Developmental learning in music education. Music education as one of the areas of aesthetic development of personality. Concept by L. A. Bezborodova and Yu. B. Aliev
MODERN ARTISTIC AND DIDACTICAL APPROACHES IN MUSIC EDUCATION
N. N. Grishanovich,
Institute of Modern Knowledge named after. A. M. Shirokova (Minsk, Republic of Belarus)
Annotation. The article defines and substantiates artistic and didactic approaches to organizing the musical educational process that are relevant for the modern paradigm of art pedagogy: value-semantic, intonation-activity, dialogic, systemic, polyartistic. It is shown that the approach functions as a toolkit for implementing 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-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 choosing methods for achieving its goals, which groups around a number of other principles and is based on them. Since music education is based on specific principles of artistic didactics, the approaches to it should be artistic and didactic. Under-
The course performs the functions of tools (technology) in the implementation of the principles of music education in the educational process.
Pedagogical research emphasizes that the cultural paradigm of education will require personality-oriented and activity-based approaches. Culture is based on creativity and living 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 their own creative activity. The principle of relying on the laws of the musical-cognitive process and their practical implementation requires the choice of artistic and didactic approaches to the organization of developing musical education for students that are adequate to them.
The center of the value-semantic approach is the development of the motivational side of students’ musical-cognitive activity and the ability to spiritually understand music (V.V. Medushevsky). The main work of a 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, a 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 24 education (E. V. Bondarevskaya). From these positions, the epicenter of music 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 an individual 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.
chelic spirit. Therefore, understanding the spiritual truth, value and beauty of music is the semantic core of music education. The goal of musical knowledge is not the acquisition of musicological knowledge, but the depth of penetration into the high essence of man, the harmony of the world, understanding oneself and one’s relationships with the world. Intonation-semantic analysis of musical works as the leading method of music education requires the ascent of both the teacher and students to the perception of beauty and truth, to the spiritual heights of the human soul. In the musical and cognitive activities 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 people.
Organizing artistic
When students encounter a piece of music, the teacher must consistently direct their attention to awareness of the axiological aspects of the work 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 “lower” life associations, but set a semantic perspective for perception and understanding.
The main function of music education is the development of students’ intonation hearing and their ability to 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 just 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 different genres and directions. However, music education should not impose values; its task is to create conditions for their recognition, understanding and choice, and to stimulate this choice.
The development of motivation for students' musical activity involves pedagogical stimulation of their musical and cognitive interests, in which the personal meaning of specific musical actions and music education in general is manifested. The two-way activity of students’ personal experience is stimulated: life and artistic associations help the perception of the content and expressive means of the musical image; interpretation of musical works and the search for personal artistic meaning enrich students' worldview 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 learning, problem-based learning, artistic and didactic games, building the educational process on a dialogical, personal-semantic basis, etc.
By 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 or his ideological position. It can create the necessary social and artistic context of 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 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 intonation sense, intonational vocabulary, skills of intonation-semantic analysis and artistic generalization, and emerging moral and aesthetic feelings.
Constantly penetrating the artistic secrets of musical images, the teacher constructs a way 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 have been created that advocate the construction of the content of music education by type of activity. With this approach, students master 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, creating the characteristic structure of a traditional lesson.
A distinctive feature of this approach is the priority of training and the predominant assimilation of knowledge, skills and abilities in a ready-made form, according to a model. However, modern pedagogy of music education argues that mastering actions based on a model and assimilation of knowledge in a ready-made form cannot be the essence of the activity-based approach to teaching. These are traditional characteristics of the explanatory-illustrative approach, in which the activity is given to students from the outside. The teacher broadcasts ready-made content designed for students to memorize, monitors and evaluates its assimilation.
The activity approach is characteristic of developmental education. Expanded educational activity is carried out where the teacher systematically creates conditions that require students to “discover” knowledge about a subject through experimentation with it (V.V. Davydov). Musical-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 intonation, the creative intent of the author and performer. The basis of such activities is the development of intonational musical thinking of schoolchildren in the process of modeling the communicative properties of an integral musical culture, the personal and creative dialogue of the composer, performer and listener.
The center of the intonation approach is the students’ mastery of live, intoned musical speech in the process of listening, performing and creating their own “elementary” music, the development of intonation hearing, perception-understanding and musical thinking. Modeling the activities of the composer, performers, and listeners is the basis of the methodology for mastering musical speech. Through active action, vocal, plastic, speech, instrumental intonation, students travel the path to a musical image and discover its intonational meaning. The content of the lesson and the subject as a whole is set as artistic communication with living, intonationally created art, and not as the assimilation of theoretical knowledge about music. Musicological ideas are formed on the basis of intonation 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 in the music program and, accordingly, the existential form of key musical competencies of schoolchildren. The intonation-activity approach helps students overcome the separation of the sound form of music from 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 achieve a high humanitarian, moral and aesthetic level of human studies.
The dialogical approach requires dialogization of the content and methods of music education based on similarities and contrasts. Mastering musical works is always a dialogical co-creation: the work created by the composer comes to life and receives its semantic completeness only thanks to the intonation-analytical, performing, interpretive skills and personal experience of the interlocutors - students and teachers (listeners and performers).
Musical culture is understood as a set of works (texts) addressed to “near and distant” interlocutors (composers, performers, listeners, artists, poets, etc.). Dialogically related texts of musical and artistic culture in general should become for students a desirable subject of personal comprehension and individual creativity in the educational polylogue.
The specificity of a 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 completed form, but is revived and concretized in the process of its interpretation by the opposing 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. Leontyev) believe that the phenomenon of artistry arises only in the process of understanding interaction between the author of a work of art and his interpreter-co-creator.
According to psychologists, dialogism is “built-in” into 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 construction of the musical-cognitive process is based on the position of modern musicology, which asserts 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 (B V. Medushevsky, A. V. Toropova).
Personal mastery of musical works is impossible without dialogic co-creation, semantic co-authorship. The processes of understanding and awareness suggest that at the borderline point of meeting of several views on the same value, a tense dialogue space is formed in which 27 resonant phenomena associated with the process of maturation of individual meaning arise. This dialogue space is created with the help of the artistic and life context of the work being studied, 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 dialogue with the listeners. When trying
Before entering the world of the composer at different age stages of musical education, a dialogue of individuals with different content takes place, which involves turning to various works and aspects of the composer’s biography.
With the dialogical nature of music education, students in the lesson are placed in the active role positions of composers, performers and listeners, artists, poets and painters, cameramen, sound engineers and screenwriters. Comprehension of the intonation language of music occurs in the process of polyintonation
roving, 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 form friendly relationships. To organize interaction between students, group, paired and collective methods of organizing the educational process, and game forms of creative activity are widely used.
The system of interpersonal communication in the music-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 the teacher, reflection; the second is the immersion of impressions and ripening thoughts in interpersonal communication with students and the teacher; the third is an extended 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 dialogue. The advantage of the dialogical approach in music education is the appeal not only of the teacher, but also of the inspired content
meta to each student as a unique individual.
A systematic approach is an indispensable condition for organizing developmental education. It guides methodologists and teachers to reveal and realize the integrity of a student’s musical education and the diverse intonation-creative connections of all its elements that ensure this integrity, to find 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
type 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 and cognition of music. Mastering the musical language through elementary children's creativity (K. Orff) synthesizes rhythm, word, sound, movement in the artistic exploration activity of children. When determining musical thinking 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 person 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 a 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, D. B. Kabalevsky’s system does not exclude choral singing, musical literacy and other knowledge and skills, but their functions and place in the educational process change radically: instead of private learning goals, they become means of developing an individual’s musical culture.
