Modern problems of science and education. Musical education as one of the areas of aesthetic development of the individual "Kursk State University"

Where does a person's love for music begin? And why is it so important for every person to join this area of ​​culture? The answers to these questions are contained in the theory and methodology of the musical education of preschool children.

Children enjoy listening to music

Place of music in art

One of the most mysterious and enigmatic forms of art and artistic expression - music, has always been an integral part of every person's life.

And, thanks to its universality, it united people of different cultures, eras and worldviews. The task of the parent is to help the child discover her wonderful world.

What is the music like? Perhaps the most common qualification of this type of art, which every person must have come across, is its division into good and bad. But what kind of music belongs to each of these categories? After all, everyone knows that having their own taste and preferences, a person is extremely subjective in assessing. Therefore, for a better understanding of the phenomenon of music, one must turn to another, more scientific qualification.

Table of musical genres

The theory and methodology of musical education of preschool children divides music into:

1. Classical - existing outside of time and space, carrying samples of the standard musical art.
2. Folk music most often does not have a specific author; the whole nation, whose culture it represents, took part in its creation and transmission from generation to generation. It is a product of oral folk art.
3. Popular music is the most widely replicated and is relevant at the present time.

Despite the fact that such a classification is quite strict, it should be noted that the boundaries between the types of music are rather arbitrary.

And works created by someone specific often lose their author, becoming popular. Classically, massively replicated, they become popular, falling in love with the general public. Many songs of various styles become classics of their genre.

Features of the musical development of the child

What information does the theory of children's musical development and education contain. In the process of active interaction of the child with music, his corresponding upbringing and development takes place.

Musical culture - definition

It is carried out in the following directions:

1. Emotional development is the ability to actively respond to a piece of music, reacting to its semantic content, the message conveyed to the listener.
2. The development of children's sensation and perception - honing the ability to perceive not only individual sounds in a work, but also its integral structure. The ability to distinguish sounds by timbre, dynamics, rhythm and tempo.
3. In the field of relations - the identification of the prevailing areas of interest, the need for musical education of preschoolers.
4. In the field of independent actions - the ability to independently perform musical works, actively interact with music.

What is necessary for the correct perception of music and the development of an artistic taste in a child?

Musical abilities of children and their development

The musical abilities of childhood are most often considered as an independent component of giftedness, allowing the child to effectively develop musical skills and carry out appropriate activities. In addition, musicality allows you to adequately perceive and experience the work, recognize it, etc.

The sense of rhythm develops in music lessons

Also, musical ability includes three basic components:

1. Modal feeling - the ability to recognize the modal functions of individual sounds.
2. Auditory representation of a melody.
3. Sense of rhythm. The ability to experience the music being played in motion.

An important role is played by the theory and methodology of musical development and education of children.

• The ability to respond emotionally to music.
• musical memory.
• Musical thinking.
• The ability to distinguish the melodic, harmonic, timbre component of music.

Thus, musical abilities allow the child not only to create, develop the skills of playing a particular musical instrument, but also to experience musical works and create their own.

Musical Ability - Definition

What determines the musical abilities of childhood and what needs to be done in order to develop?

To begin with, let's look at exactly how musicality can make itself felt at a very early age. A child with this quality:

• Demonstrates musical impressionability, emotionally reacting to sounding works
• Tries to focus on music or make certain movements to it
• Feels the need for music
• Has certain musical preferences (this may relate to certain genres, styles, actions, etc. and children's taste in general)

Considering that these skills are most often noticed by the third year of a child's life, this is the ideal time for the development of musical abilities and skills.

Musical Giftedness - Definition

Where should you start? Let us try to trace the main lines of the child's musical development from birth to approximately seven years of age.

Until about a year old, the child only learns to perceive musical works by ear. As early as six months, he actively reacts to sound, tries to determine its source, recognizes its characteristics such as loudness, intonation, etc. He begins to experience a revival complex or, on the contrary, he calms down to the music, and sometimes falls asleep.

In the second year, the child already reacts very vividly to music, capturing its mood and emotional coloring. Motor reactions to music begin to be traced in him: movements to the beat, etc.

You can start listening to music from a year

At three years old, it is best to begin the development of both general and special abilities in a child. To do this, he must be involved not only in listening, but also in the performance of music so that he can memorize the simplest rhythms and melodies.

At the age of four, care must be taken to ensure that the child's memory already has a certain baggage of musical images. It is desirable that he already knows how to distinguish various musical instruments by ear, compare melodies according to such parameters as loudness, speed, etc.

By the fifth year, the child already understands well the nature of music and its emotional coloring. His fine motor development is already good enough for the child to be able to afford to play the simplest musical instruments. And the voice acquires the necessary mobility for onomatopoeia and singing.

Development of abilities in music classes

By the age of seven, a child can already independently characterize a piece of music, indicating its key distinguishing features. He perceives the work as a whole, using a fairly developed artistic taste.

The tasks of musical education

1. Development of interest in music and the need for it by stimulating musical ear, susceptibility, artistic taste.
2. Expanding the musical horizons of the child, familiarizing him with various musical styles and genres.
3. Enrichment of the child's conceptual apparatus with the help of elementary musical knowledge and ideas.
4. Development of skills of children's emotional perception of musical works.
5. Development of creative musical activity (these include playing musical instruments, singing simple vocal works, dancing).

Learning to play musical instruments should be carried out only at the request of the child.

Basic methods of musical education

• Visual-auditory method - listening to a piece of music with the aim of its comprehensive analysis through thinking, emotions, feelings, etc.
• Verbal method - explanations, instructions provided by a parent, teacher or other person in the learning process.
• Artistic and practical - involves not only the perception, but also the active reflection of musical works through singing, dancing or playing musical instruments.

Another classification of musical education methods divides them depending on the activity of the parties in its process:

1. The method of direct influence assumes the presence of a clearly defined pattern, which the child must reproduce following all the instructions given to him by an adult. This may be listening to a piece, playing it on a musical instrument, singing a fragment of a song.
2. The problem-based learning method stimulates the child to find independent solutions, using their creativity and skills.

Methods of musical education - enumeration

The choice of the method of musical education depends mainly on the individual psychological characteristics of the child, which include age, features of intellectual development, his experience of musical activity.

To achieve the best result, it is best to combine various methods of musical education and development of preschoolers in your work.

In order for a piece of music to best contribute to the development of a child, it is important to select it taking into account the following features. It should:

• Build on humane ideas and evoke only positive feelings in the child.
• Have a high artistic value.
• To be saturated with emotions, as well as entertaining and melodic.
• To be accessible to children's perception and understandable to the child.

Principles of musical education of children

Developing methods of musical education of preschool children argue that for the full development of the child in a creative way, it is necessary

• an integrated approach, expressed in the desire to simultaneously solve several problems of education;
• gradualness;
• repetition;
• systematic;
• taking into account the characteristics of child development.

Types of musical activity used for the upbringing and development of the child

Listening to music is perhaps the simplest form of child development available to him from the first days of life. Listening to works of various genres of styles allows you to significantly diversify the horizons of the child, as well as develop the basics of artistic taste in him, accustoming him to truly high-quality performance, the sound of music, etc. The child gets used to being selective about art, carefully “filtering” everything that affects him.

Expansion of musical horizons at a concert

Of course, the skill of active listening to music, which allows not only to perceive a work by ear, but to analyze it in a certain way, is not developed in children right away.

But it is precisely this that will form the basis of his ability to navigate the variety of works and use music as the strongest tool for personal development and growth.

Creative performing activity. When the child already has the experience of active perception of musical works and the necessary amount of knowledge, he can go directly to the performance of music. Starting with the simplest rhythmic patterns, over time he begins not only to perform works according to the model, but to create something qualitatively new. Creative performing activities also include singing (individual and choral), dance.

