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 like base element musical speech is the concentrate, the semantic foundation of music. Emotional reaction on intonation, penetration into its expressive essence - the starting point of the processes of musical thinking.

The Soviet sociologist A. Sohor, 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 based on 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. External cause internal psychological experiences turns out to be a channel of communication 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 piece of music personality;

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 play by 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.

images 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 elementary theory music can be considered the key to the successful flow of this stage. Most important result research, 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 every single thought process specific gravity 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 it 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 thinking as non-linearity and simultaneous versatility.

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 common sense the whole work

In addition to the basic 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 a comparison of 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 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 another, subsequent thought 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 not at all 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 of the 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 end result 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. Just for the younger school age educational 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 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, you should, 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 which movie or TV show this music is from, put down the fingering yourself, etc.

It is obvious that 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

The development of independent work skills proceeds successfully only if the student understands the artistic goal pursued by the teacher's instructions - This should give rise to a tendency to repeated repetitions, to what we call "the ability to work."

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, a 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 the most important feature musical communication is the "vagueness" of the addressee. A person in this communication constantly “slips” 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 only exist if, in some very important part, the laws musical creativity And musical perception will match..."

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 common 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, knowing reality, creates new reality in the form of material intellectual products - musical and acoustic texts, which become the property of musical culture.

3 . Musical thinking, which realizes the knowledge and creation of musical being, embraces the inner world of a 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 main goal his activities. 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 creative activity thinking, a person creates not only material artifacts of musical culture, but also himself. Both are of particular value and significance for musical culture.

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

Musical thinking is a specific intellectual process of understanding the originality, patterns of musical culture and understanding works of musical art.

The specificity, originality of musical thinking depend on the degree of development of musical abilities, as well as the conditions of that musical environment in which a person lives and is brought up.

Let us especially note these differences between Eastern and Western musical cultures.

Oriental music is characterized by monodic thinking.: the development of musical thought horizontally using numerous modal inclinations /over eighty/, quarter-tone, one-eight-tone, gliding melodic turns, richness of rhythmic structures, untempered sound ratios, timbre and melodic diversity.

European musical culture is characterized by homophonic-harmonic thinking: the development of musical thought along the vertical, associated with the logic of the movement of harmonic sequences and the development on this basis of choral and orchestral genres.

Musical thinking has been studied since ancient times. So the system of correlation of musical tones, discovered by Pythagoras in the course of his experiments with the monochord, can be said to have laid the foundation for the development of the science of musical thinking.

2. Types of thinking. Individual characteristics thinking

In the art of music visual-realistic thinking can be attributed to the activities of the performer, teacher, educator.

Visual-figurative thinking associated with specific listener perception.

Abstract / theoretical, abstract-logical / thinking is associated with the activities of the composer, musicologist. In connection with the specifics of musical art, one more type of thinking can be distinguished, which is characteristic of all types of musical activity - this is creative thinking.

All these types of musical thinking also have a socio-historical character, i.e. belong to a certain historical era. This is how the style of different eras appears.: the style of ancient polyphonists, the style of the Viennese classics, the style of romanticism, impressionism, etc. We can observe even greater individualization of musical thinking in creativity, in the manner of expressing musical thought, which is characteristic of a particular composer or performer. Each great artist, even if he acts within the framework of the style direction proposed by society, is a unique individuality / personality /.

Musical thinking is directly connected with the birth of an artistic image. In modern musical psychology, the artistic image of a musical work is considered as the unity of three principles - material, spiritual and logical. The material element includes:

- musical text

acoustic parameters,

Melody

harmony

metrorhythm,

dynamics,

Register,

Invoice;

To spirituality:

- sentiments,

associations,

Expression,

Feelings;

to the logical beginning:

When there is an understanding of all these principles of the musical image in the mind of a composer, performer, listener, only then can we talk about the presence of genuine musical thinking.

In musical activity, thinking is concentrated mainly on the following aspects:

Thinking through the figurative structure of the work - possible associations, moods and thoughts standing above them;

Thinking about the musical fabric of a work - the logic of the development of thought in a harmonic construction, the features of melodies, rhythm, texture, dynamics, agogics, shaping;

Finding the most perfect ways, methods and means of translating thoughts and feelings on an instrument or on music paper.

According to many musicians-teachers, modern music education is often dominated by the training of students' professional playing abilities, in which the replenishment of knowledge of an enriching and theoretical nature is slow.

Conclusion: The expansion of the musical and general intellectual outlook, actively contributing to the development of musical thinking, should be the constant concern of a young musician, because this increases his professional capabilities.

3. The logic of the development of musical thought

In the very general view the logical development of musical thought contains, according to the well-known formula of B.V. Asafiev, - initial impulse, movement and completion.

The initial impetus is given in the initial presentation of a topic or two topics, which is called an exposition or exposition.

After the exposition, the development of musical thought begins and one of the simple examples used here is repetition and comparison.

Another example of the development of musical thought is the principle of variation and alternation.

Promotion- this is a type of comparison in which each of the neighboring sections retains an element of the previous one and attaches a new continuation to it according to the formula ab-bc-cd.

progressive compression- this is when the dynamics increases, the tempo accelerates, the more frequent change of harmonies towards the end of a part or the whole work.

Compensation- when one part of the work compensates, balances the other in character, tempo and dynamics.

4. Development of musical thinking

According to the general pedagogical concept of a well-known teacher M.I. Makhmutova, for the development of students' thinking skills, it is important to use problem situations. PS can be modeled through:

Collision of students with life phenomena, facts that require theoretical explanation;

Organization of practical work;

Presenting to students life phenomena that contradict the previous worldly ideas about these phenomena;

Formulation of hypotheses;

Encouraging students to compare, compare and contrast their knowledge;

Encouraging students to a preliminary generalization of new facts;

Research tasks.