A systematic approach requires a search for specific mechanisms of the integrity of the music-educational process and the identification of a fairly complete picture of its internal connections, as well as the identification of a system-forming element on the basis of which it is possible to construct an “operational unit of analysis” of the success or failure of the functioning of the entire system.
Polyartistic approach
involves integration, synthesis of artistic influence. And integration is the revelation of the intonational relationship of artistic images. By mastering expressiveness simultaneously with the help of different intonation languages, students better perceive the nuances of expressiveness and can more fully express their experiences and 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). Comparison of works of various types of art, embodying them in their own way, helps students discover the spiritual meanings of an artistic image.
The experience of expressive intonation and intonational communication (speech, music, plastic, color) is accumulated by students in the process of parallel mastering the disciplines of the artistic cycle, as well as with the help of the polyintonation technique, the appearance in the educational process of synthetic types of artistic activity: “voice drawing”, “plastic drawing” , scoring 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 is necessary to take into account that one of the most important properties of artistic, including musical, thinking is associativity. In teaching any art, all other types of art create the necessary associative-figurative atmosphere, which helps expand 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, providing emotional “adjustment”, the creation of an adequate perceptual and aesthetic attitude towards meeting an artistic image.
Works of related types of art, drawn by similarity and contrast into the content of musical classes, create the artistic context of 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 developmental technologies is based on polyintonation, i.e. modeling the artistic image and creative process with the help of expressive elements of various artistic languages.
The polyartistic approach to art education was theoretically justified by B.P. Yusov, who believed that this approach
caused by modern life and culture, which have radically transformed in all parameters of sensory systems. Modern culture has acquired a polyartistic, polylingual, polyphonic character. The unified nature of all types of art presupposes their integration and the realization of the polyartistic capabilities 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 they move from junior to middle and senior classes. Depending on the dominant type of artistic activity at a given age stage and the interests of students, the types of art that predominate in the polyart complex replace each other according to a sliding modular scheme. In an integral artistic and pedagogical ecosystem, conditions are created for a more complete understanding of different artistic languages and types of artistic activity in their interrelation, and the ability to transfer artistic ideas from one type of art to another is ensured, which leads to the universalization of an individual’s artistic talent.
The polyartistic approach to art education can be implemented in two types of programs: 1) programs that integrate the study of all types of art; 2) programs for classes
separate types of art, integrated with other types of artistic activity. The emphasis in the content of classes shifts from the art history tradition of mastering a 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”: living sound, living colors, personal movements, expressive speech, living creativity of children. Integrated and interactive forms of work with students are cultivated, developing artistic thinking, creative imagination, research and communication abilities.
Implementing together the specific principles of music education, the considered artistic and didactic approaches can be used interconnectedly, enhancing each other’s effectiveness in the educational process and determining its compliance with the cultural and personality-oriented paradigm of modern art pedagogy.
LIST OF SOURCES AND REFERENCES
1. Yusov B.P. Interrelation of cultural factors in the formation of modern artistic thinking of a teacher in the educational field “Art”: Izbr. tr. in history, theory and psychology of art education and polyartistic education of children. - M.: Sputnik+ Company, 2004.
2. Pedagogy of art as a new direction of humanitarian knowledge. Part I. / Ed. coll.: L. G. Savenkova, N. N. Fomina, E. P. Kab-kova and others - M.: IKhO RAO, 2007.
3. Interdisciplinary integrated approach to teaching and upbringing with art: Sat. scientific articles / Ed.-comp. E. P. Olesina. Under general ed. L. G. Savenkova. - M.: IKhO RAO, 2006.
4. Abdullin E. B., Nikolaeva E. V. Theory of music education: A textbook for students. - M.: Academy, 2004.
5. Abdullin E. B., Nikolaeva E. V. Methods of music education. Textbook for universities. - M.: Music, 2006.
6. Goryunova L.V. On the way to art pedagogy // Music at school. - 1988. - No. 2.
7. Grishanovich N. N. Theoretical foundations of musical pedagogy. - M.: IRIS GROUP, 2010.
8. Zimina O. V. Dialogue in the professional activities of a music teacher: Educational P4 manual / Responsible. ed. E. B. Abdullin. -Yaroslavl: Remder, 2006.
9. KrasilnikovaM. S. Intonation as the basis of musical pedagogy // Art at school. - 1991. - No. 2.
10. Medushevsky V.V. Intonation form of music. - M.: Composer, 1993.
11. Theory and methodology of musical education of children: Scientific and methodological. manual / L. V. Shkolyar, M. S. Krasilnikova, E. D. Kritskaya and others - M.: Flinta; Science, 1998.
MINISTRY OF EDUCATION AND SCIENCE OF THE RF
State educational institution
Higher professional education
"KURSK STATE UNIVERSITY"
RUDZIK M.F.
ISSUES OF THEORY AND METHODS
MUSIC EDUCATION
TUTORIAL
FOR STUDENTS OF THE FACULTY OF ARTS
(specialty “music education”)
Part I – Theory of Music Education
Publishing house
Kursk State University
THEORY OF MUSIC EDUCATION (lecture course)
Lecture 1. Introduction to the course……………………………………………………... 4
Lecture 2. The essence of the theory of music education……….…………………10
Lecture 3. The role of musical art in the formation of culture
personality and the process of sociocultural adaptation of a schoolchild…..………… 16
Lecture 4. Functions of musical art
and music education…………………………………………………………….. 24
Lecture 5. Artistic and pedagogical concept of D.B. Kabalevsky
in the theory and practice of music education for schoolchildren……………… 32
Lecture 6. Theoretical ideas about purpose
music education…………………………………………………………...….. 40
Lecture 7. Theoretical ideas about tasks
music education…………………………………………………….. 47
Lecture 8. Principles of music education……………………...…….. 55
Lecture 9. Contents of general music education………………..... 65
INDEPENDENT WORK OF STUDENTS…………………………… 76
BASIC AND ADDITIONAL LITERATURE…………………….. 87
APPLICATION…………………………………………………………………94
PART I
THEORY OF MUSIC EDUCATION
Lecture 1. Introduction to the course
Plan
1. Definition of the concept “theory”. The modern theory of music education as a set of initial phenomena, provisions and patterns that reflect the content, process and organization of music classes with students.
2. Music education as a unity of training, education and development.
3. The image of a music lesson in the history of general music education.
"theory"- a set of general principles, ideas underlying something.
"spirituality)"- internal state of mind, moral strength of a person
“musical pedagogy” (pedagogy of music education, art pedagogy, artistic and creative pedagogy)- terminological symbiosis, traditionally used in specialized literature and popular usage in relation to music pedagogical theory and practice.
Music, like other types of art, it is meaningful, rich, concentrated and expresses the aesthetic essence of reality in artistic form. Therefore, it is a sharp and effective tool for shaping a person’s aesthetic attitude to life. At the same time, the process of targeted musical education of a person becomes important, especially during childhood, adolescence and youth.
At present, few people deny the starting point of the theory of music education, which consists in recognizing the enduring significance and spiritual value of musical art for a person. Without unnecessary didacticism, it introduces the human soul into the vast world of universal human values; through the development of fantasy, imagination, creativity influences the formation of the spiritual world of the individual.
The concept of “music education” is the most general in the theory of music teaching. It includes a number of concepts dependent on it, among which “musical education”, “musical training” and “musical development” should be highlighted.