Given that the musical abilities of childhood are among the general abilities of a person, the development of musicality is impossible without the overall comprehensive development of the child. That is why the inclusion of the child in intellectual activity most often becomes the very "trigger" that gives rise to the musical development of the child. In addition, such an approach will ensure the most correct and holistic development of the child.

One of the most important steps in the musical upbringing of a child is the development of his subjective attitude to music. Therefore, it is extremely important to encourage him to actively reflect, to provide one or another emotional response to the work, to express his point of view regarding it.

By cultivating your musical ability, you may raise a new genius.

It is very important not to overload the child with musical works. It is important to remember that each of them is unique and therefore requires not just listening, but deep experience, comprehension and evaluation.

Musical education should be carried out with maximum consideration of the individual psychological characteristics of childhood in general and of each child (including tempo, intensity, etc.). In no case should you rush him: it is not so much the process that is important, but the result, which allows you to introduce the child to music and achieve positive changes in his personality.

As in any other activity, it is extremely important to motivate the child to succeed and help him believe in himself.

Svetlana Stepanenko
An integrated approach to musical education

An integrated approach to musical education.

Currently, the development of the theory of aesthetic education conducted in three directions: artistic creativity in the process of their education; independent artistic activity of children; , the establishment of diverse connections between its various sides. leading direction - an integrated approach to aesthetic education. One of the leading features integrated approach is the programming of the aesthetic education. For the first time, an attempt was made to create an exemplary program in which the tasks of aesthetic education developed for each age group of the kindergarten. Among them upbringing aesthetic attitude to nature, surrounding objects, to art used in the classroom, in work and everyday life.

signs an integrated approach to musical and aesthetic education.

* musical education should enrich the moral character of the child, activate mental activity, physical activity; * upbringing aesthetic attitude to the surrounding reality, to musical art should help establish a connection between the child and life; * content and teaching methods musical activities should ensure the unity of its educational, educational and developmental functions; * Combination of various types of activities (traditional, thematic, integrated) should encourage the development of initiative, activity, creative actions; * complex teaching methods, taking into account individually differentiated approach should contribute to the formation of aesthetic upbringing, propensity for independent and creative learning, for the development musical abilities and the first manifestations of aesthetic taste; * a harmonious combination of all forms of organization musical activities of children(classes, games, holidays, entertainment, independent activities) should contribute to the comprehensive general artistic development of preschoolers.

Comprehensive music lessons.

Musical classes are the main organizational form of systematic education of preschool children in accordance with the requirements "Programs education in kindergarten» On the musical lessons, the relationship in the solution musical-but-aesthetic and educational- educational tasks. During active musical activities, children learn the necessary knowledge, acquire skills and abilities that provide opportunities for emotionally expressive performance of songs, musically- rhythmic movements, the simplest melodies when playing on children's musical instruments. There is already a well-tested traditional structure of classes. It has been successfully mastered by teachers and has justified itself in many respects. However, experimental research and the best pedagogical experience have shown that there are other lesson structures that activate the learning process. These are thematic and complex classes. Complex classes are named so because in one lesson all types of artistic activities: artistic and speech, musical. Visual, theatrical. Comprehensive the lesson is united by one task - acquaintance with the same artistic image, with certain genres of works (lyrical, epic, heroic) or with one or another means of artistic expression (the form, composition, rhythm, etc.) Target comprehensive classes - to give children an idea about the specifics of various types of art ( music, painting, poetry, theater, choreography, about the possibilities of conveying thoughts, moods in any kind of artistic activity in their original language. Therefore, on integrated In classes, it is important not formally, but thoughtfully to unite all types of artistic activity, alternate them, find features of similarity and differences in works, means of expression of each type of art, conveying an image in its own way. Through comparison, juxtaposition of artistic images, children will deeply feel the individuality of the work, come closer to understanding the specifics of each type of art. Comprehensive the lesson has the same varieties of topics as the thematic one. The theme can be taken from life or borrowed from a fairy tale, connected with a certain plot, and finally, the theme can be art itself.

This variety of topics enriches the content complex classes, provides the teacher with a wide choice. A theme taken from life or related to a fairy tale, for example, "Seasons", "Fairy tale characters", helps to trace how the same image is conveyed by different artistic means, to find similarities and differences in moods and their shades, to compare how the image of early spring is shown, only waking up nature and stormy, blooming, and at the same time note the most striking expressive features of the artistic language (sounds, colors, words). It is important that the change of artistic activity is not formal (children listen to music about spring, draw spring, lead spring choro-waters, read poetry, but would be united by the task of conveying something similar to music mood in drawing, movement, poetry. If the works are not consonant in figurative content, but are only united by a common theme, for example, after listening to a fragment of a play by P. I. Tchaikovsky "On a trio" from the loop "Seasons"(gentle, dreamy, lines from the poem by N. A. Nekrasov sound "Jack Frost" --“It is not the wind that rages over the forest ...”(severe, somewhat solemn, out of character music, but close to her on the topic, it is necessary to draw the attention of children to the contrast of moods, otherwise the goal of the lesson will not be achieved. In a lesson on the topic "Fairy tale characters", it is interesting not only to trace how the same image is conveyed differently or similarly in different types of art, but also to compare how much musical works written on one topic, such as plays "Baba Yaga" P. I. Tchaikovsky from "Children's Album", "Baba Yaga" M. P. Mussorgsky from the cycle "Car-tinki from the exhibition" and symphonic miniature "Baba Yaga" A. K. Lyadov or plays "Procession of the Dwarves" E. Grieg and "Dwarf" M. P. Mussorgsky from the cycle "Car-tinki from the exhibition" etc. More difficult to carry out complex lesson, the theme of which is art itself, the features of expressive funds: "The Language of Art", "Moods and their shades in works of art" etc.

In the lesson on the first topic, you can compare colors in painting with timbres musical instruments or some other means of expressiveness (register, dynamics and their combinations). Invite children to listen musical works in high (light) register and low-com (dark, filled with bright, loud sound and gentle, quiet, comparing these means musical expressiveness with the intensity of color in painting. You can also talk about a combination of various means of expression, for example, play children works with the same dynamics (quiet, but in different registers (high and low, so that they hear the difference in character music. A quiet sound in the upper register creates a gentle, light character (“Waltz by S. M. Maykapar, and in the lower register - a mysterious, sinister ( "Baba Yaga" P. I. Tchaikovsky). These works are also compared with paintings.

On the comprehensive lesson on the second topic, you need to find common moods conveyed in different types of art. Creative tasks are used here, for example, to convey the character of a cheerful or cowardly bunny in movements, compose a song, a fairy tale about him, draw him. Getting acquainted with the expressive possibilities of these types of art, children gradually gain experience perception artistic works. The topic of such comprehensive classes can be one mood with its shades, for example: "Ceremonial Mood"(from joy to sorrow, "Joyful Mood" (from light, delicate to enthusiastic or solemn). These shades of moods are traced on examples of different types of art and conveyed in creative assignments: compose a song (friendly, gentle or cheerful, joyful, express this character in movements, draw pictures in which these moods would be visible. The teacher can also focus the children's attention on the most successfully found images and talk with them about how managed to convey this or that mood.Sometimes they play a game, guessing what mood the child wanted to express in the movement he composed (dance, song, march).

Comprehensive the lesson can also be combined with a plot, for example, a fairy tale. Then, as in a thematic lesson of this kind, the creative manifestations of children are realized more fully. prepares comprehensive music lessons leader together with caregivers to use all the knowledge and skills that children have received in other classes. Classes are held approximately once a month.

Comprehensive musical development.

