What is the most important property of musical content is generalization. Characteristics of musical abilities

Development musical ability one of the main tasks musical education children. The fundamental question for pedagogy is the question of the nature of musical abilities: whether they are innate properties of a person or develop as a result of exposure to environment, education and training. Other important theoretical aspect The problem, on which the practice of musical education essentially depends, is the definition of the content of concepts musical ability, musicality, musical talent. The direction of pedagogical influences, the diagnosis of musical abilities, etc., to a large extent depend on what is used as the basis for the content of these concepts.

At different historical stages of the formation of musical psychology and pedagogy (foreign and domestic), also at the present time in the development of theoretical, and therefore, practical aspects problems of the development of musical abilities, there are different approaches, there are discrepancies in the definition of the most important concepts.

B.M. Teplov in his works gave a deep, comprehensive analysis of the problem of the development of musical abilities. He compared the points of view of psychologists representing the most diverse trends in psychology, and expounded his view on the problem.

B.M. Teplov clearly defined his position on the issue of innate musical abilities. Based on the work of the outstanding physiologist I.P. Pavlov, he recognized the innate properties nervous system a person, but did not consider them only as hereditary (after all, they can form during the period of intrauterine development of a child and for a number of years after birth). Innate properties of the nervous system B.M. Teplov separates from the mental properties of a person. He emphasizes that only anatomical and physiological features can be innate, that is, the inclinations that underlie the development of abilities.

Abilities B.M. Teplov defines as individual psychological characteristics of a person related to the success of any one activity or many. They are not limited to the presence of skills, abilities or knowledge, but can explain the legitimacy and speed of their acquisition.

The musical abilities necessary for the successful implementation of musical activities are combined into the concept of "musicality".

Musicality, as B.M. Teplov, this is a complex of abilities required for practicing musical activity, unlike any other, but at the same time associated with any type of musical activity.

In addition to musicality, which includes a complex of special, namely musical, abilities of B.M. Teplov indicates that a person has more general abilities manifested in musical activity (but not only in it). This is creative imagination, attention, inspiration, creative will, a sense of nature, etc. A qualitative combination of general and special abilities forms a broader than musicality. the concept of musical talent.

B.M. Teplov emphasizes that each person has a peculiar combination of abilities - general and special. Features of the human psyche suggest the possibility of a wide compensation of some properties by others. Therefore, musicality is not reduced to one ability: "Each ability changes, acquires a qualitatively different character, depending on the presence and degree of development of other abilities."

Each person has an original combination of abilities that determines the success of a particular activity.

“The problem of musicality,” emphasizes B.M. Teplov, is a problem, first of all, qualitative, not quantitative. Everyone normal person there is some musicality. The main thing that should interest the teacher is not the question of how musical this or that student is, but the question of what his musicality is and what, therefore, should be the ways of its development.

Thus, B.M. Teplov recognizes certain features, predispositions of a person, inclinations as innate. The abilities themselves are always the result of development. Ability by its very essence is a dynamic concept. It exists only in motion, only in development. Abilities depend on innate inclinations, but develop in the process of education and training.

An important conclusion made by B.M. Thermal, is the recognition of dynamism, developed abilities. "That's not the point- the scientist writes, - that abilities are manifested in activity, but that they are created in this activity.

Therefore, when diagnosing abilities, any tests, tests that do not depend on practice, training, and development are meaningless.

So, B.M. Teplov defines musicality as a complex of abilities developed on the basis of innate inclinations in musical activity, necessary for its successful implementation.

In order to highlight the complex of abilities that make up musicality , it is important to determine the specifics of the content of music (and, therefore, the qualities necessary for its perception), as well as the features of the difference between musical sounds from other sounds encountered in life (and, therefore, the qualities necessary to distinguish and reproduce them).

Answering the first question (about the specific content of music), B.M. Teplye argues with the representative of German aesthetics E. Hanslik, who defends the view of musical art as an art that cannot express any content. Musical sounds, according to Hanslick, can only meet the aesthetic needs of man.