The system of mass music education at school is the process of formation of essential forces in a child, ensuring the activity of artistic and aesthetic perception of musical art, creative imagination, emotional experience, and the formation of spiritual needs. The named system is aimed at realizing the goal of general music education - the formation of a student’s musical culture as part of his spiritual culture through solving a set of 3 complementary tasks:
1) the task of musical education– a purposeful process of developing in children the ability to feel, experience, understand, love and appreciate musical art, enjoy and create artistic values in the field of musical and creative activity;
2) the task of music education– a purposeful process of schoolchildren mastering a set of educational skills, forming worldviews in the field of art, artistic creativity, and life itself;
3) the task of musical and creative development– purposeful formation of children’s talents in the field of musical art.
The theory of music education in domestic art pedagogy is based on a number of fundamental philosophical, aesthetic, psychological and pedagogical starting points. So to methodological prerequisites of the theory Academician B.T. Likhachev, in particular, attributed:
Provision on the leading role of targeted pedagogical influence in the aesthetic development of the child’s personality, promoting the involvement of children in a variety of artistic and creative activities, the development of their sensory sphere; providing a deep understanding of aesthetic phenomena; raising to an understanding of genuine (highly artistic) art, the beauty of reality and the beautiful in the human personality;
The provision on the recognition of the enduring significance and spiritual value for humans of the phenomena of beauty (artistic and aesthetic phenomena), which implies by aesthetic education the formation of an aesthetic attitude towards art and reality.
An equally important conceptual position of TPM is the integrity and complexity of teaching art in school: all art programs, methodological systems, material support and training of teaching staff must meet the requirements of the triune pedagogical task.
TPM pays special attention to the problem of goals, objectives and principles of music education. At the level of the goals, objectives and principles of teaching music, formulated in a certain way in each period of our history (respectively, in each period of development of domestic music education), it is possible to trace the logic of musical pedagogical concepts, because Each stage of development created its own stereotypes of thinking in school music pedagogy, views and approaches to the music-pedagogical process. However, we should pay tribute to those provisions and principles that are of enduring importance and deserve attention in the context of modern approaches to general music education.
Thus, in retrospect, three principles that formed the basis of materials on general music education at school in the 1920s deserve attention:
- principle of visibility(not illustrative, but direct perception);
- principle of self-activity(the need to engage in improvisation and composition during music lessons at school), i.e. to move not only from the contemplation of musical works to their internal implementation in aesthetic experience, but also to move back from the experience to its external manifestation;
- vitality principle(“the task of cultural humanity is to raise the level of aesthetic culture through the mutual penetration of one by the other: life and art”).
Thus, what is attractive about the theoretical positions of that time (the era of horrific devastation and civil war!) is that they were formed on the basis of a deep understanding of the specifics of art, its functions and role in society. The “connection of times” can be traced in these provisions and modern principles of music education.
However, over time, a contradiction arose between the put forward theory and the practice of music education that existed for many decades. It revealed the essence of the formed stereotype of pedagogical thinking: mastery of knowledge of the arts was replaced by knowledge of art. D.B. Kabalevsky noted that in this system, technical training completely replaced art. Only in the 70s of the twentieth century. a noticeable breakthrough was made in the development and correlation of the theory and practice of music education. For example, in the Concept of Musical Education of Schoolchildren it was formulated the principle of unity of artistic and technical, aimed at strengthening the position of “artistic”.
Before this stage, the content of music education largely copied professional music education, although theoretical thought in the field of music pedagogy spoke about the inadmissibility of this back in the early 20s. (A. Shenshin introduced the term “general music education”). The image of a music lesson as an art lesson in the theory of music education also began to take shape in the 20s. with its inherent special atmosphere of relationships between all participants in the pedagogical process. The position also put forward by A. Shenshin sounds very modern, about creating an atmosphere of humanistic relations, arising from the ability of music to organize special human communication: “The atmosphere of classes should facilitate lively and relaxed conversation: all formality, all lines separating teacher and student, performer and listener, should be erased, so that only people living a common musical life remain.”
The attitude towards music as a means of education, which existed in school music education for many years, should be considered unacceptable for art pedagogy. Only in recent decades has it come to the center of pedagogical consciousness the principle of recognizing the intrinsic value of art: it should not be alienated from a person, but rather lived in the process of living perception.
For a music lesson - an art lesson is no less important principle of emotional saturation(for the first time we read about the emotional structure of a music lesson in the Draft Secondary School Curriculum (- M.: Prosveshcheniye, 1965. APN RSFSR): “In the field of music education, the secondary school faces tasks of great importance: education through music of the aesthetic and moral feelings of students, their musical taste, love for music, active and creative attitude towards it. The school provides musical education, development and training of students, the unity and interconnection of which is crucial for the full formation of the child’s personality. For a music lesson, an art lesson, the emotional mood of the lessons is very important."
The named principle is not the only achievement in the development of the domestic theory of mass music education in the second half of the twentieth century. During the years of the so-called “Thaw,” the theoretical thought of the compilers of music teaching programs in mass schools developed in the following main directions:
1) specification of the content of music education(The elementary school program of 1943 addressed this concept from the point of view of concretizing ZUN; only in the 8-year school program of 1960 was an attempt made to concretize an important personality quality, which was later defined as “musical culture”: the formation of personality qualities with higher moral and aesthetic positions);
2) systematization of the content of music education as a consequence of its gradual development in breadth and depth, the need to bring its components into a certain system.
Many of these provisions remained simply declarations for half a century. A decisive breakthrough in this direction, as noted above, occurred in the mid-70s, when the Concept of Musical Education of D. Kabalevsky appeared. He based the concept on the scientific ideas of his teacher, Academician B. Asafiev, who wrote: “If you look at music as a subject of school education, then, first of all, you must... say: music is an art, i.e. a phenomenon in the world created by man, and not a scientific discipline that is taught and studied.” It is these words that allow us to say now that with the advent in the 70s. concept of musical education, the music lesson at school has acquired a new essence - art lesson image.
In the concept of D.B. Kabalevsky, based on the nature and laws of musical art, as well as from the nature and laws of child development, new principles of teaching music were put forward, including the principle of interest and passion for the art of music, a wide and deep disclosure of connections between music and life, the thematic principle of constructing a system of musical lessons, the principles of “similarities and differences”, variability in the construction of music lessons, “running ahead” and “returning to what has been covered”, the unity of emotional and conscious, artistic and technical and a number of others.
Thus, the essence of the music education system crystallized, which lies in the fact that at the center is the personality and individuality of the child, making a long journey of internal meaningful artistic and aesthetic development. These ideas, which formed the basis for the formation of modern pedagogical thinking in the field of musical education of schoolchildren, were further developed in the science of the 80s.
During this period, the theory of aesthetic education of schoolchildren considered the following principles of building an educational system:
The universality of aesthetic education and training;
An integrated approach to the implementation of the system;
The organic connection of all artistic and aesthetic activities of children with life;
Combinations of curricular, extracurricular and extracurricular activities and organized exposure to art through the media;
Unity of artistic and general mental development of children;
Artistic and creative activities and amateur performances of children;
Aesthetics of all children's lives.
In the context of these principles, new content, a new process, and a new organization of musical classes began to take shape; develop new methods and technologies of education; the new essence of the lesson is determined. Fundamentally changed music pedagogy (pedagogy of personality development) today overcomes the stereotypes of traditional ZUN pedagogy. In these conditions, the efforts of school music teachers should be aimed at changing the attitude towards art as a means of education, the approach to teaching music as a school subject - towards the implementation current and meaningful idea of teaching music as a living figurative art.
Literature
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3. Materials on general educational work at school. Aesthetic development of children. – Vol. 4. – M., 1919.
4. Music at school. Materials on general music education at school / Ed. ed. Music sections of the ETS Department. – M., 1921.