Classes under the program are held in a playful way, built on a frequent change of activities, this ensures A complex approach, the dynamics of promotion and the constant interest of children. Organization musical classes take place in a variety of forms: in the form of plot-thematic music lessons, integrated and integrated classes. In the course of classes in early childhood groups musical complex development, the most important tasks in the development of children are solved nka: Mental development, physical development, aesthetic development. The goal of the program is the overall mental development of children of early and younger preschool age by means of musical education. Tasks programs: to promote the early development of the child through a comprehensive musical activity; help children of primary preschool age in an exciting game to enter the world music; feel and experience it sensually; create prerequisites for the formation of creative thinking; contribute to the practical assimilation musical knowledge; formation of readiness for further education; development of communication skills and complicity: contact, goodwill, mutual respect; the formation in children of qualities that contribute to self-assertion personalities: independence and freedom of thought, individuality perception. The program meets modern requirements for the educational program. It is developmental in nature, focused on the general and musical child development in the process of mastering it musical activity. It takes into account the ideas of health and development component: the principle of unity of developing and health-improving work with children. The content of the program is focused on creating psychological comfort and emotional well-being for each child. The program is equipped with practical materials and manuals for individual and group lessons.

to the early program integrated development includes: 1) Outdoor games and logarithmics. Development of gross motor skills; development of coordination of movements and concentration of attention; development of coherence of actions in the team, the establishment of positive relationships, the development of joint productive activities; development of skills of social interaction and social adaptation in musically- psychological games and exercises; development of imagination and creativity in the game. ; formation of motor skills; motion speech correction (pronunciation, singing, the formation of speech motor skills). Material- "Funny Lessons", "Fun Lessons", Aerobics for kids, "Gold fish", "Golden Gate", "Health Games" etc. 2) Development of fine motor skills. Development of motor skills of fingers, fine motor skills; speech development (pronouncing and singing songs - games aimed at developing fine motor skills); development of the imagination "getting used to" in the image and character of the characters of gesture or finger games); counting training. Material- "Okay, Ten Mice, Two Little Pigs". 3) Development of hearing, voice. The simplest intonation (voices of animals, sounds of nature, funny syllables). Development of pitch, dynamic, timbre hearing. Singing and movement, performances. Elementary voice improvisation. Material- "Songs"- "Shouts", "ABC-Poteshka", "Cat house". 4) Physical development, development of a culture of movements, recreational work. Strengthening the child's body, the formation of a muscular corset, the development of the respiratory and cardiovascular systems. Development of coordination of movements, concentration of attention, dexterity, self-confidence. Development of abilities for motor creativity. Built on use material: "Game gymnastics", "Gymnastics for moms and babies", "Health Games" etc. 5) Acquaintance with musical diploma, hearing music, learning to play noise and pitch instruments. Learning to play instruments. Acquaintance with musical instruments. Music making, playing in a mini-orchestra (children and parents). listening musical works, emotional experience music in plastic improvisations. 6) Acquaintance with letters, preparation for reading, development speeches: In the process of sculpting and folding letters from plasticine, fine motor skills, concentration of attention, coordination of movements develop, acquaintance with letters in practical activities and preparation of children for reading. In chapter "We sing-read" a combination of reading by syllables and singing (reading in a sing-song voice) allows not only to teach reading by syllables, but also to work on voice and breathing. 7) Creative tasks, development of imagination. Sounding and dramatization of fairy tales, verses. illustration (drawings, modeling, applications) themed games and fairy tales. Plastic etudes and movement improvisations in the process of active listening music. Instrumental music making. Improvisations on noise and children's musical instruments. 8) Music circles.

Goals and objectives of the lessons music.

Development musical and general creativity through various musical activities, namely, development: * musical memory; melodic and rhythmic hearing; * adequate ways of self-expression; * the ability, on the one hand, to accurately repeat the material proposed by the teacher, on the other hand, to come up with their own solutions to the situation; * correction of speech in motion with music. Development of mental and intellectual abilities; * imagination; reactions; ability to listen and concentrate; listening skills to distinguish, compare and compare. Development of physical abilities: * fine motor skills; gross motor skills. Development of social skills: * ability to interact with others; ability to control yourself. Development of interest in musical activities and the joy of communicating with music.

Forms of work in the classroom.

* singing; * expressive reading of nursery rhymes and nursery rhymes; * game for children musical instruments; * movement under music, dance; * hearing music; * dramatization of fairy tales; * outdoor games for the development of reaction and motor skills, developing control over movements.

Our time is a time of change. Now Russia needs people who are able to make non-standard decisions, who can think creatively, who are capable of positive creation. Unfortunately, the modern kindergarten still retains the traditional approach to learning. More often than not, learning comes down to memorization and reproducing actions, typical ways of solving tasks. The monotonous, patterned repetition of the same actions kills the interest in learning. Children are deprived of the joy of discovery and may gradually lose the ability to be creative. Of course, many parents strive to develop creativity in their children. children: give them to circles, studios, special schools, where experienced teachers work with them. The formation of the creative abilities of the child is due not only to the conditions of his life and family upbringing, but also special classes organized in preschool institutions. Music, singing, drawing, modeling, playing, artistic activity - all this is favorable conditions for the development of creative abilities. I would like to draw attention to complex classes in which the development of creative abilities is realized by means of different types of art. On the comprehensive In the lesson, children take turns singing, drawing, reading poetry, and dancing. At the same time, the performance of decorative works or plot compositions to the sounds of a major lyric music creates an emotional mood, and children successfully complete the task. On the comprehensive In class, children behave at ease, uninhibited. For example, when performing a collective drawing, they consult on who and how will draw. If they want to stage a song, then they themselves first agree on their actions, distribute the roles themselves. During decorative and applied activities (weaving of rugs, painting on earthenware courts) you can use Russian folk melodies in a recording gram, which creates a good mood in children, makes you want to sing familiar melodies.

Classification complex classes.

1 By content complex classes can be varied and are carried out in different options: *separate blocks of classes to introduce children to the world of art (musical and visual) ; * blocks of classes, united by the most interesting for children topics: "Zoo", "Favorite Tales"; * blocks of classes to introduce children to the work of writers, musicians, artists and their works; * blocks of classes based on work to familiarize children with the outside world, with nature; * a block of classes on familiarization with folk art; * a block of classes on moral and emotional education. 2. Structure integrated classes depends on the age of the child, on the accumulation of sensory experience: from live observation to viewing pictures, to perception of the image in poetry, music. * 3-4 years - live observation of an object or phenomenon, plus a vivid illustration of it. * 4-5 years old - a vivid illustration or picture, a small literary work. * 5-6 years old - a literary work plus several reproductions that allow you to highlight expressive means; musical work or song (as a background or as an independent part of the lesson). * 6-7 years - artwork plus 2-3 reproductions (depicting either a similar landscape or different ones) either a description of an object or phenomenon in poems (comparison, juxtaposition); musical composition(in comparison, what fits to a reproduction or a poem). 3. Complex classes are divided into two types according to the value of the species art: dominant type, when one type of art dominates, and the rest seem to pass in the background, for example, a poem about nature and music help to understand the picture, its mood)

equivalent type, when each part of the lesson complements each other.

4. Complex classes may vary musical, fine art works.

Option 1. Alternate inclusion of works of different types of art. Target: enhance the impact of art on children's emotions. Structure: listening piece of music; communication between teachers and children about character piece of music; viewing a painting; communication between teachers and children about the nature of the painting; listening to a literary work; communication between teachers and children about the nature of a literary work; similarity comparison musical, pictorial and literary works according to the emotional mood expressed in them, the nature of the artistic sample.

Option 2. Pairwise inclusion of works of different types of art. Structure: listening to multiple musical works; exchange of views of the teacher and children, comparison of how similar and different in character musical works; viewing several paintings; comparison of similarities and differences of paintings; listening to several literary works; comparison of similarities and differences of works in character, mood; comparison of similar in emotional mood musical, picturesque and literary works.

Option 3. Simultaneous inclusion in perception different types of art. Target: show harmony music, painting and literature. Structure: sounds musical work and against its background educator reads a literary work; educator shows one painting and offers children several musical works or literary and select only one of them, consonant with this pictorial work; sounds the same musical the work and the children select to it from several paintings or literary works one that is consonant in mood.