With regard to the tasks of musical education, problem situations can be formulated as follows.

To develop thinking skills in the process of perceiving music, it is recommended:

Reveal the main intonational grain in the work;

Determine by ear the stylistic directions of a musical work;

Find a piece of music by a certain composer among others;

Reveal the features of the performing style;

Identify harmonic sequences by ear;

Match the taste, smell, color, literature, painting, etc. to the music.

To develop thinking skills in the process of performing, you should:

Compare the performance plan of different editions;

Find the leading intonations and strongholds along which musical thought develops;

Draw up several performance plans for the work;

Perform a work with various imaginary orchestrations;

Perform the work in a different imaginary color.

To develop thinking skills in the process of composing music:

Melodically develop harmonic sequences based on general bass, bourdon, rhythmic ostinato;

Pick up familiar songs by ear;

Improvise pieces of a tonal and atonal character for a given emotional state or artistic image;

The embodiment of speech, everyday dialogues in musical material;

Improvisation for different eras, styles, characters;

Stylistic, genre diversity of the same work.

5. Pedagogical prerequisites for the formation of musical thinking in adolescent schoolchildren (in the context of music lessons)

Musical thinking is an important component of musical culture. Therefore, the level of its development largely determines musical culture and adolescent students. The tasks put forward by the music program:

Use music in the development of the emotional culture of students;

To form in them the ability to consciously perceive musical works;

Think creatively about their content;

To influence the subject through music;

Develop student performance skills.

Accordingly, the requirements for music lesson(in a secondary school, in a music school, etc.), which should be holistic, aimed at emotionally meaningful communication of students with music.

The perception of musical works by adolescent students involves:

- their awareness of their emotional observations, experiences;

- clarification of the degree of their compliance with the content of the musical work, i.e. its comprehension, evaluation based on the assimilation of a certain system of knowledge and ideas about music as an art.

Based on the analysis of music programs, taking into account the psychological and pedagogical aspects of the musical activity of adolescent schoolchildren, a number of factors can be identified that in a certain way determine the levels of formation of their musical thinking skills.

1. Psychological and pedagogical factors:

Natural abilities (emotional responsiveness to music, sensory abilities: melodic, harmonic and other types musical ear, feeling musical rhythm allowing students to successfully engage in musical activities;

Individual-characterological features of the child, contributing to the identification of the quality of his emotional and volitional sphere (the ability to concentrate, the skills of logical and abstract thinking, receptivity, impressionability, development of ideas, fantasies, musical memory);

Features of the motivation of musical activity (satisfaction with communication with music, identification of musical interests, needs);

2. Analytical and technological factors:

The presence of a certain amount of musical-theoretical and historical knowledge among students, the skills of understanding the features of the musical language, the ability to operate with them in the process of musical activity.

3. Artistic and aesthetic factors:

The presence of a certain artistic experience, the level of aesthetic development, sufficient maturity musical taste, the ability to analyze and evaluate musical works from the standpoint of their artistic and aesthetic value and significance.

The presence of certain components of musical thinking in adolescent students, the levels of its formation can be established using the following criteria in the process of research pedagogical activity.

1. Characteristics of the reproductive component of musical thinking:

Interest in musical activities;

Knowledge of the specifics of the elements of the musical language, their expressive capabilities, the ability to operate musical knowledge in the process of perception and performance of musical works (as directed by the teacher).

2. Characteristics of the reproductive and productive component of musical thinking:

The presence of interest in the performance of folk and classical works of song genres;

The ability to adequately perceive and interpret the artistic image of the song;

The ability to create your own plan for its execution, arrangement;

The ability to objectively evaluate their own performance of the song;

The ability to holistically analyze a musical work from the point of view of its dramaturgy, genre and style features, artistic and aesthetic value.

3. Characteristics of the productive component of musical thinking:

The need for creativity in various types of musical activity;

Development of a system of musical and auditory representations, the ability to use them in practical musical activities;

Special artistic abilities (artistic-figurative vision, etc.);

The ability to operate with the means of musical language (speech) in the process of creating their own musical samples.

Literature

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Structure of musical thinking

The structure of musical thinking must be considered in unity with the structure of artistic thinking.

The analysis of scientific literature makes it possible to single out two structural levels in the phenomenon of artistic thinking, corresponding to two levels of cognition - emotional and rational. The first (emotional) includes artistic emotions and representations in their synthetic unity, and for some authors, artistic emotions become for artistic representations that “special non-conceptual form in which artistic thinking". . The rational level includes the associativity and metaphorical nature of artistic thinking. . Thus, mental activity appears in the "unity of the emotional and rational." S. Rubinshtein speaks about the same. . The connecting link between the "sensual" and "rational" levels of artistic thinking is the imagination, which has an emotional-rational nature. This is also confirmed by the researchers L. Vygotsky, V. Matonis, B. Teplov, P. Yakobson. .

Now, having an idea of ​​the structure of artistic thinking, discussed above, let's outline the levels and single out the constituent components of musical thinking.

First of all, we proceed from the position that musical thinking, being a product of intellectual activity, obeys the general laws of human thinking and, therefore, is carried out with the help of mental operations: analysis, synthesis, comparison, generalization.

Second the starting point is that musical thinking is one of the types of artistic thinking.

Third - is thinking that has a creative character, and the fourth - it manifests specific properties music.