5. Program "Music". 1-3, 5-8 grades. / Ed. D.B. Kabalevsky. – M., 1980.
6. 8-year school program. – M., 1960.
7. Primary school program. – M., 1943.
8. Programs for levels 1 and 2 of the seven-year unified labor school. – M., 1921.
Lecture 2. The essence of the theory of music education
Plan
1. The Theory of Music Education (TME) as a system of scientific knowledge and concepts about the patterns of managing the development of a child, the education of his aesthetic feelings in the process of introducing him to music and the formation of aesthetic consciousness.
2. Methodological foundations of TMO.
4. The purpose of the educational subject “Theory of Music Education”.
Basic concepts and categories:
"personality culture"- a multifaceted phenomenon that has a significant impact on the economic, political, social and spiritual processes of public life. Important criteria for personality culture are:
1) its compliance with universal human ideas about the values of life, man and society;
2) the individual’s attitude to the cultural experience of all generations of humanity;
3) human participation in creativity, in the creation of new material and spiritual values;
4) the stability of a person’s position, his orientation towards certain values.
"musical education"- the process and result of mastering systematic knowledge, skills and abilities necessary for musical activity. Music education also refers to the system of organizing music education in music educational institutions. Self-education can also play an important role.
"thesaurus"- terminological dictionary related to this science, the subject of study.
As a system of scientific knowledge, TMO is included in the general system of pedagogical sciences and occupies a certain place in it. TME of schoolchildren is directly included in school pedagogy, as it considers the issues of musical education of a child from 6 to 15 years old. This is an area of aesthetic education, the laws of which apply to all artistic, and in particular musical, human activity. The educational significance of art is more relevant today than ever: according to sociological research, the displacement of aesthetic needs and spiritual values from the youth consciousness leads to one-sided rationality, pragmatism and callousness, inattention to one’s neighbor and to people in general, and neglect of moral values. Therefore, it is important to understand the role of a music lesson in nurturing the artistic culture of students as part of the educational process, which most significantly affects the sphere of aesthetic and emotional experiences. Music has always had subtle means of attracting the listener to goodness, beauty and humanity.
The already established experience of domestic music pedagogy reveals two functions of music education. The first, classical function, is aimed at the formation of a musical culture of the individual, reaching the level of spiritual and moral values and universal humanistic beliefs, which determines the development of imaginative thinking and a person’s creative principles. The second function is pragmatic, determining the need for a creative specialist: today the development of abilities for creativity and imaginative-constructive thinking is intensifying, the role of a person’s abilities for synthesis and generalization is increasing. In this process, the development of imagination, the ability to relate heterogeneous material, and the ability to perceive the picture of the world harmoniously and holistically become important factors. And these abilities are developed in a person, first of all, in classes in subjects of the aesthetic cycle, including music lessons.
At the moment, it is difficult to consider the professional skills of a music teacher without such a component as knowledge of the theory of music education. TMO considers such important aspects as:
* provisions and patterns that reveal the possibilities of art and pedagogy in musical education, training and development of students;
* idea of the child as a subject of music education;
* priority professional qualities of the teacher’s personality;
* a holistic model of the components of music education;
* essence, types and characteristics of the professional activity of a music teacher.
TMO assumes mutual consistency with pedagogy, sociology, general, developmental and musical psychology, physiology of school-age children; with aesthetics and musicology on the basis of common conceptual provisions about the aesthetic essence of musical art and its significance in the musical and aesthetic development of schoolchildren. The named sciences make up methodological basis of the theory of music education.
In particular, aesthetics reveals the specific features of musical art, reflecting life phenomena in musical images, and musical education is based on several principles of musical aesthetics:
Consideration of a musical work in a historical, cultural and social context;
Attention to the psychological characteristics of music perception. B.L. Yavorsky emphasized the unity of creativity, performance and perception.
The problems of musical psychology as a methodological basis for musical upbringing and education were developed in the works of B.M. Teplova, E.V. Nazaykinsky, V.V. Medushevsky, G.S. Tarasova. The most developed area of music education and upbringing is the psychology of musical perception, which considers music as a language and means of communication.
A significant contribution to the theory and methodology of musical perception is developed by academician and composer B.V. Asafiev’s musical-theoretical concept, which today forms an essential part of the theoretical justification of modern theory and methodology of music education: his theory of intonation, interpretation of the relationship between the processes of perception and the logical organization of a musical work, the dynamic study of musical form are of methodological significance for the music education of schoolchildren.
It is also impossible to overestimate the activities of the composer, teacher, and public figure D.B. Kabalevsky on the development of the conceptual foundations of the general musical education of children and adolescents: he revealed the essential properties of music, genre features of musical thematics, intonation and principles of musical development, the importance of musical means in creating the figurative structure of a work - all this today is the methodological basis of musical upbringing and education of children , and also develops their scientific foundations - musicology and didactics.
For TMO, sociological research in the field of musical art is also important, which is related to identifying the musical tastes of listeners; research in the field of philosophy, cultural studies, art history, pedagogy and musicology, which are aimed at studying the phenomenon of musical culture of the individual (works of L.N. Kogan, E.V. Sokolov, G. Gontarev, etc.). The fundamental guidelines for TMT are such provisions of developmental psychology as recognition of the leading role of activity and communication in the development of a student’s personality, and the dominance of sensory cognition among elementary school students. TME is based on general pedagogical research methods, which are ways to solve research problems: observation, survey methods, pedagogical experiment.
Studying the theory of music education is impossible without revealing and mastering the most important concepts and provisions included in the obligatory thesaurus of a music teacher. Music teachers' mastery of a professional thesaurus of pedagogy related to the field of music education is one of the indicators of professionalism, because ensures the correct use of special terminology, helps to analyze specialized literature from a professional position and actively participate in the discussion of problems of music education.
One of the key concepts of TMO is the term "musical education", which is considered as integrative, combining education, training and development. In turn, they have their own meanings:
Musical education used in two meanings. In a narrow sense, musical education is understood, first of all, as the cultivation of certain personality traits of students (the psychological meaning of the concept). In a broad sense, this is moral, aesthetic, artistic education.
Music training also has two meanings. In a narrow sense, it refers to students’ mastery of musical knowledge, skills and abilities. In a broad sense, this term also includes the experience of students’ emotional and value-based attitude to music and their musical and creative activities.
Musical development is the focus of the teacher’s attention when teaching and raising a child. Musical development covers a wide range of aspects: the development of musical interests, tastes, and needs of students; development of all aspects of his musical ear, musical memory, thinking, imagination; development of musical and creative abilities, performing, listening and even composing skills.
The theory of music education, as already noted, studies activities related to music education aimed at introducing students to musical culture as a whole, and not just to the art of music. The name of the school subject “Music” is connected with this.
The content of the discipline “Theory of Music Education” considers, first of all, general music education. General music education is understood as education aimed at each student, since general secondary education in our country is compulsory. It is carried out in schools, gymnasiums, lyceums within the framework of the academic subject “Music” under the guidance of a music teacher who has a secondary or higher music pedagogical education and works according to one of the curriculums, in accordance with the state standard of general education.
The music education system also includes additional music education, which is not compulsory. Children, if they wish, can study music in studios, clubs, music schools, art schools (the official name is institutions of additional education for children). The main purpose of such institutions is to implement additional educational programs in the interests of the individual, society, and state. It is taken into account that music, as A.B. wrote. Goldenweiser, “everyone needs to be taught in one form or another and to a degree, but not only not everyone, but only a very few need to be trained as professional musicians.”