Option 4. Inclusion of contrasting works of different types of art. Target: form evaluative relationships. Structure: listening to contrasting sounding literary works; exchange of views of the teacher and children about their differences; viewing contrasting in color, mood paintings; exchange of opinions of the teacher and children about their difference; listening to contrasting mood literary works; exchange of views of the teacher and children about their difference; perception similar to each other musical, literary and pictorial works; exchange of views of the teacher and children about their similarities.

In order to hold comprehensive occupation must be correctly selected works of art (literature, music, painting): * accessibility of works of art to children's understanding (based on childhood experience); * realistic works of fiction, painting; * attractiveness for children, if possible, you should select works that have an interesting plot that evokes a response in the soul of the child.

Conclusion.

Any musical The lesson should leave a mark in the soul of the child. Children perceive music through play, movement, drawing. Integrated Muses-calle lesson helps to develop memory, imagination, speech, general motor skills. Creative an approach to conduct classes contributes to the creation of a positive experience in the formation child's worldview. Hearing musical works, singing, rhythm, playing musical tools are the most effective ways to introduce a child to music.

In the process integrated children doing things on their own, and sometimes with the help of educator(especially in the younger and middle groups) learn to use the artistic and expressive means of all types of art to convey the idea.

The early artistic experience acquired helps them to create an expressive image. (musical, poetic, pictorial).

Joint actions of the teacher with children, communication with peers create the necessary conditions for the formation and development of creative abilities.

Need bring up and develop the child so that in the future he can create something new, become a creative person. It is often too late to develop creativity in a child, since a lot is laid much earlier. “We all come from childhood…” These beautiful words of Antoine Saint-Exupery could be a kind of epigraph to the work of child psychologists who seek to understand how a person feels, thinks, remembers, and creates at the very beginning of his life. It is in preschool childhood that is laid that largely determines our "adult" fate.

Literature.

Vetlugina N. A., Keneman A. V. Theory and Methods musical education in kindergarten. Dzerzhinskaya I. L. Musical education younger preschoolers. Vygotsky L. S. Imagination and creativity in childhood. Chudnovsky V. E. Upbringing abilities and personality formation. Chumichyova R. M. Preschoolers about painting. Bogoyavlenskaya D. B. On the subject and method of researching creative abilities. Sazhina S. D. Technology of integrated classes in preschool educational institutions.

Alefeva A.S.

Music teacher.

Volgograd

Intonation approach as a leading methodological landmark in modern pedagogy of general music education.

In the current socio-cultural situation, there is a need to modernize general music education, its transition from a technocratic to a humanitarian paradigm, which is due to the problems that have matured in modern general music education.

In turn, in modern general musical education, quite clear ideas have developed, according to which, the specifics of the activity of a performing musician is considered primarily as an activity aimed at solving problems related to the creative interpretation of works of musical art. The solution of such a problem caused the need to turn to various methodological approaches that allow updating the system of general music education. These approaches include stylistic, genre and intonation approaches. Of course, each of these approaches has its own specifics. The most relevant approach for realizing the content of modern general music education is intonation, since the meaning of music lies in intonation, and it is intonation that helps the musician-performer to understand the content of a piece of music.

To understand the essence of the intonational approach, it is necessary to consider the concept of intonation in historical and modern perspectives. The first studies of the intonational nature of music are covered in the works of B.V. Asafiev and B.L. Yavorsky. It was these studies that laid the foundation for the development of intonational theory in Russian musicology.

Understanding B.V. Asafiev, intonation is associated with the specifics of speech intonation. Asafiev's musical intonation was conceived as having a common semantic source with the expressive intonation of verbal speech and was constantly compared with the phenomena of language, speech and word. The researcher was not alone in deriving musical intonation from the sound of speech; his thought was continued by L.L. Sabaneev in the book "Music of Speech", published in 1923.

B.L. Yavorsky also considered intonation as sound speech, but in a specific modal aspect. He noted that "musical intonation is a speech constructive cell and, as such, is organized at a certain stage of the cultural development of each people."

A new wave of interest in musical intonation arose in Russian scientific thought, when its interpretation began to be approached from the standpoint of philosophy, aesthetics, semiotics, linguistics, psychology, physiology, and a number of other related sciences.

So, for example, the correlation of musical intonation with the word and speech is presented in the works of A.S. Sokolov. He correlates musical intonation with the elements of verbal language and speech: lexemes, phonemes, intonations and intoonemes. The researcher compares verbal intooneme and musical intonation, from which it follows that both phenomena are related by the similarity of a specific content, but they fundamentally differ in independence, the isolation of musical intonation and the auxiliary, accompanying semantic meaning of speech intonation. Sokolov also emphasizes the fundamentally different nature of the pitch organization of musical and speech intonation. The scientist notes that the main difference between music and verbal speech is the absence of a discrete sound-pitch organization in the latter and the normative nature of smooth changes in sound parameters for it.

Particular attention is drawn to the works of foreign researchers on intonation as one of the main elements of the language. So B. Eikhenbaum defines intonation as the main parameter of the similarity between poetry and music. “The syncretization of poetry with music, as a result of which the “song mode” of lyrics is born, is expressed in the dominance of the intonational factor. Speech intonation acquires a melodious character and, entering into connection with rhythmic cadences, is formed into a melodic movement.

E.G. Etkind argued that it is "in intonation that the life of the verse, the dynamics of its sound, is concentrated." When translating poetry from one language to another, Etkind calls for preserving not the meter of the verse, but its intonation.

In modern domestic musicology, the development of the theory of musical intonation was continued by V.V. Medushevsky. In a number of articles devoted to "intonation form", the researcher was interested in the nature of naturalness, liveliness of musical intonation. V.V. Medushevsky characterized intonation as an expression of the composer's thoughts. Intonation is capable, according to the researcher, of "folding" the experience of the whole culture, containing all the social and aesthetic functions of musical art.

In the works of V.V. Medushevsky, the widest range of intonation content is outlined, the possibilities of reproducing all kinds of movements in it and a truly boundless field of musical and speech intonations are noted. These are specific, detailed types of intonation content.

V.V. Medushevsky determined the theoretical system of musical intonations, which includes heterogeneous types that have developed in the practice of listening to music and professional musical creativity, composer and performing: 1) emotional-expressive intonations (vital and typified by musical art); 2) object-pictorial intonations, transmitted in music as a temporary art through the image of movements (image of the phenomena of the outside world and art); 3) musical and genre intonations; 4) musical and stylistic intonations; 5) intonations of separate, typified in music means - harmonic, rhythmic, melodic, timbre, etc. From the point of view of scale, the following are differentiated: 1) the generalizing intonation of the entire work; 2) intonations of individual sections, constructions, topics; 3) detailing intonations of individual moments. It should be emphasized that the creativity of the performer creates performance options for all types of intonations.

Positions V.V. Medushevsky continued to develop in their research, such modern musicologists as V.N. Kholopova, E. A. Ruchyevskaya and others. They note that intonation in music is an expressive and semantic unity that exists in a non-verbal-sound, directly affecting form, functioning with the participation of the experience of musical-meaningful and extra-musical associative representations.

Thus, in musicology, the category of "intonation" is considered at different levels: as a pitch organization of musical tones; as a manner of musical expression; as a semantic unit in music, etc. In this regard, some aspects of intonation theory are being actively developed: the relationship between music and speech based on the identification of their intonational commonality and differences; the processual nature of music as its specific feature; semantics of musical intonation in its historical evolution, etc. But despite the many different definitions of intonation offered by the most famous domestic and modern researchers, the essence of this concept remains the same. The priority fundamental definition of the concept of intonation as a complex, three-dimensional concept, which is a combination of the trinity of creativity, performance and perception of a work of art, was assigned to B.V. Asafiev.