The process of thinking was deeply investigated by the Soviet psychologist S. Rubinshtein. The basis of his concept S.L. Rubinstein put the following idea: “the main way of existence of the mental is its existence as a process or activity”, thinking is a process because it “is a continuous interaction of a person with an object”. Both sides of thinking appear in unity. “The process of thinking is, first of all, the analysis and synthesis of what is distinguished by analysis, this is then abstraction and generalization ...”. [ibid., p. 28]. Moreover, the scientist distinguishes between two different levels of analysis: the analysis of sensory images and the analysis of verbal images, noting that at the level sensory knowledge there is a unity of analysis and synthesis, which appears in the form of comparison, and in the transition to abstract thinking, analysis appears in the form of abstraction. Generalization is also two-level: in the form of generalization and generalization proper [ibid., p. 35].

Sharing the views of Rubinstein, we cannot but take into account the opinion of another researcher, V.P. Pushkin, who proved that in the study of productive creative thinking, the procedural side of thinking should be in the foreground. Based on the above assumptions, we considered it possible to turn in our study to the procedural side of musical thinking, which is reflected in Scheme 1.

Scheme 1. The structure of musical thinking

As we see from the presented scheme, the scientist in musical thinking distinguishes two structural levels, conventionally calling them "sensual" (I) and "rational" (II). He refers the components of emotional-volitional (No. 1) and musical performances (No. 2) to the first level.

At the same time, musical (auditory) imagination (No. 3) acts as a link between them.

The second level of musical thinking is represented by the following components: associations (No. 4); creative intuition (No. 5); logical methods of thinking, including analysis, synthesis, abstraction, generalization - group of components No. 6; musical language (No. 7).

This is a schematic expression of the structure of musical thinking as a process.

Thus, the process of thinking begins with an unconscious comparison of the sensory "memory" of past experience and the experience of new musical information.

The further success of the implementation of the cognizable process depends on the level of musical perception. Since the main function of thinking, when perceiving a piece of music, is reflection and processing of the information received, then musical thinking must receive the relevant information, operate with it, make generalizations and conclusions. One of the main components of musical thinking is the mastery of musical information. This side of it is called semantic.

The process of mastering the musical language requires the inclusion of the whole complex of musical abilities: musical memory, musical ear, sense of rhythm.

Now let's take a closer look at the structural components of musical thinking.

According to B. M. Teplov, “the perception of music is a musical knowledge of the world, but emotional knowledge.” Intellectual activity is a necessary condition for the perception of music, but its content cannot be comprehended in a non-emotional way.

Emotions are part of the mental mechanisms of musical thinking. Modern science proves that emotions and feelings develop and play exclusively important role in the structure of human mental activity. Ideas about the unity of cognitive and emotional processes permeate all of Rubinstein's works. The development of intellectual emotions occurs in unity with the development of thinking. The semantic formation becomes the source of emotions, which is the main stimulus, motive in human activity, and thus emotions perform the regulatory function of activity.

P. M. Yakobson refers to intellectual emotions as a feeling of surprise, a sense of confidence, pleasure from a mental result, a desire for knowledge. Music is, first of all, an area of ​​feelings and moods. In music, as nowhere else in the arts, emotions and thinking are closely intertwined. The process of thinking here is saturated with emotions. Musical emotions are a kind of artistic emotions, but a special kind. “In order to arouse emotion ... as something meaningful, the system of sounds called music must be reflected in an ideal image,” says Teplov, “emotion, therefore, cannot be anything but a subjective coloring of perception, ideas, ideas.” To encourage musical emotions, the pitch relations should develop into intonation and turn into an internal subjective image. This is how the processes of perception and thinking intertwine and interact.

Like any activity, music is associated with the attitudes, needs, motives and interests of the individual. One of the leading and meaning-forming elements in it is the cognitive motive. Thus, the thought process in music and its results become the subject of emotional evaluation from the point of view of cognitive motives. These emotional characteristics in psychological science are usually called intellectual emotions. They reflect the relationship between the cognitive motive and the success or failure of mental activity.

Emotions of success (or failure), pleasure, conjecture, doubt, confidence associated with the results of mental work, in a musical way, are very important in musical activity. Emotions of pleasure are the first phase of the cognitive process. If the teacher is able to accurately and correctly direct the thought and hearing of the student, then a positive result is achieved in the development of the personality of the musician. However, the intellectual and auditory experience accumulated by students before is important.

The second phase of the musical-cognitive process is the emotion of conjecture. It is associated with solving the problem of the emergence and formation of a musical image, and in music, as a rule, there are no ready-made answers.

The need to overcome obstacles on the way to the goal is usually called the will. In psychology, will is defined as a person's conscious regulation of his behavior and activities. In musical activity (composing, performing and listening) - the will performs the functions of a goal, an incentive to action and an arbitrary regulation of actions. Volitional processes are closely connected not only with emotions, but also with thinking.

Taking into account the close unity of volitional and emotional processes, we separate them into one component of thinking - emotional-volitional.

Let us analyze such components of musical thinking as representations, imagination, and so on. Representations are "images of objects that acted on the human senses, restored from traces preserved in the brain in the absence of these objects and phenomena, as well as an image created by the conditions of productive imagination." .

The formation of representations, according to Teplov's theory, is based on three principles:

a) representations arise and develop in the process of activity;

b) their development requires a rich material of perceptions;

c) their “richness”, accuracy and completeness can be achieved only in the process of perception and learning. From the broader concept of “musical performances”, narrower ones should be distinguished: “musical-figurative representations”, “musical-auditory” and “musical-motor”.

Thus, musical performances are not only the ability to visualize and anticipate pitch, rhythmic and other features, but also the ability to represent musical images, as well as the activity of "auditory imagination".