This pedagogical approach continues to operate today. Therefore, work with children in the context of the system of additional music education is carried out in two main areas:
General musical and aesthetic development;
Preparing the most gifted of them for admission to special educational institutions to obtain their chosen musical specialty.
Modern society poses current problems to schools, which determine the development of an optimal model of general education. In modern conditions of multivariate music curricula for general education institutions, each music teacher is required to create his own model of general music education, which meets not only his personal characteristics as a musician and teacher, but, above all, contributes to solving current problems. This requirement necessitates a deep knowledge of the methodological foundations of music education and the theory of music teaching itself.
The effectiveness of a music teacher largely depends on the extent to which he has theoretical knowledge in the field of music education. Mastering the theory of music education contributes to:
· revealing the significance of TMO for a music teacher;
· acquiring knowledge about the essence of TMO, its main categories, patterns, concepts;
· formation of theoretical professional thinking;
· accumulation of experience in the creative application of theoretical knowledge in the field of music education in their practical activities;
· formation of a professional position in relation to current issues of music education;
· development of the ability to independently enrich professional knowledge, skills, and experience in creative musical and pedagogical activities.
Literature
1. Abdullin E.B., Nikolaeva E.V. Theory of music education. Textbook for students. University – M: Academy, 2004.
2. Bezborodova L.A., Aliev Yu.B. Methods of teaching music in educational institutions: Proc. village for students music fak. pedagogical universities. – M.: Academy, 2002.
3. Goldenweiser A.B. Advice from the master // Sov. Music. – 1965, No. 5.
4. Morozova S.N. Musical and creative development of children in the pedagogical heritage of B.L. Yavorsky. – M., 1981.
5. Music education at school: Proc. allowance / Ed. L.V. Schoolboy. – M.: Academy, 2001.
6. Telcharova R.A. Musical-aesthetic culture and the concept of personality. – M., 1989.
Svetlana Stepanenko
An integrated approach to music education
An integrated approach to music education.
Currently, the development of the theory of aesthetic education carried out in three directions: artistic creativity in the process of their learning; independent artistic activity of children; , establishing diverse connections between its various parties. Leading direction - an integrated approach to aesthetic education. One of the leading features integrated approach- this is the programming of the aesthetic education. For the first time, an attempt was made to create an approximate program in which the tasks of aesthetic education developed for each age group of kindergarten. Among them upbringing aesthetic attitude to nature, surrounding objects, to art used in classes, work and everyday life.
Signs an integrated approach to musical and aesthetic education.
* musical education should enrich the moral character of the child, intensify mental activity and physical activity; * upbringing aesthetic attitude to the surrounding reality, to musical art should help establish a child’s connection with life; * content and teaching methods musical activities must ensure its unity educational, educational and developmental functions; * combination of various types of activities (traditional, thematic, complex) should encourage the development of initiative, activity, and creative actions; * complex teaching methods taking into account individually differentiated approach should contribute to the formation of aesthetic good manners, inclination to independent and creative learning, to development musical abilities and first manifestations of aesthetic taste; * harmonious combination of all forms of organization children's musical activities(classes, games, holidays, entertainment, independent activities) should contribute to the comprehensive general artistic development of preschool children.
Comprehensive music classes.
Musical classes are the main organizational form of systematic education of preschool children in accordance with the requirements "Programs education in kindergarten» On musical classes there is a relationship in the solution musical, aesthetic and educational- educational tasks. During active musical activities, children acquire the necessary knowledge, acquire skills and abilities that provide opportunities for emotionally expressive performance of songs, musically- rhythmic movements, simple melodies when playing children's musical instruments. There is already a well-tested traditional structure of classes. It has been successfully mastered by teachers and has largely justified itself. However, experimental studies and the best pedagogical experience have shown that there are other lesson structures that activate the learning process. We are talking about thematic and comprehensive classes. Complex the classes are named so because one lesson combines all types of artistic activities: artistic speech, musical. Fine, theatrical. Complex the lesson is united by one task - familiarization with the same artistic image, with certain genres of works (lyrical, epic, heroic) or with one or another means of artistic expression (form, composition, rhythm, etc.) Target comprehensive classes - to give children an idea of the specifics of various types of art ( music, painting, poetry, theater, choreography, about the possibilities of conveying thoughts and moods in any type of artistic activity in your own original language. Therefore on complex In classes, it is important not formally, but thoughtfully to combine all types of artistic activity, alternate them, find similarities and differences in works, means of expressiveness of each type of art, conveying the image in their own way. Through comparison and juxtaposition of artistic images, children will deeply feel the individuality of the work and come closer to understanding the specifics of each type of art. Complex The lesson has the same types of topics as the thematic one. The theme can be taken from life or borrowed from a fairy tale, associated 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, e.g. "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, just waking up nature and stormy, blossoming, and to note the most striking expressive features of artistic language (sounds, colors, words). It is important that the change in artistic activity is not formal (children listen music about spring, draw spring, lead spring dances, read poetry, and would be united by the task of conveying something similar to music mood in drawing, movements, 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 the troika" from the cycle "Seasons"(tender, 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 the topic, it is necessary to draw the children’s attention to the contrast of moods, otherwise the goal of the lesson will not be achieved. In a lesson dedicated to the topic "Fairy tale characters", it is interesting not only to trace how differently or similarly the same image is conveyed 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 “Pictures from an Exhibition” and symphonic miniature "Baba Yaga" A.K. Lyadov or plays "Procession of Dwarves" E. Grieg and "Dwarf" M. P. Mussorgsky from the cycle “Pictures from an 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 expression (register, dynamics and their combinations). Invite children to listen musical works in high (light) register and low (dark, filled with a bright, loud sound and a gentle, quiet one, comparing these means musical expressiveness with color intensity in painting. You can also talk about a combination of different 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. Quiet sound in the upper register creates a gentle, light character (“Waltz by S. M. Maikapara”, and in the lower register - mysterious, ominous ( "Baba Yaga" P.I. Tchaikovsky). These works are also compared with paintings.
On comprehensive In a lesson on the second topic, you need to find common sentiments conveyed in different types of art. Creative tasks are used here, for example, conveying the character of a cheerful or cowardly bunny in movements, composing a song, a fairy tale about him, or drawing him. By becoming familiar with the expressive capabilities of these types of art, children gradually gain experience perception artistic works. The theme of this comprehensive classes can be one mood with its shades, For example: "Solemn mood"(from joy to sorrow, "Joyful Mood" (from light, gentle to enthusiastic or solemn). These shades of mood can be traced through examples of different types of art and conveyed in creative works. 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 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).
Complex The activity can also be combined with a plot, for example a fairy tale. Then, as in a thematic lesson of this type, the creative manifestations of children are more fully realized. Prepares comprehensive music lessons manager together with educators to use all the knowledge and skills that children have acquired in other classes. Classes are held approximately once a month.
Comprehensive musical development.
Classes in the program are held in a playful way, based on frequent changes in activities, this ensures A complex approach, the dynamics of progress and the constant interest of children. Organization musical activities take place in a variety of forms: in the form of plot-thematic music lessons, complex and integrated classes. During classes in early groups musical complex development, the most important tasks in child development are solved nka: Mental development, physical development, aesthetic development. The goal of the program is the general mental development of children of early and primary preschool age through musical education. Tasks programs: promote the early development of the child through comprehensive musical activity; help children of primary preschool age enter the world in an exciting game music; feel and experience it sensually; create the prerequisites for the formation of creative thinking; promote practical learning musical knowledge; formation of readiness for further training; development of communication skills and complicity: contact, goodwill, mutual respect; developing in children qualities that promote self-affirmation personalities: independence and freedom of thinking, 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 developmental 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 classes.