B.M. Teplov contrasts this with the point of view of music as an art that has various possibilities of reflection. life content, transmission of life phenomena, the inner world of man.

Highlighting two functions of music - visual and expressive, B.M. Teplov notes that programmatic visual music, which has specific, "visible" prototypes (onomatopoeia, natural phenomena, spatial representations - approximation, removal, etc.), a certain name or literary text, the plot, conveying specific life phenomena, at the same time always expresses a certain emotional content, emotional state.

It is emphasized that both visual, program music (the share of which in the musical art is negligible) and non-graphic, non-program music always carry emotional content - feelings, emotions, moods. The specificity of the musical content is determined not by the visual possibilities of music, but by the presence of emotional coloring of musical images (both program-visual and non-program). Thus, the main function of music is expressive. Opportunities musical art convey the finest nuances of human feelings, their change, mutual transitions and determine the specifics musical content. B.M. Teplov emphasizes that in music we experience the world through emotion. Music is emotional knowledge. Therefore, the main feature of the musicality of B.M. Teplov calls the experience of music, in which its content is comprehended. Since musical experience is by its very nature an emotional experience, and it is impossible to understand the content of music except through emotional means, the center of musicality is the ability of a person to respond emotionally to music.

What opportunities does the art of music have to convey a certain emotional content?

Music is the movement of sounds, different in height, timbre, dynamics, duration, organized in a certain way in musical modes(major, minor), having a certain emotional coloring, expressive possibilities. In each mode, the sounds correlate with each other, interacting with each other (some are perceived as more stable, others less). In order to perceive the musical content more deeply, a person must have the ability to differentiate moving sounds by ear, to distinguish and perceive the expressiveness of rhythm. Therefore, the concept of "musicality" includes an ear for music, as well as a sense of rhythm, which are inextricably linked with emotions.

Musical sounds have different properties: they have pitch, timbre, dynamics and duration. Their discrimination in individual sounds forms the basis of the simplest sensory musical abilities. The last of the listed properties of sounds (duration) is the basis of musical rhythm. The feeling of emotional expressiveness of musical rhythm and its reproduction form one of the musical abilities of a person - a musical-rhythmic feeling. The first three named properties of musical sounds (pitch, timbre and dynamics) form the basis of pitch, timbre and dynamic hearing, respectively.

In a broad sense, musical ear includes pitch, timbre and dynamic ear.

All of the listed properties (height, timbre, dynamics and duration) are inherent not only in musical sounds, but also in others: speech sounds, noises, voices of animals and birds. What is the uniqueness of musical sounds? Unlike all other sounds and noises, musical sounds have a definite, fixed pitch and length. Therefore, the main carriers of meaning in the music of B.M. Teplov names pitch and rhythmic movement.

Musical ear in the narrow sense of the word B.M. Teplov defines it as pitch hearing. Giving theoretical and experimental substantiations, he proves that pitch plays a leading role in the sensation of musical sound. Comparing height perception in noise sounds, sounds of speech and music, B.M. Teplov comes to the conclusion that in the noises and sounds of speech, the height is perceived in totality, undivided. The timbre components are not separated from the pitch ones themselves.

The feeling of height is initially merged with the timbre. Their division is formed in the process of musical activity, since only in music does pitch movement become essential for perception. Thus, a feeling of musical height is created as the height of sounds that form a certain musical movement, standing friend to a friend in one or another height relation. As a result, it is concluded that the musical ear, in essence, must be a pitch ear, otherwise it will not be musical. There can be no musicality without hearing the musical pitch.

Understanding musical ear (in the narrow sense) as a pitch ear does not diminish the role of timbre and dynamic ear. Timbre and dynamics allow you to perceive and reproduce music in all the richness of its colors and shades. These properties of hearing are especially important for a performing musician. Since the pitch of sounds is fixed in notes, and there are only general instructions of the author regarding timbre and dynamics, it is the choice of different colors of sounds (timbre and dynamic) that largely determines the possibilities creative freedom performer, originality of interpretation. However, B.M. Teplov advises cultivating timbre hearing only when the foundations of pitch hearing are available: pitch, hearing.

