinking is quite accurately defined by Asafiev in the process of analyzing the term “musical-intonation dictionary” he introduced. In his intonation theory, intonation, in a broad sense, is understood as the meaning of speech, its mental tone, mood. In a narrower one - "fragments of music", "melody formations", "memorable moments", "grains of intonation".

The intonation approach in musical pedagogy is most holistically presented in the music program for the secondary school of D. B. Kabalevsky. The central theme of his program is the theme of the second quarter of the second grade - "Intonation", "since it meets all the requirements for the ultimate abstraction, it becomes the turning point from which the program begins to climb from the abstract to the concrete, to the whole at a new level" .

Thus, the phenomenon of musical thinking acts as a multi-level formation, considered from the standpoint of various sciences.

An analysis of various approaches to the study of thinking from the point of view of our study led us to identify three critical aspects development of musical thinking of younger schoolchildren: this is volume, connection and creativity.

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The psychology of thinking is a rather developed branch of general psychology, which has accumulated rich theoretical and experimental material. On the basis of the regularities studied by her, let's try to identify the musical specifics of thinking...

The Specificity of Musical Thinking and the Possibility of Intellectual Development in the Process of Musical Education

Theory and methods of musical education with a workshop

1. Annotation for a collection of songs for preschoolers. A.V. Pereskokov and others. "Songs for Kindergarten", M .: Iris-P28 press, 2006. The collection includes songs to music by A.V. Pereskokova: "in the spring morning", "fairy country", "the anthem of the star factory", "the anthem of the young firefighters"...

Evolution and origin of musical education in pedagogy

In Russian pedagogy from the second half of the 19th century to the end of the 19th century, the contradiction between the traditional, official orientation towards education in the spirit of "autocracy, Orthodoxy, nationality" and approaches ...

Municipal budgetary educational institution

"Children's School of Arts"

Report

"Musical Thinking"

Compiled by:

piano teacher

MBOUDOD "DSHI"

Thinking- the highest level of human knowledge of reality.

Through the sense organs - these are the only channels of communication between the body and the outside world - information enters the brain. The content of information is processed by the brain. The most complex (logical) form of information processing is the activity of thinking. Solving the mental tasks that life puts before a person, he reflects, draws conclusions and thereby cognizes the essence of things and phenomena, discovers the laws of their connection, and then transforms the world on this basis.

Thinking is not only closely connected with sensations and perceptions, but it is formed on their basis.

The transition from sensation to thought. Thinking operations are varied. These are analysis and synthesis, comparison, abstraction, concretization, generalization, classification. Which of the logical operations a person will use will depend on the task and on the nature of the information that he subjects to mental processing. Thinking activity is always aimed at obtaining some result. Among the creators of concepts related to musical thinking, one of the first places belongs to. The essence of his teaching is as follows: musical thought manifests itself and expresses itself through intonation. Intonation as a basic element of musical speech is the concentrate, the semantic fundamental principle of music. An emotional reaction to intonation, penetration into its expressive essence is the starting point for the processes of musical thinking.

The Soviet sociologist A. Sokhor, identifying the main patterns of musical thinking as a social phenomenon, rightly believes that in addition to “ordinary concepts expressed in words and ordinary visual representations that materialize in visible expressions, the composer necessarily – and very widely – uses specifically musical “concepts” , "ideas", "images"

Musical thinking is carried out on the basis of the musical language. It is able to structure the elements of the musical language, forming a structure: intonational, rhythmic, timbre, thematic, etc. One of the properties of musical thinking is musical logic. Musical thinking develops in the process of musical activity. Musical information is received and transmitted through the musical language, which can be mastered by directly engaging in musical activity. The musical language is characterized by a certain "set" of stable types of sound combinations (intonations) that obey the rules (norms) of their use. It also generates texts of musical messages.

The structure of the text of the musical message is unique and inimitable. Each era creates its own system of musical thinking, and each musical culture generates its own musical language. Musical language forms musical consciousness exclusively in the process of communication with music in a given social environment.

Works play an important role in understanding the problem of musical thinking. In his works, he reveals the fundamental position of the theory of musical thinking: all the values ​​that art contains are spiritual values. To understand their meaning is possible only through self-improvement, through the development of one's spiritual world, striving for the knowledge of beauty and truth.

The structure of musical thinking must be considered in unity with the structure of artistic thinking. The changes taking place in the socio-cultural life of the country are adequately reflected in pedagogical theory and practice. Musical thinking as a process of knowing one's own soul is initiated by an external factor for the individual - a piece of music. The external cause of internal psychological experiences turns out to be a communication channel between the inner world of the individual and the spiritual experience of mankind.

Musical thinking is a real mental activity, with the help of which a person joins the heights of musical art, comprehends the meaning of the spiritual values ​​contained in it. In this case, a number of independent problems can be identified:

1. Musical thinking as a process of comprehension of a musical work by a person;

2. Musical thinking as a way of human thinking when it comes into contact with music as an art form;

3. Musical thinking as one of the ways of human communication with the World.

Musical thinking- this is the process of modeling a person's relationship to reality in intoned sound images. It arises in the process and as a result of active, aesthetically colored interaction with sound reality. Aesthetically colored can be the attitude to the whole world (nature, life). However, for the formation of musical thinking, the primary role is played by sound reality, which already carries an aesthetic organization. This is musical art.

Art in general is the most complex system. Since the content of a musical work is not reducible to a purely acoustic playing with sound forms, but is always a generalized expression of human feelings and thoughts, musical thinking relies not only on the musical experience itself, but also on the entire psychological experience of the individual.

The images of the surrounding reality, the experienced collisions of self-determination of one's "I", the values ​​and norms of behavior of the immediate social environment, the mastered methods of social activity - all these components of personal experience are organically present in the process of musical thinking along with musical experience. Researchers argue that in other areas of thinking, for example, in mathematics, chess, knowledge becomes the property of the individual only when the process of obtaining it is "lived", felt emotionally. But we are talking about the process, and the result is still abstract, not having a specific relationship to the spiritual world of the individual. As a result of musical thinking, a person ultimately receives knowledge about himself, his soul. And this is the special psychology of musical thinking.

called music the art of intoned meaning. This means that the understanding of a piece of music is a thoughtful search for the meaning, the meaning of the sounding intonations.