Join the program early integrated development includes: 1) Outdoor games and logorhythmics. Development of gross motor skills; development of coordination of movements and concentration of attention; developing coherence of actions in a team, establishing positive relationships, developing joint productive activities; development of social interaction and social adaptation skills in musically- psychological games and exercises; development of imagination and creativity in the game. ; formation of motor skills; speech correction in motion (pronouncing, singing along, developing speech motor skills). Material- "Fun Lessons", "Fun Lessons", "Aerobics for kids", "Gold fish", "Golden Gate", "Games for health" etc. 2) Development of fine motor skills. Development of finger motor skills, fine motor skills; speech development (speaking and singing along to songs - games aimed at developing fine motor skills); development of imagination ( "getting used to" in the image and character of the heroes of gesture or finger games); learning to count. Material- "Okay, Ten Mice, Two Little Pigs". 3) Development of hearing and voice. The simplest intonation (animal voices, nature sounds, funny syllables). Development of pitch, dynamic, timbral hearing. Singing and movement, performances. Elementary voice improvisation. Material- "Songs"- "Exclamations", "ABC - Poteshka", "Cat house". 4) Physical development, development of a culture of movement, health work. Strengthening the child’s body, forming a muscle corset, developing the respiratory and cardiovascular systems. Development of coordination of movements, concentration, dexterity, self-confidence. Development of motor creativity abilities. Built on Use material: "Game gymnastics", "Gymna-stick for mothers and babies", "Games for health" etc. 5) Getting to know musical literacy, listening music, learning to play noise and pitch instruments. Learning to play instruments. Getting to know musical instruments. Playing music, playing in a mini-orchestra (children and parents). Hearing 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, familiarization with letters occurs in practical activities and preparation of children for reading. In chapter "We sing and read" a combination of reading syllables and singing (chanting) allows you not only to teach reading syllables, but also to work on your voice and breathing. 7) Creative tasks, development of imagination. Voice-over and dramatization of fairy tales and poems. Illustration (drawings, modeling, applications) themed games and fairy tales. Plastic sketches and motor improvisations in the context of active listening music. Instrumental music playing. Improvisations on noise and children's musical instruments. 8) Music clubs.
Goals and objectives of the lessons music.
Development musical and general creative abilities 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, and on the other hand, to come up with your own solutions to the situation; * speech correction in motion with music. Development of mental and intellectual abilities; * imagination; reactions; listening and concentrating skills; listening skills to distinguish, contrast and compare. Development of physical abilities: * fine motor skills; gross motor skills. Development of social skills: * ability to interact with others; ability to control oneself. Developing interest in musical activities and the joy of communicating with music.
Forms of work in the classroom.
* singing; * expressive reading of children's rhymes and nursery rhymes; *game for children musical instruments; * movement under music, dance; * listening music; * dramatization of fairy tales; * outdoor games to develop reaction and motor skills, developing movement control.
Our time is a time of change. Now Russia needs people who are capable of making non-standard decisions, who can think creatively, and who are capable of positive creation. Unfortunately, modern kindergarten still retains the traditional approach to knowledge acquisition. Very often learning comes down to memorization and reproduction of action techniques, typical methods for solving tasks. Monotonous, patterned repetition of the same actions kills 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: they are sent to clubs, studios, special schools, where experienced teachers work with them. The formation of a child’s creative abilities is determined not only by the conditions of his life and family education, but also with special classes organized in preschool institutions. Music, singing, drawing, modeling, playing, artistic activity - all these are favorable conditions for the development of creative abilities. I would like to draw your attention to comprehensive classes, in which the development of creative abilities is realized through various types of art. On comprehensive During the lesson, children take turns singing, drawing, reading poetry, and dancing. At the same time, performing decorative works or plot compositions to the sounds of a major lyric music creates an emotional mood, and children complete the task more successfully. On comprehensive During the lesson, children behave at ease and relaxed. For example, when performing a group drawing, they consult about who will draw and how. If they want to stage a song, they first agree on their actions themselves and distribute the roles themselves. During arts and crafts activities (weaving rugs, painting clay pots) You can use Russian folk melodies in gram recordings, which creates a good mood in children and makes them want to hum 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 activities combined according to those most interesting to children topics: "Zoo", "Favorite Tales"; * blocks of lessons to introduce children to the works of writers, musicians, artists and their works; * blocks of lessons based on work to familiarize children with the world around them, with nature; * block of classes on familiarization with folk art; * block of lessons on moral and emotional education. 2. Structure complex activities depends on the age of the child, on the accumulation of sensory experience: from live observation to viewing paintings, 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 – a bright illustration or painting, a small literary work. * 5-6 years - a literary work plus several reproductions, allowing you to highlight expressive means; musical work or song (as a background or as an independent part of the lesson). * 6-7 years – a work of art plus 2-3 reproductions (depicting either a similar landscape or different ones) or a description of an object or phenomenon in poems (comparison, juxtaposition); musical composition(in comparison - what fits to a reproduction or poem). 3. Complex classes are divided into two types according to the meaning of the types 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 in combination musical, visual, artistic works.
Option 1. Alternate inclusion of works of different types of art. Target: enhance the impact of art on children's emotions. Structure: audition 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; comparison of similarities musical, picturesque 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: Listen to multiple musical works; exchange of opinions between teacher and children, comparison of how they are similar and different in character musical works; viewing several paintings; comparison of similarities and differences between paintings; listening to several literary works; comparison of the similarities and differences of works in character and mood; comparison of similar emotional moods musical, paintings 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 teacher reads a literary work; teacher shows one painting and offers children several musical works or literary works and select only one of them that is consonant with a given work of art; sounds the same musical a work and the children select one from several paintings or literary works that is consonant with the mood.
Option 4: Incorporate contrasting pieces from different types of art. Target: form evaluative attitudes. Structure: listening to literary works that are contrasting in sound; exchange of opinions between the teacher and children about their differences; viewing paintings that are contrasting in color and mood; exchange of opinions between the teacher and children about their differences; listening to literary works that are contrasting in mood; exchange of opinions between the teacher and children about their differences; perception similar to each other musical, literary and pictorial works; exchange of opinions between the teacher and children about their similarities.
In order to carry out comprehensive lesson it is necessary to select the right works of art (literatures, music, painting): * accessibility of works of art to children's understanding (based on childhood experience); * realism of works of fiction, painting; * attractive to children; if possible, you should select works that have an interesting plot that evokes a response in the child’s soul.
Conclusion.
Any musical The activity should leave a mark on the child’s soul. Children perceive music through play, movement, drawing. Integrated muses A physical activity helps develop memory, imagination, speech, and 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 progress complex children study independently, and sometimes with the help teacher(especially in the younger and middle groups) learn to use artistic and expressive means of all types of art to convey an idea.
Early acquired artistic experience helps them create an expressive image (musical, poetic, figurative).
The joint actions of the teacher with children and communication with peers create the necessary conditions for the formation and development of creative abilities.
Need to bring up and develop the child so that in the future he can create something new and become a creative person. Often it is too late to develop a child’s creativity, since a lot of things are laid down much earlier. “We all come from childhood...” These beautiful words of Antoine Saint-Exupéry could be a kind of epigraph to the work of children's psychologists who strive to understand how a person feels, thinks, remembers, and creates at the very beginning of his life's journey. It is in preschool childhood that what largely determines our "adult" fate.
Literature.
Vetlugina N. A., Keneman A. V. Theory and methodology 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. Chumicheva R. M. Preschoolers about painting. Bogoyavlenskaya D. B. On the subject and method of studying creative abilities. Sazhina S. D. Technology of integrated classes in preschool educational institutions.