Thus, musical ear is a multi-component concept. There are two varieties of pitch hearing: melodic and harmonic. Melodic ear is pitch ear in its manifestation to a monophonic melody; harmonic ear - pitch ear in its manifestation in relation to consonances, and consequently, to polyphonic music. Harmonic hearing can significantly lag behind melodic hearing in development. In preschool children, harmonic hearing is usually underdeveloped. There is observational evidence that the preschool age many children are indifferent to the harmonic accompaniment of a melody: they cannot distinguish a false accompaniment from a non-false one. Harmonic hearing involves the ability to feel and distinguish consonance (harmony), which, apparently, is developed in a person as a result of some musical experience. In addition, for the manifestation of harmonic hearing, it is necessary to hear several sounds at the same time, different in height, to distinguish by ear the simultaneous sounding of several melodic lines. It is acquired as a result of the activity that cannot be carried out without it, when working with polyphonic music.

In addition to melodic and harmonic hearing, there is also concept of absolute pitch. This is the ability of a person to distinguish and name sounds without having a real standard for comparison, that is, without resorting to comparison with the sound of a tuning fork or a musical instrument. Perfect Pitch is very useful quality, but even without it, successful music lessons are possible, so it is not included in the number of basic musical abilities that make up the structure of musicality.

As already noted, musical ear is closely related to emotions. This connection is especially pronounced when perceiving music, distinguishing emotional, modal coloring, moods, feelings expressed in it. When playing melodies, a different quality of hearing operates - it becomes necessary to have ideas about the location of sounds in height, that is, to have musical and auditory representations of sound-altitude movement.

These two components of pitch hearing - emotional and auditory proper - are distinguished by B.M. Teplov as two musical abilities, which he called modal feeling and musical-auditory representations. Ladovoe feeling, musical and auditory representations and sense of rhythm make up the three basic musical abilities that form the core of musicality.

Consider the structure of musicality in more detail.

Lazy feeling. Musical sounds are organized in a certain way. Major and minor modes differ in emotional coloring. Sometimes major is associated with an emotionally positive range of moods - a cheerful, joyful mood, and minor - with sadness. In some cases this is the case, but not always.

How is the modal coloring of music distinguished?

A modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory aspects of musicality. It has its own color not only as a whole mode, but also individual sounds of the mode (having a certain height). Of the seven steps of the mode, some sound stable, others - unstable. The main steps of the mode (first, third, fifth) sound stable, and especially the tonic ( first stage). These sounds form the basis of the mode, its support. The rest of the sounds are unstable, in the melody they tend to be stable. A modal feeling is a distinction not only of the general nature of music, the moods expressed in it, but also of certain relationships between sounds - stable, complete (when the melody ends on them) and requiring completion.

The feeling of harmony manifests itself when perception music as an emotional experience, "felt perception". B.M. Teplov calls him perceptual, emotional component of musical ear. It can be detected when recognizing a melody, determining whether a melody has ended or not, in sensitivity to the accuracy of intonation, modal coloring of sounds. At preschool age, an indicator of the development of modal feeling is love and interest in music. Since music by its very nature is an expression of emotional content, the ear for music must obviously be an emotional ear. The modal feeling is one of the foundations of emotional responsiveness to music (the center of musicality). Since the modal feeling manifests itself in the perception of pitch movement, it traces the relationship of emotional responsiveness to music with a sense of musical pitch.

Musical and auditory performances. In order to reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory ideas of how the sounds of the melody move - up, down, smoothly, jumps, whether they repeat, i.e., have musical and auditory ideas of pitch (and rhythmic) movement. To play a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination. Just as memorization can be involuntary and arbitrary, musical and auditory representations differ in the degree of their arbitrariness. Arbitrary musical and auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but arbitrarily operate with musical auditory representations.