Also, this category was not left without attention and musical psychology. Intonation has become the subject of study by such researchers as E.V. Nazaikinsky and A.L. Gotsdiner. The well-known psychologist Gotsdiner A.L., referring to the historiography of the question of the emergence of intonation, indicates that intonation preceded speech and was formed to denote the most stable and deep emotional states of a person - joy, delight, fear, despair, etc.

In turn, E.V. Nazaikinsky, studying intonation, at the intersection of musicology and psychology, emphasized the commonality of verbal speech and music. The essay “Intonation in Speech and Music” in the book by E.V. Nazaikinsky "On the psychology of musical perception". Here Nazaikinsky notes the influence of the sound of speech intonation on the sound of musical intonation, but speaks of the impact of a person's entire experience on his perception of musical intonation. The researcher rightly points to the diversity of understanding of musical intonation, the lack of a single meaning of this word. He clarifies, for his part, the characteristics of both speech and musical intonation. As E.V. Nazaikinsky "Speech intonation in the narrow sense of the word is only a pitch curve of speech, in the broad sense a system of subelements: movement of tones, rhythm, tempo, timbre, dynamics, articulatory factors."

In the pedagogy of general musical education, the category of intonation is also considered from different semantic perspectives. Their choice depends on the type of activity in which the intonation approach is used, on the example of what musical material music is studied, what specific tasks the teacher-musician faces. Most often, intonation is interpreted as the “seed” of the development of a musical form. This approach was first introduced by D.B. Kabalevsky, who determined the intonation understanding of music as a priority area of ​​musical education and upbringing, which makes it possible to cover the intonation-auditory and practical sphere of musical and artistic activity in its entirety and integrity.

In the pedagogy of music education, the intonation approach is used in connection with the solution of the problem of “entering” music, perceiving music “as a living art”. This approach is necessary for the formation of the skills of artistic knowledge of musical works, as a result of which it is the intonational approach that becomes especially relevant.

As we have already said, in the musical-performing activity, the process of intonation is in the center of attention, and by its nature is directed to the process of meaningful sound reproduction of music instrumentally or vocally.

The intonation approach, considered as a methodological guideline, of modern general musical education is implemented in a holistic pedagogical process. In such a process, there are two types of principles: general pedagogical and special. Based on the system of general pedagogical principles given by Abdulin, we single out the following:

Humanistic orientation.

Science.

Continuity, consistency, systematicity.

visibility.

Aestheticization of education and training.

Building on student strengths.

Taking into account the individual characteristics of the student.

Referring to the special principles highlighted by Nikolaeva E.V. we list the following:

Coordination of the content of the pedagogical process with the specifics of the intonation of the studied music.

Reliance on intonation as a musicological category.

Accounting for the psychological aspect of intonation.

Personal orientation of the pedagogical process.

1. The principle of harmonizing the content of the pedagogical process with the specifics of the intonation of the music being studied. This principle finds itself at all stages of mastering the performance of a work - from penetrating into the musical image to finding the necessary performing movements, also acting at the level of technical work. This principle correlates with the “similarities and differences” method, which is widely used in music lessons in secondary schools. The stylistic intonations of Chopin and Schumann, as well as Scriabin and Brahms, etc. can serve as examples of such similarities and differences. Having similar features, due to belonging to a single style, the works of these classics have different intonations, each of which requires special ways of studying.

The principle of relying on intonation as a musicological category. The main properties of intonation as a musicological category find their place in the musical and pedagogical process, which takes place in the context of the intonational approach. Since we have analyzed the main approaches to understanding the essence of intonation, we emphasize that when implementing this principle in the musical and pedagogical process, it is necessary to form a holistic perception of music based on intonation as a fundamental musicological category.

The principle of taking into account the psychological aspect of intonation. This principle is associated with the types of thinking of students (rational or irrational), perception, emotional state of the individual, which leads to various types of performing intonation. Following this principle allows the teacher to adjust the methods of working with students in accordance with the individual characteristics of his personality.

The principle of personal orientation of the pedagogical process.

This principle is the main one in solving the educational and developing tasks of the intonational approach, because corresponds to the goal of the pedagogical process taking place in its context. This principle is a logical continuation of the special principles described above. Let us consider the above principles from the point of view of the potential inherent in them for the realization of the student's personal activity. So, when updating the principle of “coordinating the content of the pedagogical process with the specifics of the intonation of the music being studied”, attention is focused on the individual style and intonation, which most fully reveals the personal orientation of the pedagogical process. It can be said that at the same time it turns out to be two-sided, uniting two personalities on the basis of style and intonation - the composer and the student-performer. In this case, style and intonation are mediators in the dialogue of two personality structures, which in the process of sound realization give rise to performing intonational adequacy.

Consideration of special principles in the implementation of the intonation approach allows us to conclude that general pedagogical principles operate based on special ones, i.e. the action of special principles is carried out through general pedagogical ones.

Thus, fundamental research in musicology devoted to the category of "intonation", as well as the development of an intonation approach in general music education, can be the basis that will gradually update the content of modern general music education.

Bibliography

Aranovskaya I.V. Aesthetic development of personality and its role in modern musical and pedagogical education (methodological foundations): Monograph. - Volgograd: Change, 2002. -257 p.

Nazaikinsky E.N. The sound world of music. M.: Music, 1988, 254 p., notes.

Kholopova V.N. Melodika: Scientific method. essay. - M .: Music, 1984. - 88s., notes, diagrams (questions of history, theory, methodology).

Galatenko, Yu.N. Semantic role of intonation in poetry and music / Yu.N. Galatenko // Art and Education. - 2013. - No. 5. - P. 7 - 17.

MODERN ARTISTIC AND DIDACTIC APPROACHES IN MUSIC EDUCATION

N. N. Grishanovich,

Institute of Modern Knowledge. A. M. Shirokova (Minsk, Republic of Belarus)

Annotation. The article defines and substantiates artistic and didactic approaches to the organization of the musical and educational process that are relevant to the modern paradigm of art pedagogy: value-semantic, intonation-activity, dialogic, systemic, polyartistic. It is shown that the approach performs the functions of a toolkit for the implementation of the principles of music education in the educational process and requires the use of a certain technology. Being the central, emphasized principle, it incorporates other principles and methods of teaching music.

Key words: artistic and didactic approach, value, meaning, intonation, activity, dialogue, system, polyintonation, motivation, development, method.

summary. In the article five artistic-didactic approaches to organizing music education process are defined and substantiated. They are actual for modern paradigm of pedagogy of art: value-sensible, intonation-active, dialogic, systematic and poly-artistic. It "s shown that the approach performs the functions of instrumentality during the implementation of principles of music education and requires application of new technology. Being the central, accentuated principle, the approach aggregates a whole number of other artistic-didac- 23 tic principles and methods of teaching music.

Keywords: artistic-didactic approach, value, sense, intonation, activity, dialogue, system, poly-intonation, motivation, development, method.

The didactic approach is the central principle of structuring the content of education and the choice of methods for achieving its goal, which groups a number of other principles around itself and relies on them. Since music education is based on the specific principles of artistic didactics, the approaches to it should be artistic and didactic. Under-

the course performs the functions of a toolkit (technology) in the implementation of the principles of music education in the educational process.

Pedagogical research emphasizes that the cultural paradigm of education calls for student-centered and activity-based approaches. Culture is based on creativity and lively interaction, developing according to the norms

communication and cooperation. Therefore, in a culturally appropriate school, children are introduced to culture not so much on the basis of assimilation of cultural information, but in the process of specially organized creative activity of their own. The principle of relying on the laws of the musical-cognitive process and their practical implementation requires the choice of adequate artistic and didactic approaches to the organization of the developing musical education of students.