Musical performances are the core of the musical imagination. Imagination is a necessary side of creative activity, in the process of which it acts in unity with thinking. A prerequisite for the high development of the imagination is its education, starting from childhood, through games, training sessions, familiarization with art. A necessary source of imagination is the accumulation of diverse life experiences, the acquisition of knowledge and the formation of beliefs.

Creative musical imagination is, according to Teplov, "auditory" imagination, which determines its specificity. It obeys the general laws of the development of the imagination. It is characterized by involvement in the process of both musical and aesthetic and musical and artistic activities, the results of which are not only the creation of a work of musical art, but also the creation of performing and listening images.

When creating a work, the composer puts his vision of the world, his emotional mood into the music. He misses the events that excite his soul, which seem to him significant and important - not only for himself, but also for society - through the prism of his "I"; he comes from his personal life experience. The performer, on the contrary, recreates in his imagination the ideological and aesthetic position of the author, his assessment of the existing. In fact, it recreates a picture of his self-expression. By studying the era, the individual style of the pioneering artist, the performer can achieve the maximum approximation to his idea, however, in addition to recreating in his imagination the self-expression of the creator of the work, he must maintain his assessment, his ideological and aesthetic position, the presence of his own “I” in the completed work. Then the work, written not by him, becomes in the process of creation, as it were, his own. The process of creation and its “additional creation” can be separated by a significant time interval, in which case the performer puts into his performance the perception and evaluation of the work from the position of modernity, he interprets this work, considering it through the prism of today's consciousness. But, even with the same life experience, musical equipment, two people listening to the same work can understand and evaluate it in completely different ways, seeing different images in it. It depends on personal judgment and imagination. V. Beloborodova notes that “the process of perception of music can be called the process of co-creation of the listener and the composer, understanding this as empathy and internal recreation by the listener of the content of the musical work composed by the composer; empathy and recreation, which is enriched by the activity of the imagination, one's own life experience, one's feelings, associations, the inclusion of which gives the perception a subjective-creative character.

Both representations and imagination are mediated by volitional processes. In music, auditory predictive self-control is the decisive link between musical-figurative and musical-auditory representations, as types of imagination representations and their sound embodiment.

One of the main ways to create a complex musical imagery, including sound, motor, expressive-semantic, conceptual and other components are associations. Developed associativity - essential side musical thinking: there is a directed, rather than free association, where the goal is the guiding factor (which is typical for the thought process as a whole).

Among other conditions conducive to the formation of associations in music are memory, imagination and intuition, attention and interest. Let us single out intuition from all these components as the most important of all included by a person in the process of musical thinking.

Intuition plays an important role in musical and mental activity. The degree of development of intuition enriches musical thinking and imagination. Intuition acts as one of the main mechanisms of musical thinking, providing movement from the unconscious to the conscious, and vice versa. "She represents peculiar type thinking, when the individual links of the process of thinking are carried unconsciously, and it is the result, the truth, that is most clearly realized. . Intuition acts as a kind of “rod” on which other procedural components of musical thinking are “strung” and is conditioned by emotional responsiveness, high level emotional regulation, developed imagination and ability to improvise.

The thought process described by Rubinstein, in fact, reflects the course logical thinking. Its components: analysis, synthesis, abstraction, generalization, comparison.

Analysis consists in the mental division of the object under study into its constituent parts and is a method for obtaining new knowledge.

Synthesis, on the contrary, is the process of combining into a single whole parts, properties, relationships, identified through analysis.

Abstraction is one of the sides, forms of cognition, which consists in a mental abstraction from a number of properties of objects and relations between them and the isolation, isolation of any property or relationship.

Generalization - the transition from the individual to the general, from less general to more general knowledge.

Comparison is a comparison of objects in order to identify similarities or differences between them.

Many studies deal with the operations of musical thinking - comparison, generalization, analysis. Comparison is the main method of musical thinking. Reflecting on this, Asafiev writes: “All knowledge is a comparison. The process of perceiving music is the comparison and difference of repeated and contrasting moments. In the musical form, logical patterns of several levels are manifested: firstly, the logic of connecting individual sounds and harmonies into motives, secondly, the logic of connecting motives into larger units - phrases, sentences, periods, thirdly, the logic of connecting large units of text into sections of the form, parts of the cycle and the work as a whole .

Even the musical intonations themselves are a generalization of a number of properties inherent in the sounds of reality. The means of musical expressiveness based on them (mode, rhythm, etc.) are also a generalization of pitch and temporal relations; genres, styles are a generalization of all means of expression that exist in a given era. . N. V. Goryukhina defines generalization as a sequential integration of the levels of structuring of the intonation process. Generalization collapses the process by projecting the time coordinate onto one point of the integral representation. In this the author sees a specific feature of musical thinking. . For the emergence of a generalization, it is necessary to repeatedly perceive and compare phenomena of the same kind. The sense of style speaks to the greatest extent about the formation of the generalization. The selection of stylistic similar works is a difficult task and corresponds to a rather high level of musical development.

Musical thinking is manifested not only in generalization, but also in the awareness of the structure of a musical work, the regular connection of elements, the distinction of individual details. The ability to analyze the structure of a work is also referred to as a “sense of form”. Considering it an important component of musical thinking, L. G. Dmitrieva defines it as “the complex development of a number of musical and auditory representations: elementary musical structures, means of expression, principles of composition, compositional subordination of parts of a work to a single whole and their expressive essence. . Form analysis is based on a conscious, gradual comparison of each moment of sound with the previous one. . For the listener, deprived of the sense of form, the music does not end, but ceases. .