An integral part of aesthetic education is musical education as a determining factor in the formation of a person’s musical culture.
Musical education, as one of the areas of aesthetic development of the individual, is at the same time a necessary aspect of other elements of education and the formation of the individual’s worldview. The specificity of such education is that its ultimate goal is a harmoniously developed personality. It is aimed at activating a person’s creative abilities and improving his general culture. Therefore, today aesthetic education is of particular importance. At a general theoretical level, aesthetic education is considered as a purposeful activity, thanks to which the aesthetic, mainly artistic interests and needs of the individual are formed and satisfied.
Aesthetic education is aimed at developing the ability to perceive, feel and understand the beautiful, notice the good and the bad, act independently creatively, thereby becoming involved in various types of artistic activity.
One of the brightest means of aesthetic education is music. In order for it to perform this important function, it is necessary to develop general musicality in a person. What are the general signs of general musicality?
The first sign of musicality is ability to feel character, the mood of a musical work, empathize with what is heard, show an emotional attitude, understand the musical image.
Music excites the listener, evokes responses, introduces life phenomena, and gives rise to associations.
The second sign of musicality is ability to listen, compare, evaluate the most striking and understandable musical phenomena. This requires elementary musical-auditory culture, voluntary auditory attention aimed at certain means of expression. For example, children compare the simplest properties of musical sounds (high and low, the timbre sound of a piano and violin, etc.), distinguish the simplest structure of a musical work (song lead and chorus, three parts in a play, etc.), note the expressiveness of contrasting artistic images (the affectionate, drawn-out nature of the chorus and the energetic, moving nature of the chorus). Gradually, a stock of favorite works accumulates, which form the basis of musical taste.
The third sign of musicality is manifestation of a creative attitude towards music. Listening to it, each person imagines the artistic image in his own way, conveying it in singing, playing, and dancing. For example, everyone is looking for expressive movements, characteristic of agile hares, cheerfully marching children, etc. Familiar dance moves are used in new combinations and variations.
With the development of general musicality, there appears emotional attitude to music, hearing improves, creative imagination is born.
In modern world musical art is considered as part of the general world culture. It simultaneously acts as an integral element of the general process of knowing the world, as part of the general development of human culture, and at the same time is a specific form of aesthetic activity. The specificity of art in general, among other characteristics, has this important one: by its nature it is “a multifunctional subsystem of artistic culture, synthetically satisfying the diversity of human needs and embodying the diversity of manifestations of human life activity.” Indeed, music by its nature is multifunctional and in relation to a person it is an instrument of cognition and self-knowledge, a means of communication and value orientation, as well as a source of pleasure and an instrument of spiritual and practical change in reality. In metaphorical terms, we can say that “music is a miniature of the harmony of the entire universe, because the harmony of the universe is life itself, and man, being a miniature of the universe, demonstrates harmonious or inharmonious chords in his pulse, in his heartbeats, in his vibration, rhythm and tone ". In the science of herbs - pharmacognosy - there is a term synergy, that is, the overall effect when a particular medicine created from herbs is not reproducible by artificial chemical synthesis of its constituent elements. It is obvious that the influence of music on a person has this overall effect, and the functions listed above are “broken down” only for their theoretical understanding. It is characteristic that even representatives of the exact sciences have recently uttered praises in honor of musical education and temperamentally formulated the fundamental general pedagogical principles that are so important for aesthetic education. For example, the English teacher Roy Slack draws attention to the thought of the philosophers of the ancient world that “music is truly educational, since it develops the brain and, in addition, develops and ennobles the senses.” It is easy to see that the basis of these integrative ideas about the meaning and characteristics of the impact of music is Pythagoras’ idea of a musical cosmos, where everything sounds and everything is beautiful.
Nowadays, in the conditions of Russia’s unpredictably rapid entry into the information civilization and market economy, with all the inconsistency of these tasks with real regional conditions, the priority pedagogical task of society is the implementation in the education system and its structure of universal human tasks for the formation and preservation of the components of spiritual culture. But there is a long distance from the declaration of the task to practical implementation.
Musical education of children is precisely that peculiar phenomenon that is characterized by its special role in the development of the child’s personality. Of course, today we cannot talk about mass musical education of children, as was previously assumed within the framework of a comprehensive school, in the spirit of the ideas of Soviet music pedagogy and its main ideologist D. Kabalevsky, just as the Hungarian version of universal music education is unacceptable in modern conditions , brought to life thanks to the social reorganization of society and such Hungarian musicians as B. Bartok and Z. Kodály. This was achievable only if such a task became a state task, which today cannot become a reality for many objective reasons.
It is also impossible not to take into account the fact that overload of children in secondary schools has become a pressing problem in Russian pedagogy. In this regard, a reasoned justification is necessary for absolutely special missions of music schools and art schools, which must be able to meet new requirements imposed by the state, society, and parents. Today, no one doubts the statement that education and upbringing are the main things that society gives to a person. The process of development of society requires the preservation and transfer of accumulated knowledge, as well as the experience of obtaining it. One of the traditional concepts in this regard is content of education as a set of those qualities and relations of the educational process that are necessary for the retransmission of accumulated practical and spiritual experience. Behind the content of education there is always a model of a person - an ideal bearer of the desired education. Meanwhile, in the process of development of education in our country, at a certain stage the need arose to create specific models for posing problems and solving them. All this is called the scientific paradigm of education. The scientific paradigm, in turn, has limited the number of disciplines and areas that, according to its criteria, meet the concepts of an educational discipline and a scientific direction. It should be recognized that successful concepts and definitions of phenomena and processes, formulated within the scientific paradigm of education, led to the accumulation of highly specialized knowledge, and the created limited range of disciplines gradually deprived educational institutions of the factor of relaying culture as the emotional and spiritual experience of society. Let us remember how at the end of the twenties (due to a whole complex of interrelated reasons) culture and education in all its types were separated, which was enshrined in the corresponding government structures that still exist today. The isolation of highly specialized knowledge leads to the fact that already in childhood a person is deprived of the opportunity to choose his own initial attitude. In this regard, we can cite the conclusion of E. Feinberg: “Only art, complementing the natural and humanitarian sciences, projecting the entire human world, is the only thing that can convey the integrity of the perception of the world to modern man. There is no replacement for art. The functions of the humanitarian part of education, including art, should grow if humanity wishes to maintain health...".
The current system of art education has developed in our country quite a long time ago and is based on internationally recognized traditions of musical culture. In this regard, it is necessary to emphasize the contribution of the Yaroslavl pedagogical community, which trained a significant group of professional figures in national culture and education. Music education in Rostov-on-Don was not much different from generally accepted Russian traditions and began at the turn of the century with the activities of the Rostov Society of Lovers of Musical and Dramatic Arts (1875-1912), with the opening of a private music school by N. N. Almazov ( 1899), as well as from the opening in 1904 of the Rostov branch of the Imperial Russian Musical Society. Music schools in Russia until 1917 were only private, operating, as a rule, only in large cities, but they also arose mainly at the end of the nineteenth century.
During Soviet times, seven-year music schools appeared in almost every regional center of our region. A multi-stage system has emerged that provides for continuous education: from music and art schools and art schools to secondary vocational training, carried out, in particular, in our region by music and art schools, and a cultural school. The total number of educational institutions remained unchanged during 1990-2003 and amounted to 43 schools, in which about 10 thousand children studied. The characteristics of the types of schools in the Rostov region in 2003 are as follows:
· children's music schools (CMS) - 27
· children's art schools (CHS) - 9
· children's art schools (DSHI) - 6
· other - 1 (children's choir school "Kantzona").