At the center of the value-semantic approach is the development of the motivational side of the musical-cognitive activity of students and the ability of the spiritual understanding of music (V. V. Medushevsky). The main work of the child's soul is the appropriation of universal human values. A person acquires his spiritual essence, becomes a part of humanity, comprehending culture and creating it. Therefore, the spiritual person as the epicenter of culture, its highest spiritual value (P. A. Florensky) is both the result and the main criterion for assessing the quality of education (E. V. Bondarevskaya). From these positions, the epicenter of musical education is the student: the development of his musicality, the formation of individuality and spirituality, the satisfaction of musical needs, interests, and creative possibilities. The musical education of a personality is manifested not only in its special development, the ability to interact with the musical culture of society - it is the process of the formation of its worldview.

The artistic content of serious music embodies the sublime and beautiful life of man.

chesky spirit. Therefore, the comprehension of the spiritual truth, value and beauty of music is the semantic core of musical education. The goal of musical knowledge is not the acquisition of musicological knowledge, but the depth of penetration into the high essence of a person, the harmony of the world, understanding oneself and one's relations with the world. The intonation-semantic analysis of musical works as the leading method of musical education requires the ascent of both the teacher and the students to the perception of beauty and truth, to the spiritual heights of the human soul. In the musical and cognitive activity of students, music acts not only as an object of aesthetic evaluation, but also as a means of spiritual and moral evaluation of life, culture, and man.

By organizing an artistic

meeting students with a piece of music, the teacher should consistently direct their attention to the awareness of the axiological aspects of the piece and the artistic and communicative situation. The value-semantic approach does not allow us to underestimate the moral and aesthetic meanings of great music. Higher spiritual meanings do not cancel the "lower" life associations, but set a semantic perspective for perception-understanding.

The main function of music education is the development of intonational hearing of students, their ability of intonation-musical thinking. The placement of spiritual accents in the content and methods of teaching music requires "enlightenment, elevation of the musical ear" of students, its formation "as an organ of search and perception of sublime beauty",

and not only the development of his distinctive abilities (V. V. Medushevsky).

The content of the subject is structured in such a way that the national musical culture is mastered by students in dialogical connections with classical and highly artistic modern music of various genres and trends. However, music education should not impose values, its task is to create conditions for their recognition, understanding and choice, to stimulate this choice.

The development of students' motivation for musical activity involves pedagogical stimulation of their musical and cognitive interests, in which the personal meaning of specific musical actions and musical education as a whole is manifested. The two-sided activity of students' personal experience is stimulated: life and artistic associations help the perception of the content and expressive means of the musical image; the interpretation of musical works and the search for personal artistic meaning enrich the worldview of students through empathy and acceptance of different views on the same phenomena of life, embodied in the works of different authors, different eras and types of art.

Priority is given to technologies and methods that have a value-oriented nature: developmental education, problem-based learning, artistic and didactic game, building the educational process on a dialogical, personal-semantic basis, etc.

Including students in dialogues with the musical culture of society, the teacher does not have the right to impose on them his moral and aesthetic assessments, his worldview position. It can create the necessary socio-artistic context for a musical work and stimulate comparative analysis from the standpoint of harmony and disharmony, the sublime and the base. It can encourage the identification of "eternal themes" in art and the comprehension of their enduring spiritual relevance. But at the same time, the semantic interpretation of artistic images is the creativity of the students themselves, which is based on their intonational flair, intonational vocabulary, the skills of intonation-semantic analysis and artistic generalization, and the emerging moral and aesthetic feelings.

Constantly penetrating into the artistic secrets of musical images, the teacher constructs a path for students to “discover” them as a solution to exciting creative problems and modeling the creative process of a composer, performer, and listener.

It is believed that the activity approach is the most traditional in music education. Until now, curricula and teaching aids are being created, which advocate the construction of the content of music education by type of activity. With this approach, students learn choral singing, listening to music, playing elementary instruments, moving to music, improvisation, and musical literacy in sections. Each section has its own goals, objectives, content,

methods. In the lessons of the basic subject “music”, these sections are combined, making up the characteristic structure of a traditional lesson.

A distinctive feature of this approach is the priority of learning and the predominant assimilation of knowledge, skills and abilities in finished form, according to the model. However, the modern pedagogy of music education argues that the mastery of actions according to the model and the assimilation of knowledge in a finished form cannot be the essence of the activity approach in teaching. These are the traditional characteristics of the explanatory-illustrative approach, in which the activity is given to students from the outside. The teacher broadcasts the finished content, designed for students to memorize, controls and evaluates its assimilation.

The activity approach is typical for developmental learning. Expanded educational activity is carried out where the teacher systematically creates conditions that require students to "discover" knowledge about the subject through experimentation with it (V. V. Davydov). Musical and cognitive activity is carried out when students reproduce the very process of the birth of musical images, independently select expressive means, reveal the meaning of intonations, the creative intent of the author and performer. The basis of such activity is the development of the intonation musical thinking of schoolchildren in the process of modeling the communicative properties of an integral musical culture, the personal-creative dialogue of the composer, performer and listener.

At the center of the intonational approach is the mastery of live, intoned musical speech by students in the process of listening, performing and creating their own "elementary" music, the development of intonational hearing, perception-understanding and musical thinking. Modeling the activities of the composer, performers, listeners underlies the methodology for mastering musical speech. Through active action, vocal, plastic, speech, instrumental intonation, students go the way to the musical image, discover its intonational meaning. The content of the lesson and the subject as a whole is set as artistic communication with live, intonation-created art, and not as the assimilation of theoretical knowledge about music. Musicological ideas are formed on the basis of intonational and practical experience and are a means of musical and creative development of students (D. B. Kabalevsky, E. B. Abdullin, L. V. Goryunova, E. D. Kritskaya, E. V. Nikolaeva, V. O. Usacheva and others).

Intonation is an essential property, the core of all educational topics of the program in music and, accordingly, the existential form of the key musical competencies of schoolchildren. The intonation-activity approach helps students overcome the gap between the sound form of music and its spiritual content. Since “there is always a person behind the intonation” (V. V. Medushevsky), the discovery of a person and his problems in music allows music education to reach a high humanitarian, moral and aesthetic level of human science.

The dialogic approach requires dialogization of the content and methods of music education based on similarities and contrasts. The mastering of musical works is always a dialogic co-creation: a work created by a composer comes to life and receives its semantic completeness only thanks to the intonational-analytical, performing, interpreting skills and personal experience of the interlocutors-students and the teacher (listeners and performers).

Musical culture is understood as a set of works (texts) addressed to "close and distant" interlocutors (composers, performers, listeners, artists, poets, etc.). Dialogically connected texts of musical and artistic culture in general should become for students a desirable subject of personal comprehension, individual creativity in the educational polylogue.

The specificity of the musical text is manifested in its incompleteness, openness and inexhaustibility of figurative content aimed at the listener. Since the composer's idea is not just hidden behind the musical text in its final form, but is revived, concretized in the process of its interpretation by the counter consciousness of the performer or listener, semantic interpretation becomes one of the central problems of dialogue in music education. Many scientists (M. M. Bakhtin, M. S. Kagan, D. A. Leontiev) believe that the phenomenon of artistry arises only in the process of understanding interaction between the author of a work of art and its interpreter-co-creator.

According to psychologists, dialogism is "embedded" in the basic structures of consciousness and is one of its main properties. Human consciousness is characterized by internal dialogues - with an imaginary interlocutor, with oneself, with a certain semantic position in the course of reasoning. The dialogical approach to the design of the musical-cognitive process is based on the position of modern musicology, which states that musical ear develops in interaction with speech hearing and all perception abilities (plastic, visual, tactile, etc.), extracting meaning from the life and syncretically artistic context (V V. Medushevsky, A. V. Toropova).

Personal development of musical works is impossible without dialogic co-creation, semantic co-authorship. The processes of understanding and awareness suggest that at the boundary point of the meeting of several views on the same value, a tense dialogue space is formed in which resonant phenomena arise associated with the process of maturation of individual meaning. This dialogue space is created with the help of the artistic and life context of the studied work, which includes works of other types of art, biographical materials, personal experience, etc.