In the works of Medushevsky, the problems of musical thinking were considered from the point of view of the doctrine of duality created by him. musical form: “The most striking thing in the musical form is its paradoxicality, the combination of the incompatible in it. The laws of its sound organization are deep, wise and very precise. But in the captivating sounds of music - and the elusive charm of mystery. Therefore, the images of the musical form that appear before us, on the one hand, in the theories of harmony, polyphony, composition, in the teachings of meter and rhythm, and on the other hand, in the descriptions of the finest performing effects, in the observations of musicians, are so strikingly dissimilar. .

Medushevsky believes that it is in the intonational form that the entire experience of human communication is accumulated - “ordinary speech in its many genres, manner of movement, unique in every era and for different people .... All these untold riches are stored precisely in the intonation form - in a variety of intonations , plastic and pictorial signs, in dramatic techniques and integral types musical dramaturgy". . That is, understanding the internal structure of a musical work and penetration into the expressive and semantic subtext of intonation makes musical thinking a full-fledged process.

Speaking of this, it is necessary to move on to the question of the relationship between the philosophical categories of form and content and consider the features of their manifestation in the art of music.

IN modern science content is considered as everything that is contained in the system: these are elements, their relationships, connections, processes, development trends.

The form has several characteristics:

Way of external expression of content;

Way of existence of matter (space, time);

Internal organization of content.

buildings. This is especially true for instrumental music, vocal music without words (vocalises) - that is, non-program music (without words, without stage action), although the division of music into the so-called "pure" and software is relative.

The origins of musical depiction and expressiveness lie in human speech. Speech with its intonations is a certain prototype of music with its musical intonations.

As for the musical form, the complexity of its perception lies in the temporary nature of existence. The composer's consciousness is able to simultaneously cover the contour of the musical form, and the listener's consciousness comprehends it after listening to the musical work, which is delayed and often requires repeated listening.

The word "form" is understood in relation to music in two senses. Broadly - as a set means of expression music (melody, rhythm, harmony, etc.), embodying its ideological and artistic content in a musical work. In a narrower sense, as a plan for the deployment of parts of a work, connected in a certain way with each other.

IN real work artistic sense manifests itself through the form. And only thanks to close attention to the form, it is possible to comprehend the meaning, content. A piece of music is what is heard and what is listened to - for some with a predominance of sensual tone, for others - intellect. Music lies and exists in unity and in the ratio of creativity, performance and "listening" through perception. “Listening, perceiving music and making it a state of their consciousness, listeners comprehend the content of the works. If they do not hear the form as a whole, they will "grab" only fragments of the content. All this is clear and simple” [ibid., pp. 332-333]

It is necessary to take into account the fact that thinking is inextricably linked with language, which is realized through speech. As you know, music is not a continuous stream of noise and overtones, but an organized system of musical sounds, subject to special rules and laws. To understand the structure of music, it is necessary to master its language. It is no coincidence that the problem of musical language is considered central in the study of the problem of musical thinking. "All forms of musical thinking are carried out on the basis of the musical language, which is a system of stable types of sound combinations along with the rules (norms) for their use" .

The musical language, like the verbal one, is built from structural units (signs) that carry a certain meaning: sign structures include leitmotifs, melodies-symbols (for example, in Orthodoxy - “Lord have mercy”), individual turns (Schubert’s sixth - motive tenderness and sadness; Bach's descending slow second intonation is a symbol of passions, etc.) "signs of some genres (for example, the pentatonic scale among the Hungarians and Eastern peoples), cadences, as the end of musical thought, and much more.

The musical language arises, forms and develops in the course of musical, historical practice. The connection between musical thinking and musical language is deeply dialectical. The main characteristic of thinking is novelty, the main characteristic of language is relative stability. The real process of thinking always finds some existing state of the language, which is used as a base. But in this creative process of thinking, language develops, absorbs new elements and connections. On the other hand, the musical language is not an innate given, and its development is impossible without thinking.

1. Thus, the analysis of the literature on the research problem allows us to judge that:

Musical thinking is a special kind of artistic thinking, because, like thinking in general, it is a function of the brain inherent in every person. The main thing in conveying the content of a musical work is intonation.

Musical thinking is 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 rational. The formation and development of students' musical thinking should be based on a deep knowledge of the laws of musical art, the internal laws of musical creativity, on understanding the most important means of expression that embody the artistic and figurative content of musical works.

2. Indicators of the development of musical thinking are:

The volume of the musical-intonation dictionary - an oral dictionary compiled by each person from the most “speaking to him”, “lying by ear” fragments of music, intoned aloud or to himself;

A system of intonation relationships and relationships characterized by the ability to establish genre, stylistic, figurative-expressive, dramatic connections both within one work and between several works by one or different authors, i.e., possession of the norms of the musical language;

Mastering musical and artistic emotions, a high degree of emotional and volitional regulation;

The development of the imagination;

The development of the associative sphere.

3. Musical thinking has structure. Modern musicology distinguishes 2 structural levels: "sensual" and "rational". The first of these levels, in turn, includes components: emotional-volitional and musical representations. The second is based on components: associations, creative intuition, logical techniques. The connecting link between the two levels of musical thinking is musical (“auditory”) imagination.

Musical thinking

The purpose of the lesson: show in practice some methods of working on a piece of music that contribute to the development of the student's musical thinking.

Educational task: to form and improve the professional skills necessary for mastering the culture of musical performance.

Development task: to develop the student's musical and artistic thinking, creating conditions in the classroom for the formation and development of his cognitive interests, creative activity; to promote the development of the intellectual, emotional and volitional spheres of the individual.