The system of music education formed in this way is a specific, characteristic phenomenon specifically for our society; it has an organizationally complex structure, special internal and external connections. The children's music school (CHS), born of the Soviet educational system, has many features of its functioning inherent in this particular system and corresponding determinants, not only specifically professional, but also educational. This is a multifaceted, multifunctional educational institution. If we exclude the ideological aspect, then the tasks of music schools, determined since 1980 by the “Regulations on the children's music school and art school of the system of the USSR Ministry of Culture,” remain relevant today:
1. To provide students with a general musical education, to introduce children to art, cultivating their aesthetic taste using the best examples of Soviet, classical, Russian and foreign art.
2. Prepare the most gifted children for admission to appropriate special educational institutions.
The training of personnel for secondary specialized educational institutions was declared a priority for music schools. The 7-8-year training programs developed by the Ministry provided for students to obtain initial skills in playing instruments, which laid the foundation for professional training. Curricula, requirements for entrance and final exams were also subordinated to this task.
At the same time, 5-year programs in aesthetic departments of art schools were focused on general music education. The programs of the music school and music departments of art schools were considered as the initial link of professional music education.
The prestige and popularity of receiving such an education in the 70-80s made it possible to select children on a competitive basis already at the first stage, when entering school. At all stages of training, priority was given to professionally promising students. One of the supporting arguments is the qualification requirements that were imposed at that time on the teaching staff of the music school and art school. The criteria for assigning the next qualification ranks were, first of all, the presence of graduates who entered secondary specialized educational institutions of culture, as well as the participation and victories of students in professional skills competitions.
Today we celebrate music school crisis as a social institution, a certain part of the reasons for which lies in the field of finance and economics, but the main reason is related to the conceptual features of this unique type of education. For a complete picture, a holistic, constantly changing and deepening analysis of all activities is required. Traditionally, the “effectiveness” of any educational system implies a certain correspondence between the goals and results of the organization of education, and the “quality” of education presupposes the correspondence of its content and forms to a certain ideal level. When determining the quality of pedagogical “products,” it turned out to be easier to use indirect and external signs of the dynamics of the process. The volume and quality of knowledge gained in the lesson were established as such convenient indicators. However, both of these concepts are difficult to define and test when applied to music education, firstly, since the community, goals, and values are heterogeneous, and secondly, the ideal level of something is conventional.
In a traditional music school, absolutely nothing depends on the student, except for one thing - he can be “awarded” if he plays according to generally accepted rules and, despite the proclaimed humanization, remains a follower and not a leader. A substitution of goals occurred imperceptibly, and the child was deprived of the individual approach necessary in musical learning. In a limited, narrow period of time and activity of the child, the transfer of knowledge on the subject acquired self-sufficient significance and became an end in itself.
The unified pedagogical process was fragmented into subsystems that had little dependence on each other. If the substitution of means for goals took place in the practice of only a few mediocre teachers, it would not be so bad. Not everyone is given by nature, intuition, wisdom, strength and responsibility to treat the child’s personality holistically and in a balanced manner. But when generalizing pedagogical practice, an error was laid in the basis of the empirically developed system of music education.
In my opinion, the most constructive path lies today at the junction of times and allows us to synthesize the invaluable pedagogical achievements of past years, which have not lost their practical significance to this day, the pedagogical discoveries of musicians and practicing teachers seeking to modernize an outdated teaching model.
It's no secret that one of the reasons for today's crisis music schools of the Rostov region is the inertia of teaching staff and a significant gap between the quality of the “product” and the growing requirements for it from the individual students, parents, the regional labor market and society. Despite the fact that today admission to the first grade remains unchanged (2,200 people are admitted to art education institutions in the region every year), less than 40% reach the graduating class. This fact indicates the need for further scientific analysis of the situation at the regional level. The key task that managers and teaching staff will have to solve is the ability to adequately and timely respond to changes in the external environment and provide quality education in the face of a shortage of budget funding and a reduction in the number of students. Due to the demographic situation, the number of students in educational institutions continues to decline, which leads to an increase in the cost of education for one child. According to the Department of Education, the reduction in primary school enrollment in the city of Rostov-on-Don reaches 20%, and in the region - up to 30%. Under these conditions, the individual, private needs of the child and his family are the main source of orders for the educational activities of a music school.
The main task and goal of aesthetic education (according to L. Vygotsky) is to introduce the child to the aesthetic experience of humanity: to bring him close to monumental art and through it to include the child’s psyche in the general world work that humanity has been doing for thousands of years, sublimating its psyche in art. Professional training in the technique of any type of art should, accordingly, be combined with such lines of education as the child’s own creativity and the culture of his artistic perceptions. But the difference between learning and subjective development of personality is not mutually exclusive, contradictory processes. Their relationship is similar to the relationship between tactics and strategy. Identifying the necessary conditions for supporting a child in the process of self-determination, self-realization (providing the child with opportunities for self-movement towards his own interests and opportunities for free choice) and the purposeful creation in practice of a special educational environment is a strategy. Mastering any skill is a tactic.
To assess effectiveness, it is necessary to highlight the psychological and pedagogical essence of these two processes and their optimal correspondence:
Psychological and pedagogical support for the child’s free choice of interests, his life and professional self-determination;
Subordination of pedagogical influence (teaching tactics) to subject-subject, partnership relations between teacher and child.
Music pedagogy - The field itself is quite broad, including teaching playing an instrument, history and theory of music, and everything that is included in music education and training programs. It is important that the specifics of pedagogical activity in institutions of music education for children are associated not only with pragmatic subject-based craft training (teaching), mastery of information and mastery, but with the development of the child’s potential capabilities, with the process of formation and improvement of the child as a subject of his own development. These processes cannot be reduced only to expressing the result in statistical form (concerts, competitions, diplomas, etc.). The main principle on which the program for the preservation and development of children's music school (children's music school) can be built is the creation of conditions conducive to the creative growth of students.
The problem of individualization of teaching methods today requires from a music school teacher more fundamental knowledge in the field of psychology, anatomy and physiology, and aesthetics. Classes with a student are a new creative task every time. Its successful solution is unthinkable without developed pedagogical thinking, based on the achievements of modern science. The search for ways to improve the effectiveness of the educational process must also be carried out in the direction of overcoming such shortcomings of education in music schools as the lack of targeted artistic education, insufficient development of performing ears, rhythm, musical memory, initiative and creative imagination in the majority of students.
Professional music pedagogy must create conditions for the student’s fruitful activity, and this is the content and dignity of true professionalism. The time has come when the question of the quality of the teacher’s work and the effectiveness of his musical and educational activities become paramount. In this regard, improving the training of children's music school teachers, which depends on re-emphasizing the educational process in a music school to equip future teachers with pedagogical knowledge and skills, is of particular importance. Within the framework of current curricula and programs, it is necessary to pay much more attention to the study of psychology, pedagogy, methodology, as well as pedagogical practice. Currently, as is known, music schools and conservatories prepare their students primarily for performing activities. The pedagogical education of young musicians has not yet developed into a clear, comprehensively thought-out system. Therefore, the guidelines for pedagogical search today are in the field of developing mobile pedagogical technologies. In this sense, the importance of the relationship between creative principles and didactics, practiced in the general education system, increases.
The process of integration with the education system, in our opinion, should be understood, first of all, as a constructive way to solve these problems in culture. At the level of our region, we see a fruitful prospect for interaction between the educational, methodological and information center of cultural and art workers of the Rostov region (as the leading methodological structure) with the Pedagogical University and the Institute for Educational Development.