The image created by the composer is the core around which the life of a musical work is built. The author, as the initiator of communication, forms the musical text in accordance with his intention in a dialogue with the audience. When trying-

In order to enter the composer's world at different age stages of musical education, a dialogue of personalities of different content takes place, involving an appeal to various works and aspects of the composer's biography.

With the dialogic nature of music education, students in the lesson are put in active role positions of composers, performers and listeners, artists, poets and artists, cameramen, sound engineers and screenwriters. The comprehension of the intonation language of music occurs in the process of polyintonation.

ing, collective interpretation, artistic play, modeling or creating musical images.

The most important task of the teacher is to create an interesting atmosphere of artistic and pedagogical communication that attracts students and to form friendly relations. Group, pair and collective methods of organizing the educational process, game forms of creative activity are widely used to organize interaction between students.

The system of interpersonal communication in the musical educational process

In the process of artistic and pedagogical communication, the student goes through at least three stages: the first is an internal dialogue with music and a teacher, reflections; the second is the immersion of impressions and maturing thoughts into interpersonal communication with students and the teacher; the third is a detailed monologue statement, when he has already developed a value judgment for himself. Therefore, a personal monologue (oral or written) is a natural and fruitful result of a dialogue. The advantage of the dialogic approach in music education lies in the appeal not only of the teacher, but also of the spiritualized content of the

meta to each student as a unique individuality.

A systematic approach is an indispensable condition for the organization of developmental education. It guides methodologists and teachers to the disclosure and implementation of the integrity of the student's musical education and the diverse intonational and creative connections of all its elements that ensure this integrity, to finding a system-forming element in the hierarchical structure of the content and methods of the musical pedagogical process.

The internal connections of the components create new integrative properties that correspond to the

kind of system and which none of the components had previously. Thus, the thematic organization of the content of the subject (D. B. Kabalevsky) forms its fundamental semantic framework, uniting all types of musical activity of students in the intonation-semantic perception-cognition of music. Mastering the musical language through elementary children's creativity (K. Orff) synthesizes rhythm, word, sound, movement in the artistic and search activity of children. When musical thinking is defined as a system-forming factor in the musical development of students, all elementary musical abilities (types of musical ear) develop interconnectedly, as properties of musical thinking (N. N. Grishanovich).

The musical education of a personality is a complex dynamic system with ordered connections within its structure. Each element of this system can be considered as a subsystem of content, activity, development of abilities, methods, etc. A music lesson, any artistic and communicative situation are also subsystems of music education.

The integrity of the system is fundamentally irreducible to the sum of the properties of its constituent elements. Each element of the system depends on the place occupied in its structure, functions and connections with other elements within the whole. For example, the system of D. B. Kabalevsky does not exclude choral singing, musical literacy and other knowledge and skills, but their functions and place in the educational process are changing dramatically: instead of private learning goals, they become means of developing the musical culture of the individual.

The systematic approach requires the search for specific mechanisms of the integrity of the musical educational process and the identification of a fairly complete picture of its internal connections, as well as the allocation of a backbone element, on the basis of which it is possible to build an “operational unit of analysis” of the success or failure of the functioning of the entire system.

Polyartistic approach

implies integration, synthesis of artistic influence. And integration is the disclosure of the intonational relationship of artistic images. Mastering expressiveness simultaneously with the help of different intonational languages, students better perceive the nuances of expressiveness and can more fully express their feelings, their understanding.

Intonation is a general artistic category. This is spiritual energy embodied in the material and image of art. The general intonational-figurative nature of all types of art is the basis of their interaction, integration and synthesis (B. V. Asafiev, V. V. Medushevsky). Students can discover the spiritual meanings of an artistic image by comparing works of various types of art that embody them in their own way.

The experience of expressive intonation and intonational communication (speech, musical, plastic, color) is accumulated by students in the process of parallel mastering of the disciplines of the artistic cycle, as well as with the help of the poly-intonation technique, the emergence of synthetic types of artistic activity in the educational process: "drawing with a voice", "plastic drawing" , voicing poems and paintings,

creation of an intonation score of a literary text, rhythmic declamation, literary and musical composition, onomatopoeia (creation of sound pictures), speech and plastic games.

It must be taken into account that one of the most important properties of artistic, including musical, thinking is associativity. In the teaching of any art, all its other types create the necessary associative-figurative atmosphere that contributes to the expansion of the life and cultural experience of students, nourishes their imagination, creates conditions for the optimal development of artistic thinking. With the help of works of various types of art, an emotional and aesthetic atmosphere of artistic perception is created in the lesson, which provides emotional “adjustment”, the creation of an adequate perceptual and aesthetic setting for a meeting with an artistic image.

Involved in similarity and contrast in the content of music classes, works of related art forms create an artistic context for the works being studied, contribute to the dialogization of the content of the subject, and the creation of problematic and creative situations. The use of developing technologies is based on poly-intonation, i.e. modeling the artistic image and the creative process with the help of expressive elements of various artistic languages.

The polyartistic approach in art education was theoretically substantiated by B.P. Yusov, who believed that this approach

due to modern life and culture, radically transformed in all parameters of sensory systems. Modern culture has acquired a polyartistic, multilingual, polyphonic character. The unified nature of all types of art presupposes their integration and the realization of the polyartistic possibilities of each child.

This approach is characterized by the idea of ​​dominance at different ages of different types of artistic perception of life and, consequently, different types of art. Types of art act as modules (alternating successive blocks) of a single artistic space of the educational field "Art", dominating in turn as you move from junior to middle and senior classes. Depending on the type of artistic activity that dominates at a given age stage and the interests of students, the types of art that prevail in the polyartistic complex replace each other according to a sliding modular scheme. In a holistic artistic and pedagogical ecosystem, conditions are created for a more complete understanding of different artistic languages ​​and types of artistic activity in their relationship, the ability to transfer artistic ideas from one type of art to another is provided, which leads to the universalization of the artistic talent of the individual.

A multi-artistic approach to art education can be implemented in two types of programs: 1) programs that integrate the study of all types of art; 2) training programs

separate types of art, integrated with other types of artistic activity. The emphasis in the content of the classes is shifting from the art history tradition of mastering the theoretical system of knowledge to the development of various types of children's own artistic and creative activities. Education is based on the interaction of students with "living art": live sound, live colors, own movements, expressive speech, live creativity of children. Integrated and interactive forms of work with students are cultivated, developing artistic thinking, creative imagination, research and communication skills.

Realizing together the specific principles of music education, the considered artistic and didactic approaches can be applied in an interconnected manner, enhancing the effectiveness of each other in the educational process and determining its compliance with the cultural and personality-oriented paradigm of modern art pedagogy.

LIST OF SOURCES AND LITERATURE

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1

The article reveals the essence of the concept and the basic principles of a bifunctional approach to the musical development of a child in piano lessons in institutions of additional education. The bifunctional approach in music education is interpreted as a pedagogical strategy based on the dual foundation of the musical education of children and youth: the formation of a cultural layer of enlightened music lovers and highly qualified professional musicians in society. The author characterizes two educational programs recently formulated in new legislative documents - pre-professional and general developmental - and makes their comparative analysis. The pre-professional educational program is aimed at training future specialists - musicians of various profiles. The general developmental educational program is designed to promote the formation of a musically educated listening and viewing audience in society. The article emphasizes the need to implement both programs on the basis of a single basic academic methodological complex. The idea of ​​fundamentalization is especially important for the implementation of a general developmental educational program, since at present its implementation is in line with easing, indulging, teaching music to most children is becoming an amateur music-making.

amateur music making.

dual foundation

musical development

unified methodological complex

general developmental program

pre-professional program

musical development

bifunctional approach

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The present time is the time of reforming the domestic system of music education. “The reform of the education system being carried out in the Russian Federation is based on the principles developed in the late 1980s. and developed in the early 90s, the principles of democratization”, including: “the variability of the education system; .. humanization of education and the creation of the most favorable conditions for the disclosure and development of the abilities of each student; .. developmental education.” . Now, in the context of the modernization of music education, such an approach is fully consistent with the implementation of additional general educational programs in the field of art, which are contained in the latest legal documents (Federal Law "On Education" dated June 16, 2011 No. 145-FZ, Federal Law dated December 29, 2012 No. 273-FZ). These programs are divided into pre-professional, designed to help identify artistically gifted children and youth, train creative and pedagogical personnel in the field of culture and art, and general developmental, ensuring the formation of a trained audience of listeners and viewers in society.