Educational task: to form a steady interest in their future profession, the desire for self-improvement (self-control, self-esteem, self-regulation) and creative self-realization.

Equipment: multimedia equipment for slide demonstrations, two pianos (for a student and a teacher), a book rack with literature on the problem.

Music material used: I. Bach “Invention” (two-part C major), Bertini “Etude”, I. Blinnikova “Parma”, W. Mozart “Sonatas” (A minor, G major), S. Prokofiev “Morning”, “Fairy tale ”, P. Tchaikovsky “Waltz”, “Baba Yaga”, R. Schumann “The Bold Rider”.

Lesson plan

1. Introduction.

2. Domestic musicology about thinking.

3. Musical thinking, its types and development.

4. Developing education as the basis for improving the “musical mind” (NG Rubinshtein).

5. Ideomotor preparation of a student.

6. Conclusions.

What is musical thinking?

What is its inner nature?

– What are the features of its development?

– What should a teacher do to develop the musical thinking of his students?

The answer to the questions that interest us, apparently, must be sought at the intersection of musicology, psychology and pedagogy. (showing the literature used in the preparation).

Question to those present: “What is more important in the process of musical education: to develop the emotional sphere of a student of music or his intellect?”. We will not rush to answer, but we will try to draw conclusions at the end of the lesson.

slide 1*

Some facts from historical development theories of musical thinking

For the first time the term musical thought” is found in the musical-theoretical works of the 18th century (historian Forkel, teacher Kvanz).

The concept of "m musical thinking”- I. Herbart (1776-1841).

The concept “ associative representations”- G. Fechner (1801-1887).

The concept “ musical logic”- G. Riemann (1849-1919).

The concept “ musical psychology- E Kurt (1886-1946).

____________________________

* slide texts are in italics

RUSSIAN MUSIC KNOWLEDGE ABOUT THINKING

Among the creators of concepts related to musical thinking, one of the first places belongs to B.A. Asafiev. 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.

Research in the field of musical thinking was continued by B.L. Yavorsky, L.A. Mazel, V.V. Medushevsky, V. A. Zukkerman and others.

Scientist P. P. Blonsky wrote: "An empty head does not reason: the more experience and knowledge, the more capable it is of reasoning." And to teach to reason, to develop the musical thinking of future music teachers in the lessons of the main musical instrument is the primary task of the teacher.

The process of musical education brings together the two main areas of a student's mental activity - intellect and emotions.

slide 2

V. G. Belinsky"Art is thinking in images."

G. G. Neuhaus“The teacher of playing any instrument should be, first of all, teacher, i.e. elucidator and interpreter of music. This is especially necessary at the lower levels of the student's development: here it is necessary complex method teaching, i.e. the teacher must bring to the student not only the “content” of the work, not only infect him with a poetic image, but also give him a detailed analysis of the form, structure in general and in detail, harmony, melody, polyphony, piano texture, in short, it should be both a music historian and a theorist, a teacher of solfeggio, harmony and piano playing.”

MUSICAL THINKING, ITS TYPES AND DEVELOPMENT

Musical thinking- rethinking and generalization of life impressions, reflection in the mind of a person of a musical image, which is a unity of emotional and rational.

Conclusion:"Music is a reflection of life."

Musical thinking includes analysis and synthesis, comparison and generalization. Analysis and synthesis make it possible to penetrate into the essence of the work, to understand its content, to evaluate the expressive possibilities of all means of musical expression. The ability to generalize is based on the principle of systematic knowledge. The method of comparison activates the existing system of associations and, as a mental operation, carries a contradiction between the available knowledge and the knowledge necessary to solve the tasks. This technique is the basis for acquiring new knowledge.

On the example of the previously performed “Waltz”, the main mental operations in relation to music are considered: analysis - division into components (accompaniment and melody), comparison - comparison (waltz for listening and waltz for dancing), generalization - association according to a common feature (genre - triple meter in all waltzes, the chord texture of the accompaniment, etc.).

slide 3

Intensive development of thinkingis carried out when the student acquires knowledge:

• about the composer's style;
• about the historical era;
• O musical genre;
• about the structure of the work;
• about the features of the musical language;
• about the composer's intentions.

The effectiveness of the development of the student's intellectual abilities is facilitated by the phased work on the lessons on a piece of music ( 3 stages):

1. Coverage as a whole of its content, character, logic of the development of musical thought (style, genre, historical era). Recommended: the method of holistic analysis of a musical work, the method of comparative characteristics, the method of generalization and the method of historical and stylistic deduction (genre).

2. Replenishment of knowledge in the field of musical form and means of musical expression through the method of differentiated analysis.

3. Emotional perception of a musical work and its embodiment in a sound image. At this stage, for more efficient development figurative thinking it is expedient for the student to systematically replenish his knowledge in the field related arts. Recommended: Method complex analysis historical era, the method of verbal interpretation of an artistic image, the method of artistic comparison.

Step-by-step work on a piece of music intensively affects the development of professional and intellectual qualities of students and allows you to successfully carry out independent study musical material.

In practice, all three stages often occur simultaneously.

Exists two main working methods with a student in the practice of teaching musical performance:

1. Display, i.e. demonstration of how to play something on an instrument ( illustrative method).

2. Verbal explanation.

Question to those present:

Which of these methods should prevail? Opinions differ.

When the center of gravity in learning shifts to the development of the student, the formation of his intellect, the enrichment of his artistic and mental potential, the method of verbal explanation turns out to be the most effective.

A performance on an instrument can only give a direct emotional impulse to the student.