First stage- the beginning of thinking - the act of accepting a mental task. This is rational thinking or, in other words, objective thinking.

In musical thinking, this stage appears as a complex of elements of the musical language involved in a given work.

This requires not only subtle differentiated "hearing", but also considerable theoretical knowledge. In this sense, the elementary theory of music can be considered the key to the success of this stage. The most important result of the study, as a rule, is the conclusion about the insufficiency of the information received. And then a person turns to the available knowledge, his past experience. Interestingly, in doing so, he does not remember everything that is stored in memory, but only what can, in one way or another, contribute to the decision. In each specific thought process, the specific weight of the knowledge used is different. It depends on the task, and on the personality of the person, and on the external situation in which it is solved. At the same time, according to the theory, a person constructs the meaning of a work of art from the associations and analogies of his experience. Thus, past experience in musical thinking is used in two ways: on the one hand, knowledge from the field of music theory is updated, on the other hand, images of previously experienced psychological situations emerge.

Until a specific process of musical thinking, they are "stored" separately. Simultaneous actualization of two different aspects of past experience during the perception of new musical information leads to the manifestation of the semantic meanings of individual elements. As a result, with the development of musical thinking, certain sound combinations acquire fairly stable meanings in the understanding of a given person. at the next stage, a person studies the elements of the task or situation that has become the subject of reflection. Both the properties of individual elements and the most obvious connections between them are considered. The study does not have a clear direction: from the main elements to the secondary ones, then to their relationships, or vice versa. It can be both planned and chaotic, and a holistic coverage of all the most essential elements and relationships is possible.

In the process of human communication with a piece of music, several important points can be noted:

1. The impossibility of simultaneously doing two actions, pronouncing or writing two sentences, due to which the habit of thinking sequentially is developed, does not exist for music. The simultaneity of different things is natural here. Therefore, with the help of music, one can develop such important qualities of thinking as non-linearity and simultaneous multidimensionality.

2. A holistic view of a piece of music is possible only when the last sound has ceased. Prior to this, the ear inevitably snatches out individual elements of the musical fabric, which immediately receive an initial, albeit vague, interpretation.

3. Analysis of individual elements without determining their place in the structure of the whole in musical thinking is impossible, since the elements of the musical language do not have a rigidly fixed out-of-context meaning. The meaning of each element can only be determined through the entire context and the general meaning of the entire work.

In addition to the main stages of thinking in general psychology, it is customary to single out operations. An operation can be considered an elementary unit of the thought process, since it involves the performance of one completed action. Following traditional logic, the psychology of thinking will highlight the following main operations. and Keywords: definition, generalization, comparison and distinction, analysis, abstracted grouping and classification, judgment, conclusion.

Most of them are present in the process of musical thinking in a more or less specific capacity. The special fluidity and irreversibility of the musical text necessitates constant structuring of the sound flow. The grouping operations of comparison and distinction can be called "permanent" deployed for the entire duration of the sound of the work. Musical knowledge necessarily involves comparing what is currently sounding with the previous sound, and this mechanism operates at all levels of musical syntax:

1. comparison of sounds in height and duration gives an idea of ​​the modal and rhythmic organization of intonations and motives;

2. comparison of motives and phrases allows us to perceive the scale of the structure;

3. comparison of parts and sections leads to an understanding of the form and type of development;

4. comparison of this work with others reveals genre and stylistic features.

Already from the second level of syntax, comparison and distinction require the inclusion of a grouping operation. It is possible to compare two phrases only when the boundaries of each of them are clear, if the individual sounds are combined, grouped into phrases.

A curious detail is that the very mood of the music and its changes are felt by a person on a sensual level. However, if musical thinking is not connected, then at the end of the sound, he is not able to characterize even the most significant changes. The music that has just sounded seems to be “erased” from memory and psychological experience.

Even more specific in musical thinking are the operations of judgment and inference.

Judgment- endows a certain object with a certain quality. However, judgments like “this music is fun” are only indirectly related to musical thinking. This statement is a verbal expression of an experienced emotional state. The results of musical thinking were realized, curtailed and clothed in a communicative speech form by another, subsequent mental act, for which music was not an essence, but a starting point. Here the regularities of ordinary rather than musical thinking acted. Outside of a concrete human perception, music is generally not conceivable in emotional and moral categories, therefore, the very perception of it as joyful or tragic is already endowing the sound with a certain quality.

Therefore, the emotional experience of music is a musical judgment.

Of course, along with such specific ones, in musical thinking there are also more traditional forms of judgments related to the acoustic parameters of sound, musical theoretical information, the situation of perception, etc., etc. But they are not identical with verbal expression and often with more difficult to verbalize. In addition to temporary components - stages and operations, thinking has a certain composition. It simultaneously involves several levels of the psyche, several of its layers. Conscious and unconscious levels are the most important components of this "vertical".

There is also such a component of mental activity as unconscious motor activity. The specific type of activity is determined by the type of task. Tasks presented in graphical form cause oculomotor activity; tasks related to verbal formulation - motor speech; tasks for practical intelligence (Piaget) - fine motor skills limbs.

The unconscious is the invisible denominator of musical thinking. It nourishes with the necessary mental material all the stages and operations of the mental process of the soul, that is, he realizes in himself something that was previously a mystery to himself.

Therefore, the unconscious is also an important part of the final result of the process of musical thinking, the most important component of the cognizable artistic meaning.

The child's thinking, his psychological experience, emotional, motivational and other spheres of personality differ from the psyche of an adult.

According to a number of psychological indicators, the early school age can be recognized as optimal for the beginning of pedagogical guidance in the development of musical thinking. It is for primary school age that learning activity becomes the leading one.

At this age, a whole complex of necessary psychological prerequisites is formed.

It can be said that at this age the whole complex of “mental building material” becomes active, which is necessary for the formation of musical thinking: sensory-perceptual activity provides a rich auditory perception; motor activity allows you to live, "work out" the metro-rhythmic and, more broadly, the temporal nature of music with movements of various types and levels; emotional and expressive activity is the key to the emotional experience of music; and, finally, intellectual-volitional activity contributes both to the emergence of internal motivation and to the purposeful “going all the way” of the process of musical thinking.

The process of developing independent thinking is long and complicated. The ability to think independently is not given to a person by itself, it is brought up through a certain training of will and attention.