In this regard, the relevance of the problem of the bifunctional approach to the musical development of a child in the piano class considered in this article in the system of additional education is obvious.

Analyzing this problem, it is necessary first of all to clarify the essence of the concept of "bifunctional approach".

Approach - “... this is a certain position in relation to any problem or phenomenon, ... a theoretical or logical basis for considering or designing an object; a set of methods and techniques for carrying out activities on the basis of an idea or principle.

The approach to learning in pedagogy is interpreted as the implementation in practice of the leading dominant idea of ​​learning in the form of a certain strategy and with the help of certain teaching methods.

The definition of “functional” in the phrase “bifunctional approach” is an adjective from “function” (lat. functio performance), which means “circle of activity, purpose”. R.K. Merton characterizes functions (meaning explicit functions) as consequences that are planned and realized by the participants in the system, i.e. conscious subjective intentions and objective consequences coincide.

The concept of "functional approach" was formed in sociology on the basis of the ideas of O. Comte, G. Spencer and E. Durkheim. Its representatives consider society as a system, which is an integral complex of interrelated elements that are in functional relationships and connections with each other. Functionalists focus on individual subsystems of society, especially on its most important institutions - family, religion, economy, state, culture, education. They identify the structural characteristics of institutions in the same way that biologists describe the basic properties of an organism, and then define the functions of institutions. One of the features of the system is the striving for the balance of its components: a change in one institution has consequences both for other institutions and for society as a whole.

Children's music schools are a widespread socio-cultural institution that performs many public functions, two of which are the preservation and strengthening of the highest level of the national piano performing school and the formation of a cultural layer of competent music lovers in society and are the basis of a bifunctional approach to the musical development of children. The bifunctional approach in this case is interpreted as a pedagogical strategy based on the dual foundation of the musical education of children and youth: the formation of a cultural layer of enlightened music lovers and highly qualified professional musicians in the society.

The emergence of the pre-professional and general developmental educational programs described above is, in fact, the first legislatively fixed step towards creating optimal conditions for the musical education of children in children's art schools. This is the first example of a two-pronged educational program, the first experience of program variability, aimed at an individual trajectory of personality development. In both of them, the tasks and goals of the educational process are correctly formulated, the emphasis is correctly placed on the specifics of each of its functions: general developmental educational programs are focused on educating an active educated listener, participant in amateur performances, pre-professional programs - on providing optimal conditions for the formation of children's motivation to continue vocational training in secondary vocational institutions.

To successfully complete the above tasks, it is necessary to answer a number of questions: what knowledge, skills and abilities should be formed in future amateur and professional musicians graduating from a music school and how this should be reflected in the content of pre-professional and general developmental educational programs and teaching methods in a music school; what personal and special musical qualities each of them should possess. Such an analysis is necessary because children's art schools to this day, in essence, remain a narrowly focused institution for teaching how to play musical instruments.

Amateur musicians can be divided into two categories. The first includes listeners, that is, consumers of sounding music. The second (quantitatively smaller) category includes amateurs who, along with this, realize themselves performing: they participate in various forms of collective music-making, accompany other amateurs (singers, instrumentalists, choir), and often even act as performers - soloists. Amateur musicians of the first, predominant category are characterized by a steady need for the activity of the listener's consumption of music - its perception and experience, obtaining the appropriate aesthetic pleasure as a source of spiritual energy. To fulfill this need, an amateur musician must at least: have the ability and skill to adequately perceive music; to experience emotionally and be able to aesthetically realize and evaluate the artistic level of musical works thanks to a developed ear, thinking and imagination; to know a large number of musical works of various eras, styles and genres; be able to analyze the features of the form and content of the heard work; -qualifiably determine the specifics of their performance by various artists or performing groups; show a keen interest in events in the world of music: new compositions and their interpretation by various performers, competitions, tours, interesting debuts.

This type of music lover, as can be seen from the listed qualities, cannot be considered passive in any way - he is active in realizing his need to communicate with music, evaluate it, memorize it, experience it, and the corresponding emotional reaction. It is clear that the narrowly focused teaching of playing the instrument cannot fully ensure the formation of the musical culture necessary for a competent listener.

Obviously, all these qualities that an educated listener of music should possess should also be inherent in a music lover. At the same time, for a competent amateur performance of musical works, it is necessary: ​​to know the intonation language of music and be able to express through it the various artistic content of the performed works; have a developed musical thinking; have a developed musical memory; have significant instrumental technical equipment, high quality of sound production, necessary for the competent performance of orchestral and ensemble parts, accompaniments that do not contain specific virtuoso difficulties of the solo repertoire; master the elementary skills of ensemble and orchestral music-making; master the skills of reading from a sheet.

From what has been said, it is clear that the performing activity of amateur musicians makes rather serious demands on them, which are close to professional ones in terms of their level. In support of this thesis, let us analyze what set of personal qualities, special knowledge and skills a music school graduate should have for successful further professional education.

The first is a comprehensively developed professional ear as a complex combination of its intonational and analytical components. The second is a heightened rhythmic feeling, developing from the very beginning of classes to the level of the basis of the future rhythmic culture in the aggregate of all its aspects - from metrical pulsation, rhythmic accuracy, a sense of time and tempo to logically correct accentuation, agogic nuance and proportionality of parts of the musical form. The third is the ability to adequately perceive the figurative and artistic content of the performed work, to interpret it creatively. Fourth, a potential musician-specialist as a performer must have a certain set of personal qualities: artistry, ability to work, increased ability to concentrate, overcome stressful conditions. Fifth - professional well-developed musical memory, in all its variety of types: figurative, motor, tactile, verbal-logical, emotional. Sixth - an extensive accumulation of repertoire, covering works of different historical eras, styles, genres. Seventh - a developed ability to read from a sheet. Eighth - the formation of the playing apparatus, which ensures the intensive development of all elements of virtuoso instrumental technique at a fairly early age. Ninth - the presence of certain skills in joint music-making (playing in an ensemble, accompaniment, understanding conductor's signs). Tenth - an active position in relation to the most important events in the world of music and other arts.

So, from all that has been said, we can draw the main conclusion: the pre-professional training of a future performing musician, in terms of its content and structure, should not fundamentally differ from the training of an amateur musician - in both cases, it should be formed as an integral system. , which includes all the necessary significant components of the academic methodological complex. The existing differences should be manifested not in the exclusion of any components from this system, but in a different level of mastering them, in the features of their fundamentalization, in particular, in a different scale of mastering the repertoire, special knowledge, and skills. These differences should be based on a deep understanding by teachers of the nature of the motivation of each child and his parents to receive a musical education, on respect for the choice of students in one direction or another in learning.

Reviewers:

Maykovskaya L.S., Doctor of Pedagogical Sciences, Professor, Head Department of Music Education, Moscow State Institute of Culture, Moscow;

Chervatyuk P.A., Doctor of Pedagogical Sciences, Professor, Moscow State Pedagogical University, Moscow.

Bibliographic link

Voskoboynikova E.G. BIFUNCTIONAL APPROACH TO THE MUSICAL DEVELOPMENT OF A CHILD IN THE PIANO CLASS // Modern Problems of Science and Education. - 2015. - No. 6.;
URL: http://science-education.ru/ru/article/view?id=23891 (date of access: 01.02.2020). We bring to your attention the journals published by the publishing house "Academy of Natural History"