Experimental observations prove that for the arbitrary presentation of a melody, many people resort to internal singing, and piano learners accompany the presentation of the melody with finger movements (real or barely recorded) that imitate its playback on the keyboard. This proves the connection between musical and auditory representations and motor skills. This connection is especially close when a person needs to arbitrarily memorize a melody and keep it in memory. "Active memorization of auditory representations, - notes B.M. Teplov, - makes the participation of motor moments especially significant. one .

The pedagogical conclusion that follows from these observations is the ability to involve vocal motor skills (singing) or playing on musical instruments to develop the ability of musical and auditory representations.

Thus, musical and auditory representations are an ability that manifests itself in playback by hearing melodies. It is called auditory, or reproductive, component of musical ear.

Sense of rhythm is the perception and reproduction of temporal relationships in music. Accents play an important role in the division of the musical movement and the perception of the expressiveness of rhythm.

As observations and numerous experiments testify, during the perception of music, a person makes noticeable or imperceptible movements corresponding to its rhythm, accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and respiratory apparatus. Often they arise unconsciously, involuntarily. A person's attempts to stop these movements lead to the fact that either they arise in a different capacity, or the experience of the rhythm stops altogether. The ego speaks of the presence of a deep connection between motor reactions and the perception of rhythm, of the motor nature musical rhythm.

The experience of rhythm, and therefore the perception of music, is an active process. The listener experiences the rhythm only when he reproduces, creates... Any full-fledged perception of music is an active process that involves not just listening, but also making. and making includes a wide variety of movements. As a result, the perception of music is never only an auditory process; it is always an auditory-motor process.”

The feeling of musical rhythm has not only a motor, but also an emotional nature. The content of the music is emotional.

Rhythm is one of the expressive means of music, with the help of which the content is conveyed. Therefore, the sense of rhythm, like the modal sense, forms the basis of emotional responsiveness to music. The active, active nature of musical rhythm makes it possible to convey in movements (which, like music itself, are temporary) the smallest changes in the mood of music and thereby comprehend the expressiveness of the musical language. Characteristics musical speech(accents, pauses, smooth or jerky movements, etc.) can be conveyed by movements that are appropriate in emotional coloring (claps, stomps, smooth or jerky movements of the arms, legs, etc.). This allows you to use them to develop emotional responsiveness to music.

Thus, the sense of rhythm is the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it. musical memory BM does not turn on Thermal among the main musical abilities, since "immediate memorization, recognition and reproduction of pitch and rhythmic movements are direct manifestations of musical ear and sense of rhythm.

So, B.M. Teplov distinguishes three main musical abilities that make up the core of musicality: modal feeling, musical and auditory representations, and a sense of rhythm.

ON THE. Vetlugina names two main musical abilities: pitch hearing and a sense of rhythm. This approach emphasizes inseparable bond emotional (modal feeling) and auditory (musical-auditory representations) components of musical hearing. Combining two abilities (two components of musical ear) into one (tone pitch) indicates the need to develop musical ear in the relationship of its emotional and auditory foundations.

The concept of "musicality" is not limited to the named three (two) basic musical abilities. In addition to them, the structure of musicality can include performing, Creative skills etc,

Individual originality natural inclinations each child, the qualitative originality of the development of musical abilities must be taken into account in the pedagogical process.

Municipal Autonomous Educational institution gymnasium №26 of the city of Tomsk

Control testing in music for I quarter

(according to the program Naumenko T.I., Aleeva V.V.)

7th grade

Compiled by: Zhukova Lyubov Ivanovna,

music teacher,

G. Tomsk

2016

Final control No. 1 in music (questions)

7th grade

A) true understanding of nature Not a cast, not a soulless face.

2. For the artist to have true work art, you need:

A) nothing

c) see and understand

3. Which composer was struck by a melody (in the oratorio "Creation of the World") expressing the birth of light, and he exclaimed: "This is not from me, this is from above!"