It is important to focus on the lessons as much as possible. If the teacher takes on the main work, then the students will remain passive, their initiative will not develop.

It is necessary that the main mental activity fall on the student. Using small tasks, give the opportunity to reach the solution of problems on your own, that is, develop a child's creative initiative. To do this, for example, invite him to compose a melody for a given rhythmic pattern, for a poetic text, “finish” the end of a musical phrase, pick up a familiar melody, play it from different sounds, read a new piece (excerpt) from a sheet and guess from which movie or TV shows this music, put down your own fingering, etc.

Obviously, the problems of learning and creative development should be closely related. The process of creativity, the very atmosphere of search and discovery at each lesson makes children want to act independently, sincerely and naturally. "Ignite", "infect" the child with the desire to master the language of music - the main of the initial tasks of the teacher.

Homework plays the first role in the learning process. Help your child make a daily schedule

Skill Development independent work proceeds successfully only if the student understands what artistic goal is pursued by the teacher's instructions - From this, the tendency to repeated repetitions, to what we call "the ability to work," should also arise.

The success of independent work is a habit of self-control. It is necessary to develop a careful attitude to the text, to instill that without the exact implementation of the composer's instructions, it is impossible to achieve the exact author's intention. It is important that the student not only knows how to listen to himself, but also knows that during work he needs to be checked, most often there are false notes, inaccuracies in voice leading, changes in tempo are not appropriate. Very helpful to learn on your own from time to time small work without the help of a teacher. This improves the quality of the student's independent work.

From the very first steps young musician must share with others what he has acquired - in any form that is available to him: play with friends, relatives, play at auditions and concerts, and play in such a way that you feel the maximum responsibility for the quality of performance. And it is necessary that the student himself felt this responsibility.

The result of musical thinking can also be knowledge of an abstract nature, reflecting the patterns of sound reality. But that's not the point. If we keep in mind the comparison of the "spiritual information" of a musical work with personal psychological experience, then the very possibility of abstract knowledge seems problematic.

Psychology of thinking- a fairly developed branch of general psychology, which has accumulated rich theoretical and experimental material. On the basis of the regularities studied by her, we will try to identify the musical specifics of thinking. As a result of comparing new data with existing experience, a new formation arises, which in psychology and philosophy is called new knowledge. It usually has some degree of abstractness, abstraction. The result of musical thinking can also be knowledge of an abstract nature, reflecting the patterns of sound reality. But that's not the point. If we keep in mind the comparison of the "spiritual information" of a musical work with personal psychological experience, then the very possibility of abstract knowledge seems problematic. In fact, speculative knowledge about a feeling or an idea is not knowledge of this feeling or idea.

Knowledge of a feeling arises only when it is lived, felt (you can read a lot about love, but you won’t know it without really falling in love). And the idea gained through suffering, the feeling lived through is always concrete, psychologically extremely real.

During the sounding, the piece seems to “plunge” into the personality, and all psychological events unfold exactly there, in the inner world of a person. At the end of the sound, these events that occurred in himself, the person naturally associates with the sounded music.

This is where the mechanism of perception of music as a revelation lies. The most true, the most intimate is brought into a person as if from outside, the soul opens up, accepting the spiritual experience that belongs to other people, humanity. This is the most valuable form of communication through art.

Another important feature musical communication is the "vagueness" of the addressee. A person in this communication constantly “slides” from the Author to Humanity, to himself or to another person who is nearby.

The communicative aspect of musical thinking is inextricably linked with practical musical activity.

In fact, speculative knowledge about a feeling or an idea is not knowledge of this feeling or idea. Knowledge of a feeling arises only when it is lived, felt (you can read a lot about love, but you won’t know it without really falling in love). And the idea gained through suffering, the feeling lived through is always concrete, psychologically extremely real. The division into composer, performer and listener is an essential factor, and many researchers base the classification of musical thinking on it, subdividing thinking into composer, performer and listener. This implies that composing thinking is the most creative, productive kind, and listening thinking acts as a more passive kind of reproductive thinking.

However, as a well-known researcher of thinking notes: “Any division of cognition into reproductive and productive is unjustified already because it excludes any possibility of passing from the first to the second. There is a gap between them that cannot be filled. Thus, he concludes: “Thinking is always creative.”

It is unjustified to attribute the most creative character to the composer's musical thinking, less creative to the performer's thinking, and the least productive to the listener's thinking only on the grounds that in the first case a specific material product arises - a musical work, in the second - it is "rebuilt anew", and in the third - is taken for granted and no outwardly noticeable product is produced.

In all cases, the initial conditions and the ultimate goal of the thought process will be different, but not its very creative nature. Moreover, works of art “can be perceived only if the laws by which musical perception is carried out correspond to the laws of musical production. In other words, music can exist only if, in some very important part, the laws of musical creativity and musical perception coincide ... "

The evidence presented makes it possible to important conclusion about the essence of musical thinking: musical thinking has a fundamentally creative character, it is productive even in those forms that seem passive to an outside observer.

In musical thinking, insight can be considered the comprehension of the meaning of the entire piece of music. Perhaps that is why music is considered one of those activities that especially require inspiration, and at the same time especially develop it. During the “extended” insight, consciousness has time to connect to sensory experience and fix the depth of one of the most exalted states of the human psyche.

Let's summarize:

1 . Musical thinking, being a part of general thinking, naturally obeys the main laws of the latter. At the same time, its specificity is manifested in the operation of musical information units, due to the intonational nature of musical art, imagery, the semantics of the musical language, compositional and dramatic logic, etc.

2 . The mental activity of a person is not limited to the processes of analysis and generalization of sensory impressions, it is also connected with practical activities. Musical thinking, cognizing reality, creates a new reality in the form of material intellectual products - musical and acoustic texts, which become the property of musical culture.

3 . Musical thinking, carrying out the knowledge and creation of musical being, covers inner world person. It is a spiritual process of searching for meanings. Musical informational elements that make up the content of musical thinking determine its functioning, but are not the main goal of its activity. Cognizing and creating the musical world, a person creates and cognizes, first of all, himself. So, he creates his own spiritual world. Thus, the modern cultural understanding of musical thinking consists in considering it as a unity of reflection and creation.