Creative task for a student: mentally compose (choose the means of musical expression - mode, tempo, dynamics, texture, register, etc.) two pieces with the names “Morning” and “Fairy Tale”. A student in the role of a composer talks about what means she would use to write these program pieces.

The teacher performs two plays by S. Prokofiev - "Morning" and "Fairy Tale". At comparative analysis We find much in common between the author's and the music composed by the student in the set of certain means of musical expression.

Conclusion: a certain program, laid down in the title of the work, gave impetus to the creative imagination of the student, brightly revealed her artistic and mental potential.

slide 4

Types of musical thinking:

1. Visual-figurative thinking (listener);

2. Visual-effective thinking (performer);

3. Abstract-logical (composer).

ARTISTIC IMAGE

In modern psychology, an artistic image is considered as a unity of three principles - material (melody, harmony, metrorhythm, dynamics, timbre, register, texture), spiritual (moods, associations, various figurative visions) and logical (formal organization of a musical work - its structure, sequence parts).

The student performs the play “The Bold Rider” by R. Schumann.

Teacher. In what form is this piece of music written? What signs can be used to determine the number of parts in this music?

Student. The play is written in a three-part form, because each part has a complete look, accompanied by a change in mood, a change in tonal plan.

Conclusion: the structure of the work contributes to the disclosure of the figurative content of music. Only with the understanding and unity of all these principles of the musical image in the mind of the performer (listener) can one speak of the presence of genuine musical thinking. Feelings, sounding matter and its logical organization.

DEVELOPMENT OF MUSICAL THINKING

The initial impetus for turning on the processes of thinking is often a problematic situation in which the existing knowledge does not meet the new requirements. Problem situations in relation to the tasks of musical education can be formulated as follows:

1. To develop thinking skills in the process of perceiving music:

o identify the main intonational grain;

o determine the style of the work by ear;

o select works of art and literature in accordance with the figurative structure of a musical work;

o find a piece of music by a certain composer among others, etc.

2. To develop thinking skills in the process of performing:

o compare the performance plans of musical works in their various editions;

o draw up several performance plans for one work;

o perform the same work with different imaginary orchestration, etc.

Let's illustrate this with another example. The performance of the student sounds "Invention" by J. Bach.

Conclusion: the subjective factor of the performer (editor) leaves its mark on the understanding of this or that piece of music.

DEVELOPING EDUCATION AS A BASIS FOR IMPROVING THE “MUSICAL MIND”

Foundation developing learning in modern education music are the following main musical and pedagogical principles.

slide 5

Principles of developing music education:

1. Increase in the volume of musical material used in educational practice (expansion of the repertoire);

2. Accelerating the pace of passing a certain part of the educational material;

3. Increasing the measure of the theoretical capacity of musical performance classes (general intellectualization of the lesson in the musical-performing class);

4. Departure from passive - reproductive (imitative) ways of activity (encouragement of students to activity, independence and creative initiative);

5. Introduction of modern technologies, in particular - information;

6. Awareness by the teacher of the main strategic objective The student must be taught to learn.

In psychology, the position has been established that artistic thinking is thinking in images based on specific ideas. In modern musical psychology, the artistic image of a musical work is considered as a unity of three principles - material, spiritual and logical.

The material basis of a musical work appears in the form of acoustic characteristics of sounding matter, which can be analyzed in terms of such parameters as melody, harmony, meter rhythm, dynamics, timbre, register, texture. But all these external characteristics works cannot give in themselves the phenomenon of an artistic image. Such an image can only arise in the minds of the listener and the performer, when he connects his imagination and will to these acoustic parameters of the work, colors the sounding fabric with the help of his own feelings and moods. Thus, the musical text and the acoustic parameters of a musical work constitute its material basis. The material basis of a musical work, its musical fabric is built according to the laws of musical logic. The main means of musical expressiveness - melody, harmony, metrorhythm, dynamics, texture - are ways of connecting, generalizing musical intonation, which in music, according to the definition of B.V. Asafiev, is the main carrier of the expression of meaning

The spiritual basis is moods, associations, various figurative visions that create a musical image.

The logical basis is the formal organization of a musical work, from the point of view of its harmonic structure and sequence of parts, which forms the logical component of the musical image. Intonation, subject to the laws of musical thinking, becomes in a piece of music aesthetic category that combines the emotional and the rational. Experience of the expressive essence of the musical artistic image, understanding of the principles of the material construction of the sound fabric, the ability to embody this unity in the act of creativity - composing or interpreting music - this is what musical thinking is in action.

When there is an understanding of all these principles of the musical image in the minds of both the composer, the performer and the listener, only then can we speak of the presence of genuine musical thinking.

In addition to the presence in the musical image of the three above-mentioned principles - feelings, sounding matter and its logical organization - there is another important component the musical image is the will of the performer, who connects his feelings with the acoustic layer of a musical work and conveys them to the listener in all the splendor of the possible perfection of sound matter. It happens that a musician very subtly feels and understands the content of a piece of music, but in his own performance various reasons(lack of technical preparedness, excitement…) the real performance turns out to be of little artistic value. And it is the volitional processes responsible for overcoming difficulties in achieving the goal that turn out to be the decisive factor in the implementation of what was conceived and experienced in the process of home preparation.

For the development and self-development of a musician, based on what has been said, it is very important to understand and correctly organize all aspects of the musical creative process, starting from its conception to a specific embodiment in a composition or performance. Therefore, the thinking of the musician is concentrated mainly on the following aspects of activity:

• - thinking over the figurative structure of the work - possible associations, moods and thoughts behind them.
• - thinking about the material fabric of the work - the logic of the development of thought in a harmonic construction, the features of the melody, rhythm, texture, dynamics, agogics, shaping.
• - finding the most perfect ways, methods and means of translating thoughts and feelings on an instrument or on music paper.