Reflection represents only one side of the activity of consciousness, where the appropriation of cultural values ​​by the individual is carried out. But thinking also has a significant productive, creative potential. Moreover, through the creative activity of thinking, a person creates not only material artifacts of musical culture, but also himself. Both are of particular value and significance for musical culture.

Exactly creative activity musical thinking is the true guarantee of the formation and development of musical culture.

MUSICAL THINKING

Modern musicology distinguishes two main components of musical thinking: reproductive, associated with the perception and analysis of existing music, and productive, underlying the creation of new music.

The perception and analysis of music is the most comprehensive musical activity. It is important both as an independent activity of listening and comprehending music, and as an integral part of any kind of music-making. In this regard, naturally, she has a leading role in musical education.

Musical perception is a complex emotionally colored cognitive process, including the perception and analysis of a musical work. V.V. Medushevsky proposed the term"musical perception-thinking", which quite accurately reflects the specifics of this process and, in essence, is a synonym for the term "reproductive component of musical thinking".

In developing psychological foundations modern theory of musical perception, a monograph by B.M. Teplov "Psychology of musical abilities" (1947). In it, musical perception is considered as intonational-figurative, aimed primarily at the content, semantic side of music. Approaching musical perception in this way, B.M. Teplov followed the best traditions of Russian musicology, which were created and defended by B.V. Asafiev and B.L. Yavorsky. These ideas received brilliant confirmation and development in the musicological works of E.V. Nazaikinsky, D.B. Kabalevsky, V.V. Medushevsky, in psychological and pedagogical research.

E.V. Nazaikinsky wrote: "Musical perception is aimed at comprehending and comprehending the meanings that music has as art, as a special form of reflection of reality, as an aesthetic artistic phenomenon."

In the works of V.V. Medushevsky, an analysis of the modern scientific context of the problem of musical perception-thinking is given. They affirm the thesis about the active nature of this process, define the concept of “adequate perception” of a musical work as a vision in the text not only of the musical-linguistic, genre, stylistic and spiritual-value principles of culture, but also of a deeply personal meaning. Related to this is the provision on the ambiguity of the meaning of a work of art, the fundamental plurality of its performing, musicological and listener interpretations. This provision is extremely important for the practice of musical education, helping to correctly evaluate the statements of children about the music they listen to.

V.V. Medushevsky speaks of two layers of the content of a musical work: a layer of “closest” and a layer of “further” meanings. The “nearest” meanings are a layer of clearly expressed meaning, which is fixed in the intonational form of music. The “closest” content is heterogeneous: along with the unique thematic content, this includes the enriched content of style and genre. “Further” meanings are a layer of deep socio-cultural interpretations of a musical work that arise when the “closest” content of music interacts with the historical cultural and life personal context of the listener. In the dialectic of "nearest" and "further" contents lies the source of the listener's individual creativity.

The formation and development of children's musical perception-thinking and the entire system of musicality can occur both in the conditions of organized classes (in kindergarten, music and secondary schools, centers of aesthetic development, etc.), and spontaneously, under the influence of the existing musical environment.

In each of the types of musical activity, the whole system of musical abilities develops. However, some activities are most favorable for the formation of a particular ability. Thus, the perception-thinking that interests us most directly and effectively develops in listening to music . In it, children receive the largest amount of various musical impressions and knowledge. Listening to music is considered as an active process of musical perception-thinking. In the classroom, it should take place in two forms: as an independent musical activity and as an integral part of other types of musical activity. Listening (in piano, orchestral or vocal performance) and elementary analysis of a piece of music must invariably precede work on it in any kind of children's music making.

Organizing listening to music, you can use the sequence of stages of work on the work, which N.L. Grodzenskaya figuratively called the "sonata allegro scheme": 1. "Introduction" - a short introductory word; 2. "Exposition" - listening to a work; 3. "Development" - analysis, analysis of the work; 4. "Reprise" - repeated listening to music at a new, higher conscious and emotional level; 5. "Coda" - repetition, fixing music in memory. The attention of children is first directed to the figurative and content side of the work as a whole, and only after that are its individual parts and means of musical expression analyzed.

The complication of musical works offered to children goes in the following directions: 1) from plays with a predominance of pictorial moments to plays with a dominance of expressiveness; 2) from small in volume, simple in form and musical images to more and more complex; 3) from those containing one leading theme to contrasting and further along the line of softening the contrast and the appearance of semitones of moods. If at first listening takes place as a synthetic activity (listening and game moments, listening and perception of toys, pictures of the corresponding content), then it gradually becomes more and more free, independent and internal process.

The methodology of diagnostic tasks includes two tasks: determine the genre of the work (march, song, dance); characterize the general mood of the play, and at an older age also talk about it.

The results of the conducted research allow us to outlinegeneral line of developmentreproductive component of musical thinking in preschool childhood. This musical ability develops in the unity and interaction of its two main components: the actual intonation perception and awareness of music; its individual interpretation, mediated by the life and musical experience of a preschooler. The first of them goes from the child's perception and awareness of the individual components of the musical fabric to their complex and, finally, to the perception and awareness of the melodic-intonation side of music. The second - the line of interpretation, extra-musical images and associations - moves from single, highly specific (and monosyllabicly named) images that arise under the influence of music to expanded, bright pictures and plot stories.

Perceived and realized by the preschooler, initially separate components of the musical fabric, the means of musical expression become for him landmarks when perceiving a piece of music, determining its mood, character. For most children between three and five years of age, this temp. As for tone and dynamics, then they occupy a more modest place. In the next two years, the value of tempo as the leading means of musical perception decreases sharply and at the same time the orienting role increases. complex means of musical expressiveness (at first two at the same time, and then three or four components). Overcoming the orientation towards individual means of musical expression and increasing the role of their complexes is the first of the noted trends in the development of musical perception-thinking.

The second trend is even more significant - the emergence of an orientation towards melody and its constituents intonation. It was first noted in individual children in the fifth year of life, and in the next two years it manifested itself more clearly, but also in a very small number of children. Its appearance makes the perception of the content of music more adequate, and the interpretation - much wider and more individualized.

Such a bright qualitative leap in the development of musical perception-thinking, which is associated with the appearance of melodic hearing, and the fact that it was noted in a very small number of children even in a group preparatory to school, lead to the assumption that the development of a special method for the formation of a melodic orientation of musical perception, including a "dictionary of melodies-intonations", will contribute to the more successful development of this ability.

Koptseva Natalya Petrovna,

Doctor of Philosophy, Professor,
Dean of the Faculty of Art History and Cultural Studies,
head Department of Cultural Studies, Siberian Federal University, Krasnoyarsk [email protected]

Lozinskaya Vera Petrovna,

PhD in Philosophy,
Associate Professor of the Department of Cultural Studies
Siberian Federal University, Krasnoyarsk [email protected]

The study of the functions of musical thinking must be preceded by a thorough study of its concept. Musical thinking is a special phenomenon, the study of which has recently been carried out mainly in the psychology of music. The selection of non-verbal (non-verbal) ways of thinking as a subject is due to a number of reasons.
First of all, it is the impossibility, with the help of the concept of verbal abstract-logical thinking, to reflect the whole variety of forms by the surrounding reality, to comprehend the Fullness of Being. The second reason is the need of modern philosophy to integrate the achievements of traditional rationalism with other ways of knowing the Universe. The third reason is the need to use adequate methods of comprehension when analyzing mental processes that are dynamic in nature, to create not only rigid logical and conceptual models, but also more flexible plastic structures that could fully represent the deep essential foundations of reality in a cultural and figurative way. -artistic area.
Musical thinking is the highest form of auditory thinking. In turn, auditory thinking is a kind of synthetic thinking, in which the synthesis of sensibility and rationality is presented in dialectical unity. Undoubtedly, any thought process is initially conditioned by visual-sensory mechanisms, called by psychologists the “first signaling system”. However, these processes are traditionally qualified as anticipating the actual mental activity. Thus, the "second signal system" is necessarily substantiated by the first, while the "first signal system" has an autonomous existential status. In synthetic thinking, sensibility as such plays a more serious role, directly integrating into a rational structure, thereby not only transforming rational processes, but also undergoing a certain transformation under the influence of a rational component. Such a transformed-integrated into rational structures sensuality, according to the definition of V.I. Zhukovsky and D.V. Pivovarov, is called "secondary sensuality".
Based on the concepts of "secondary sensibility", "synthetic thinking", "visual thinking", a corresponding theory of the artistic image was developed, but based on an analysis of only fine art. Nevertheless, this theory of the artistic image can serve as a methodological basis for the further development of the theory of synthetic thinking and the development of the pedagogy of musical art.
Based on the theory of synthetic thinking, certain assumptions can be made related to auditory thinking and its highest form, musical thinking.
Auditory thinking is an indirect generalization, reflection, display of essential connections and relations of objects of reality through a special symbolic representation.
It should be noted that in philosophical literature the tendency to reduce the process of mediated and generalized reflection by the subject of essential connections and relations continues to dominate only to verbalized thinking. The tradition of relating thinking only to the verbal form is an old one, and it is difficult to abandon it. However, at present, psychologists, studying complex mental activity based on specific spatial, force, etc. representations and proceeding in the form of an action with external objects (schemes, models of structures, various kinds of dynamic objective situations), necessarily recognize that there are various forms of highly developed thinking, often closely intertwined and passing into each other.
The problem of the reality of non-verbal thinking has relatively recently become the subject of close attention of Russian philosophers. It is necessary to note the work of D.I. Dubrovsky. Summarizing psychophysiological observations, he comes to the conclusion about the reality of non-verbalized layers of "living thought". At the same time, under the “living thought” of D.I. Dubrovsky means a thought actually experienced by a specific person at a given time interval (as opposed to a thought recorded in a text). For him, "living thought" is nothing but thinking. “Even the living thought contained in the word still continues, pulsates, branches out, in order to again acquire verbal forms and, leaving most of itself in them, move on.” According to D.I. Dubrovsky, a synchronous cut of the field of consciousness of a moving thought reveals two levels of the current subjective reality: not yet verbalized and already verbalized. These levels form a dynamic structure, the dynamism of which lies in the following: the non-verbalized becomes verbalized, opening up new layers of the non-verbalized, "promoting their emergence to the level of need and the possibility of adequate verbalization" . This means that non-verbal thought exists and constitutes an indispensable component of cognitive processes. According to D.I. Dubrovsky, a weakly reflected structure of subjective reality emerges, which must be taken into account in the analysis of active consciousness.
Among the definitions of the discussed layer of weakly verbalized subjective reality proposed in the psychological literature, the following seems adequate: auditory thinking is a human activity, the product of which is the generation of new images, the creation of new sound forms that carry a certain semantic load and make the meaning audible. These images are distinguished by autonomy and freedom in relation to the object of perception.
Auditory thinking performs specific cognitive functions, dialectically complementing the conceptual study of an object. At the same time, it is able to effectively reflect almost any categorical relationship of reality, but not through the designation of these relationships with a word, but through their embodiment in the spatio-temporal structure, transformations and dynamics of sensory images.
Auditory thinking has a synthetic character: it arises on the basis of verbal thinking, but due to the connection with the transformed sensory material, it largely loses its verbalized character. At the same time, non-verbalized knowledge in the images of auditory thinking can be verbalized under certain conditions.
Auditory thinking is a kind of rational reflection of the essential connections and relationships of things, carried out not on the basis of natural language words, but directly on the basis of dynamically structured sound schemes. It has a relative independence from material objects, existing practice and established sensory experience and connects abstract thinking with practice.
As a first approximation, one can distinguish next levels auditory thinking: 1) auditory thinking of the child; 2) auditory thinking of an adult listener; 3) auditory thinking of the performer; 4) auditory thinking of the composer. At first glance, this classification mixes the age approach (child - adult) and the specialized approach (professionals - non-professionals). In addition, the listener can be both a professional and a non-professional, a child or an adult. But in this case, it was important to emphasize certain specifics of each identified level of auditory thinking.
Currently, there are studies that indicate the primacy of non-verbal steps in the development of the surrounding world, as well as the possibility of non-verbal communication. By using sound as an expressive signal, young children are able to communicate with each other. As he masters verbal thinking, the child gradually reduces the ability to purely auditory communication, at the same time, this circumstance allows us to speak of the universal nature of auditory communication as the embryo of musical thinking.
The listener's auditory thinking develops in a certain social environment, based on the sound space that surrounds him every day. That is why there are so many differences in the assessments of this or that music. Full-fledged auditory thinking in the form of musical thinking develops when the child himself joins the musical art. The ability for the highest form of auditory thinking - musical thinking - is laid down largely genetically, as well as during prenatal development. This is evidenced by the biographies of many great composers. Widespread teaching of music in the XVII-XIX centuries. contributed to the rise in the development of musical art in this era. However, musical thinking can be developed by being a music lover. The greater the listening experience of a person, the more new shades he is able to find in the performed work, he is able to establish the style, era, method of composition, to find out what artistic trends contributed to the formation of the composer. Moreover, he will receive this information in the course of listening to a musical work of art.