“I have achieved what I wanted,” - this is the final point of musical thinking in the process of performing and composing music, ”G.G. Neuhaus said.

Professional dilettantism. In modern music education, the training of students' professional playing abilities quite often prevails, in which the replenishment of knowledge of a theoretical nature is slow. The scarcity of musicians' knowledge of music gives grounds to speak of the notorious "professional dilettantism" of instrumental musicians who do not know anything that goes beyond the narrow circle of their direct specialization. The need to learn several works during the academic year according to a given program does not leave time for such types of activities necessary for a musician as selection by ear, transposition, sight reading, playing in an ensemble.

As a result of the foregoing, a number of circumstances can be identified that hinder the development of musical thinking in the educational process:

• 1. Students of musical performance in their daily practice deal with a limited number of works, master the minimum educational and pedagogical repertoire.
• 2. The lesson in the performing class, turning in essence into a training of professional-playing qualities, is often depleted in content - the replenishment of knowledge of a theoretical and generalizing nature occurs slowly and ineffectively among instrumental students, the cognitive side of learning is low.
• 3. Teaching in a number of cases is clearly authoritarian in nature, directing the student to follow the interpretive model set by the teacher, without developing adequate independence, activity and creative initiative.
• 4. Skills and skills that are formed in the process of learning to play the musical instrument, turn out to be limited, insufficiently wide and universal. (The student demonstrates the inability to go beyond the narrow circle of plays worked out hand in hand with the teacher in practical play activities).

The expansion of the musical and general intellectual horizons should be the constant concern of a young musician, because this enhances his professional capabilities.

To develop thinking skills in the process of perceiving music, it is recommended:

• - to identify the main intonational grain in the work;
• - identify by ear style direction musical work;
• - to identify the features of the performing style when different musicians interpret the same work;
• - identify harmonic sequences by ear;
• - pick to musical composition works of literature and painting in accordance with its figurative structure.

To develop thinking skills in the process of performing, you should:

• - to compare performance plans of musical works in their various editions;
• - to find in a piece of music the leading intonations and strongholds along which musical thought develops;
• - make several performance plans of the same piece of music;
• - perform works with various imaginary orchestrations.

Depending on the specific type of activity in musical thinking, either a visual-figurative beginning can prevail, which we can observe when perceiving music, or a visual-effective one, as it happens at the moment of playing a musical instrument, or abstract-eyes with the life experience of the listener.

In all these activities - the creation of music, its performance, perception - there are necessarily images of the imagination, without the work of which no full-fledged musical activity is possible. When creating a piece of music, the composer operates with imaginary sounds, thinks through the logic of their deployment, selects intonations that best convey feelings and thoughts at the time of creating music. When a performer begins to work with the text provided to him by the composer, the main means in conveying the musical image is his technical skill, with the help of which he finds the necessary tempo, rhythm, dynamics, agogics, timbre. The success of a performance very often turns out to be related to how well the performer feels and understands the integral image of a piece of music. The listener will be able to understand what the composer and performer wanted to express if, in his internal representations, the sounds of music can evoke those life situations, images and associations that correspond to the spirit of the musical work. Often a person with a richer life experience, who has experienced and seen a lot, even without special musical experience, responds to music more deeply than a person with musical training, but who has experienced little.

The connection of musical imagination with the life experience of the listener

Depending on their life experience, two people listening to the same piece of music can understand and evaluate it in completely different ways, see different images in it. All these features of the perception of music, its performance and creation are due to the work of the imagination, which, like fingerprints, can never be the same even for two people. The activity of musical imagination is most closely connected with musical and auditory representations, i.e. the ability to hear music without relying on its real sound. These representations develop on the basis of the perception of music, which provides the ear with live impressions of directly sounding music. However, the activity of the musical imagination should not end with the work of the inner ear. B.M. Teplov rightly pointed out this, saying that auditory representations are almost never auditory and must include visual, motor and any other moments.

It is hardly necessary to try to completely translate the language of musical images into the conceptual meaning expressed in words. P.I. Tchaikovsky’s statement about his Fourth Symphony is known, “A symphony,” P.I. Tchaikovsky believed, “should express what there are no words for, but what asks from the soul and what it wants to be expressed.” However, the study of the circumstances under which the composer created his work, his own worldview and the worldview of the era in which he lived, influence the formation artistic intent performance of a musical work. It is known that software works, i.e. those to which the composer gives some name or which are preceded by special author's explanations turn out to be easier to understand. In this case, the composer, as it were, outlines the direction along which the imagination of the performer and listener will move when they get acquainted with his music.

At school I.P. Pavlova divide people into artistic and mental types, depending on which signaling system man relies on his activities. When relying on the first signal system, which operates mainly with specific ideas, while referring directly to the feeling, one speaks of an artistic type. When relying on the second signal system that regulates behavior with the help of words, one speaks of a mental type.

When working with children artistic type the teacher does not need to spend a lot of words, because in this case the student intuitively comprehends the content of the work, focusing on the nature of the melody, harmony, rhythm, and other means of musical expression. It was about such students that G.G. Neuhaus said that they did not need any additional verbal explanations.

When working with students of the thinking type, an external impetus from the teacher turns out to be essential for their understanding of a piece of music, which, with the help of various comparisons, metaphors, figurative associations, activates the imagination of his pupil and evokes in him emotional experiences similar to those that are close to the emotional structure of the piece being studied. .