The auditory thinking of the performer also takes the highest form of musical thinking and has its own specifics. This is an extended level of perception of musical compositions. Many details that are inaccessible to the average listener immediately become clear to the performer. The performer is focused on a certain quality of performance: he is able to gain experience from the performance of musical works by other performers. Only a performer is able to fully appreciate all the technical difficulties in the way of scoring a piece of music. In the course of working on the technique of performing a musical work, he discovers the abyss of the semantic content of a musical work. The piece of music passed through the performer leaves immeasurably more in his soul than just listened to. This does not mean that performance automatically contributes to the penetration into the deep essence of musical existence. Nevertheless, there is an authoritative opinion that the education of a performer of a musical work is the education of a thinker.
The auditory thinking of the composer is highest level not only auditory in general, but also musical thinking. In reality, the composer's musical thinking is condensed to such an extent that it can translate temporal characteristics into spatial ones. Thus, the statements of Wolfgang Amadeus Mozart are known that he is able to see his future work with a spiritual eye not in time sequence, as it will subsequently be performed, but at once, holistically, like a beautiful statue. Obviously, musical thinking of this level is capable of making a genuine breakthrough into the Infinite, the Whole, where different opposites come together.
Musical thinking is the highest form of auditory thinking, which implies the presence of a work of musical art as a source of sound sensibility and rational discovery of the artistic idea of ​​a musical work of art. The musical thinking of the composer creates a musical work of art as a source of sensibility and rationality, while the musical thinking of the performer and listener unfolds already in the presence of a musical work created by the composer and existing in the form of a musical text.
The living existence of musical thinking acts as a realization of its own functions. In relation to musical thinking, a function is its activity in the living being of culture, and musical thinking itself acts as a function of creating and transmitting cultural values ​​in relation to musical art. The functions of musical thinking are understood as its accomplishment, performance within culture. Such an interpretation of functions is connected with the etymology of this word: in translation from the Latin language function - I accomplish, I fulfill. In the research literature, functions are most often interpreted as 1) type of activity; 2) a type of connection in which a change in one of the parties leads to a change in the second side, while the second side is called a function of the first.
It should be emphasized that the functions of musical thinking differ from the functions of musical art, since musical thinking is a direct process, fixing of which is possible only in the abstract language of philosophy, psychology and other humanities, while musical art is a system of works of musical art that have specific forms. .
Musical thinking is an intermediary link in resolving the dialectical contradiction between the sensual and rational aspects of thinking, it is a kind of rational reflection of the essential connections and relations of things. At the same time, musical thinking makes this reflection in a special sensual sound form, embodied in a work of musical art. It allows these essential connections to sound musical.
The following functions of musical thinking can be distinguished: 1) epistemological; 2) ontological; 3) methodological; 4) communicative; 5) axiological; 6) worldview. Of course, the classification of these functions is not exhaustive. The types of functions generally accepted in philosophical logic are considered, which makes it possible to fully reveal the specifics of musical thinking.
The epistemological function of musical thinking is as follows.
1. In the awareness of new ways of organizing space-time relations in the form of a musical artistic image. This design is a way of knowing real things and phenomena. The artistic image, being virtual, nevertheless, models the real image of the world. Moreover, in the process of musical thinking, the knowledge of such structural patterns is carried out that cannot be adequately expressed, represented otherwise than in the process of musical thinking. It's about about the problem of expressing the ideal through the real, the infinite through the finite.
2. Musical thinking is the most adequate way of knowing the illogical, irrational foundations of culture in the broadest sense of the word. Musical thinking reveals such patterns of reality, which, in principle, cannot be given otherwise than in the form of musical thinking and, thus, lead the listener to the hidden, unrevealed essence of things, events, processes, makes this essence audible, manifests it.
3. Musical thinking builds a connection between fluid procedural variability human being and abstract concepts, laws that describe this being. Musical thinking forms such an understanding of the world, which is not only a "logical skeleton", but allows you to know the world in motion, formation, variability, procedurality. The musical artistic image as a result of musical thinking is essentially a process.
4. Musical thinking restores the natural interdependence of things and phenomena in their merged interpenetration and confrontation, including in syncretic type connections, but models this interdependence already in a logical, structurally formalized musical form. Sensual and rational in the musical form, which is the materialization of musical thinking, are in dialectical unity. Unlike, perhaps, from scientific knowledge, where the sensual platform is only the initial basis in the creation of a theoretical system, in artistic synthetic thinking, the sensual from the beginning to the end accompanies the creative process, transforming into a secondary sensibility, representing a sounding image of a previously only intelligible essence.
5. Musical thinking reveals the inner essence of social processes. If it is impossible to express this verbal means musical thinking takes over and ideological role. It is no coincidence that many informal associations associated with a particular musical direction as a means of adequately expressing a certain worldview. In addition, this is a manifestation of not just any mental states, but the expressions represented by alternative musical trends represent the philosophy of life of the most modern generation.
The epistemological function of musical thinking in relation to cultural values ​​is manifested in several aspects.
1. In a situation of life choice, the epistemological mechanisms of musical thinking are capable of initiating the process of life choice, inducing it, “sharpening” those mental forms that will show the need for this choice. This or that piece of music is capable of manifesting opposing forms of life, giving them a sounding form, demonstrating the situation of life choice by musical means.
2. The epistemological aspects of musical thinking “work” when it is through the relationship with a piece of music that an individual realizes the fact that life choice in general and orientation towards values, in particular, is not a one-time act, but a long-term state of life. Different works of musical art embody different artistic ideas, each of which is extremely valuable for the individual. Musical thinking itself creates an understanding of the multiplicity of cultural values ​​embodied in various musical works.
3. The epistemological mechanisms of musical thinking contribute to the identification of the inconsistency of different artistic ideas embodied in various musical works. Thus, the value of a human life may be the opposite of the value of giving one's life for another person. Each of the values ​​is embodied in the works of musical art, which equally have a high cultural significance. Entering into an artistic relationship with different pieces of music, the individual “cultivates” in himself an understanding of the equal significance of values ​​that are opposite in content, each of which can be in demand at different periods of his life.
4. The epistemological function of musical thinking always underlies the design reality created in the process of direct relation to generally significant samples of culture embodied in a musical work. A piece of music embodies values ​​that should be cultivated, created and broadcast. It is the epistemological function of musical thinking that leads to the understanding of this need.
The ontological function of musical thinking is to create a sound image, a sound picture of the world. The ontological function of musical thinking is associated with at least two factors.
1. Musical thinking as a reflection of the universal harmony of the Universe, refracted in specifically human means of recreating this harmony. Musical thinking here is understood as the most adequate human striving for the Absolute, given in a dynamic aspect.
2. Musical thinking is an expression of human content in a sensually given musical and artistic form.
The image of the world that is formed in the process of musical thinking necessarily has the status of a cultural value, since it is in it that the very design reality that constitutes the content of the value is embodied. The form of a piece of music, acting as a representative of the Absolute, Infinite, Whole, is an ideal, the highest cultural value for a person. Reaching the state of infinity is the ultimate goal for designing reality. A piece of music, acting as a representative of the Absolute, offers the individual a cultural form of value goal-setting.
The musical picture of the world is distinguished by the fusion of subject-object relations in the aspect of secondary sensibility. Secondary sensibility is a "removed" picture of the world in the human subject. The external world exists inside the subject in the form of sensations, perceptions, ideas. In addition, in the secondary sensibility, not only the external world is represented as a “world of phenomena”, but also the inner, deep essence outside the phenomenon of secondary sensibility, which is not objectively manifested. A work of art is always a manifestation, knowledge of this meaning, meaning, hidden from the direct gaze. Therein lies its value. Otherwise, the very vital necessity of a work of art disappears.
Musical thinking does not always have a holistic form. However, it creates such a picture of the world, which in itself contains the potential for its own development. It is this quality of the musical picture of the world that makes it a real cultural value. Music is a process of transition from non-existence to existence and vice versa. It demonstrates not the things themselves, but the process of their birth, formation, death, reproduction, etc. Thus, music is a border, a bridge that actualizes the very process of generating both the speculative and the physical world. The miracle of the emergence of “something” from “nothing” is presented, expressed, actualized in musical thinking.
The value aspect of the ontological function of musical thinking is that musical picture of the world creates the basis for designing reality, offers the highest examples, standards for a person, expressed in a harmonious sounding universal form.
The musical picture of the world is always in tune with its era, expresses its spirit and at the same time anticipates future social changes.
The methodological function of musical thinking is closely connected with the ontological and epistemological functions. The methodological function forms the process of cognition of objective reality through musical thinking. The musician enters the space of the ideal relationship of himself as a finite being with the infinite Absolute, whose representative is a work of musical art. It is important to emphasize that only the master himself can perform the methodological function, and to no extent this function can be imposed on him from the outside. Methodology is a system of principles and ways of organizing the creative process, it allows you to most effectively implement creative tasks.
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Musical thinking is the creator of cultural value in terms of methodology in a situation of life choice. This choice can be made by different grounds. The methodological function of musical thinking predetermines both the choice itself and its result. A musical work of art "demands" from the individual creativity to a life choice, forces to design reality by means of mobilization of all creative abilities of the person.
The methodological function is able to anticipate the final result, and in this sense it is in contact with the prognostic and heuristic functions. But specifically methodological function is the gradual planning of the creative process itself. The methodology of musical thinking is based on all previous design experience musical material. If there is a denial of existing values, then musical thinking is obliged to provide new principles of organization. art form that embodies a particular cultural value. Avant-garde pieces of musical art are no exception. They must necessarily prove their cultural value and reveal the method of their recreation.
The communicative function of musical thinking involves:
1) the presence of certain information that must be transferred to the recipient;
2) the presence of a certain semantic system, the language within which communication is carried out;
3) the presence of a perceiver, capable of "decoding" the sign structure into universal human meanings, originally embedded in a piece of music.
The communicative function of musical thinking appears in several forms.
1. It is closely connected with the meaning-generating function of musical thinking. The birth of a new meaning, first of all, involves going beyond the subjective-human to the level of the universal. This access to the level of universal and absolute knowledge in culture received the meaning of "Revelation". The new arises in the space of relationship, the "meeting place" of the composer, performer, listener and the Absolute.
This aspect of the communicative function of musical thinking is most adequate to the situation of creating and transmitting cultural values. There is no doubt that cultural values ​​are created through the implementation of all the functions of musical thinking without exception, but it is the communicative function that makes it possible to connect the subjective reality with the objective one, which is the condition and form of the value attitude in general, as well as its goal as a blessing. The highest good is the union of the finite and the infinite supreme value carried out through the communicative function of musical thinking.
2. Communication is impossible without a certain system, therefore, musical thinking has its own language that adequately reflects musical meanings. The problem of the sign aspect of musical thinking is currently far from its final resolution, which does not give reason to reject the very possibility of an objective "deciphering" of musical meanings by verbal means.
3. The problem of adequate perception of musical information requires significant efforts on the part of the recipient. In other words, the process of perception presupposes all the same stages of assimilation of musical content previously undertaken by the composer and performer, i.e., the process of perception presupposes the intense work of musical thinking. Perception of music (primarily it concerns classical works art) must be taught purposefully and methodically. Requires "initiation", familiarization with the cultural value of a work of art.
The whole of this study is devoted to the axiological function of musical thinking. It should be noted, however, that the value of musical thinking is revealed through the implementation of all the functions discussed above. Through its functioning, the musical thinking of the composer creates cultural values, the musical thinking of the performer and listener preserves and transmits them from individual to individual, from this historical era to another.
As G.G. Kolomiets, one should distinguish between the value of music and values ​​in music. The value of music itself is its purpose in culture. Values ​​in music are the value-semantic meanings with which the subject endows music, its forms. This study takes into account both aspects, but the emphasis is on how the art of music creates and disseminates values ​​within a culture.
L.A. writes about value dominants in the composers’ work as the basis of their worldview. Zaks. He solves the problem of mastering music in a culture where human-created values ​​occupy a central place, and notes the following: “If the content core of spiritual culture is the basic values ​​of the human spirit (aesthetic, moral, ideological), then music is the intonational way of existence of these values, moreover, in this or that intense subjective integrity and active orientation towards reality, which is a living human world-relationship.
L.A. Zaks identified five spiritual and cultural contexts of musical art: subject, spiritual and value (value-semantic), cultural and psychological, semiotic, and the context of socio-cultural forms of communication (methods of social functioning).
The basis of the value hierarchy is the principle of opposites. Each value corresponds to "anti-value": truth - delusion; good evil; beautiful - ugly; sublime - low. The value-semantic plan also includes the value content of individual "fragments" of the world, nature, human life and the humanistic problems emanating from them about the meaning of life, the purpose of man, the pursuit of beauty, goodness, happiness, conditioned by needs. The source of value orientations, according to the scientist, are monuments and era texts: works of art, works of philosophers, aestheticians, culturologists, art historians. Since values ​​are mastered by a person through the experience of a certain cultural objectivity, then, being central, the spiritual and value context is systematically connected with the subject and cultural-psychological.
The artistic attitude to the world is formed on a historically concrete basis. The spiritual and value structure of artistic consciousness determines the choice of life material, its ideological and emotional nature of perception and, accordingly, intonation and genre origins. These cultural layers are evaluated both by individual artists and by entire artistic movements. For example, the images of the world, man, freedom are filled with different meanings in the value system of Mozart and Glinka, Gluck and Liszt, Wagner and Prokofiev. The sounding tragedy of the music of Bach, Schubert, Mussorgsky is different, since it is included in various systems of understanding the world and value interpretation.
From the point of view of modern philosophy of culture, L.A. Sachs identified three main types of values ​​expressed in music: aesthetic, moral, worldview. The main types of values ​​are not only interconnected, but also penetrate each other, form a synthesis in a musical work of art. At the same time, the type and state of culture reveal the value dominant of musical figurative meaning: moral and ideological in Bach, Mahler, Shostakovich; aesthetic and worldview in Berlioz, Liszt, Wagner; aesthetic in Chopin, Rachmaninov, Ravel. Singling out the value dominant of a composer's work or movement is of the most general nature, but it is useful. The genre spectrum of creativity and genre-thematic preferences are determined by the value dominant of a particular culture. Appeal to the spiritual and value context is methodologically important not only because it gives an idea of ​​the spiritual environment for the existence of music, but also because “otherwise, it “turns” the music itself in a research way, deepens its comprehension, forcing one to realize, differentiate and then synthesize into a specific integrity the key ideological and semantic moments of its spiritual content, which are still often in the practice of musicological analysis remaining in vain, or dissolved in a purely emotional interpretation.
Thus, the axiological function of musical thinking is the creation of cultural forms, the relation to which is directly experienced as a value that has the nature of a project reality for a person. A musical work of art acts as a materialized value, it is a representative of the highest benefit, it is a criterion that separates positive and negative (a criterion for evaluation); it is the embodiment of the higher, separated from the lower. Achieving the values ​​embodied in a musical work of art becomes the basis for designing the future and comparing one's design with the design of the future of other people.
Musical thinking in the aspect of axiological function connects individual consciousness and mass, subjective reality with the objective one. The axiological function of musical thinking makes it a unique and indispensable mechanism for the culture of creating, preserving and disseminating cultural values.
The ideological function of musical thinking is closely connected with all of the above functions, especially with the axiological one. Here the ancient idea of ​​music as the ideal of the Universe, the form of the highest orderliness of human life, is actualized. Confucius believed that musical thinking creates a model of a society of great unity, a symphony, where individual sounds, occupying a strictly defined place, add up to harmony. Harmony directly depends on the rigid definition of the sound, it is impossible to change the sounds in their places and preserve the original harmony.
However, the ideological function of musical thinking affects not only the objectification of music as a representative of a harmoniously arranged Absolute, it is associated with the ideal human existence where all the structural elements of a person are ordered and dynamically harmonized: carnal, mental and spiritual; within the soul, the conscious, the unconscious and the subconscious are harmonized; inside the conscious, the sensual and the rational are harmonized, inside the unconscious, the instincts of life and death.
The ideological function of musical thinking consolidates confidence in the existence of the greatest cultural values, the limits of which are Truth, Goodness and Beauty. The reality of musical thinking gives the status of the reality of harmony and causes the need to harmonize one's individual and social being.
As V.I. Plotnikov, “historically, value can be understood as such a universal form of design, which is modified in the conditions of civilization, opening up new horizons for it. In this historical dimension, it is certainly higher, richer and more promising than the equally universal form of design that preceded it, which was useful for primitiveness. But from a transcendental point of reference (and the future is becoming more and more clear in modern times), none of them provides the optimal correspondence to the stability of social life, a sufficient diversity of culture and the free development of the individual. The scientist writes that the orientation to the benefit (ie, to the near future) creates the ultimate stability of the communal form of being, but at the expense of the minimum diversity of culture and the almost complete absence of personal self-consciousness. On the contrary, the focus on value (i.e., the very ability to project the distant future) creates the ultimate diversity of culture and sufficient freedom of personal self-determination, but at the expense of the maximum instability of social forms of being and the growing socio-cultural difference between individuals, which together gives rise to hatred, enmity , presence, distrust as inevitable companions of the civilizational form of human life.
The ideological function of musical thinking creates an ideal design reality, where social forms of being correspond to the diversity of culture and the free development of the individual, and also allows you to accept the existing being as it is - in the contradictory nature of its tendencies, values, ideals.
An analysis of the various functions of musical thinking allows us to propose another definition of musical thinking.
Musical thinking is a mental, meaning-generating, value-oriented activity, which is based on the intellectual operation of semantically defined blocks that arise in the space of relations between the composer and artistic musical material, on the one hand, and expressed in the symbolic specificity of the musical text; on the other hand, arising in the process of interaction between the listener and the performer and the musical work, the result of which is a musical artistic image. Musical thinking is able to reflect various spheres of objective reality, often inaccessible to verbal expression, to create and disseminate cultural values, acting as their materialized form.

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