A) I. Brahms

B) M. Glinka

C) I. Haydn

4. Nature in III

A) alive, raging

B) calm, peaceful

B) raging and peaceful

A) unity of content

C) unity of form

A) non-software

B) software

A) one B) two C) three

A) from the literary program

A) details

B) generalization

C) both answers are correct

A) all the sorrows of the world

b) all the joys of the world

C) the sadness and joy of the hero

A) the sea and Sinbad's ship

C) Prince Guidon

Final control No. 1 in music (answers)

7th grade

1. What does F. Tyutchev teach us to a greater extent in his poem:

Not what you think, nature,

A) a true understanding of nature Not a cast, not a soulless face.

B) imagination It has a soul, it has freedom,

C) the use of the gifts of nature There is love in it, outside there is a language.

2. In order for the artist to have a genuine work of art, you need:

A) nothing

B) see, understand and embody

c) see and understand

3. The composer who was overshadowed by a melody (in the oratorio "Creation of the World"), expressing the birth of light, and he exclaimed: "This is not from me, this is from above!"

A) I. Brahms

B) M. Glinka

C) I. Haydn

4. Nature in III part of the concert "Summer" (from the cycle "The Seasons") A. Vivaldi appears:

A) alive, raging

B) calm, peaceful

B) raging and peaceful

5. What idea unites a poem by F. Tyutchev, a painting by I. Repin and I. Aivazovsky (page 4 of the textbook), music by A. Vivaldi:

A) unity of content

B) unity of content and form

C) unity of form

6. What kind of music is difficult to explain in words:

A) non-software

B) software

C) having a name (“Forest”, “Scheherazade”, “Night in Madrid” and others)

7. How many moods are there in P. Tchaikovsky's play “November. On the three"

A) oneB) two At three o'clok

8. Etude No. 12 by A. Scriabin - proof that the expressiveness of the content of a musical work does not always depend on:

A) from the literary program

B) from the means of musical expression

C) from the personal experience of the composer

9. The basis of creativity in art is (choose the odd one):

A) expression of feelings and thoughts strangers

B) expression of feelings and thoughts experienced by the author

AT) personal experience defeats and victories

10. What is the most important property musical content:

A) details

B) generalization

C) both answers are correct

11. What feelings does the music generalize? moonlight sonata» L. Beethoven:

A) all the sorrows of the world

b) all the joys of the world

C) the sadness and joy of the hero

12. N. Rimsky-Korsakov in symphonic suite Scheherazade uses the names of individual parts as a program (choose the odd one):

A) the sea and Sinbad's ship

B) the story of Calender - prince

C) Prince Guidon

In modern psychological and pedagogical literature, the perception of music is considered as “the process of reflection, formation of a musical image in the mind of a person. At the heart of this process is an evaluative attitude to the perceived work.

There is another definition of musical perception: it is “a complex activity aimed at adequately reflecting music and combining the actual perception (perception) of musical material with the data of musical and general life experience (apperception), cognition, emotional experience and evaluation of the work”

Musical perception is a complex, mentally multi-component process. Any person with simple physical hearing can determine where music is playing and where it is just noise produced by various objects, machines and other objects. But not everyone can hear the reflection of the subtlest experiences in the sounds of music.

Besides, musical perception- the concept of historical, social, age. It is conditioned by a system of determinants: a piece of music, general historical, life, genre and communicative context, external and internal conditions of perception. It is also determined by age and gender. Musical perception is influenced by the style of the work, its genre. For example, the masses of Palestrina are listened to differently than the symphonies of Shostakovich or the songs of Solovyov-Sedov. Music is perceived differently in the historic Philharmonic Hall, in particular, in the hall of the Academic Chapel. M.I. Glinka or on the open stage of the park of culture and recreation. And it's not just the acoustic features of these concert venues, but also in the mood that the atmosphere, interior, etc., creates in the listener. Construction and decoration of a concert or theater halls is one of the most difficult tasks architecture and applied arts. Decoration concert halls flowers, paintings, sculptures, etc. has an unusually beneficial effect on musical perception.

To develop musical perception means to teach the listener to empathize with the feelings and moods expressed by the composer through the play of sounds organized in a special way. This means - to include the listener in the process of active co-creation and empathy with ideas and images expressed in the language non-verbal communication; it also means an understanding of the means by which an artist-musician, composer, performer achieves a given aesthetic effect of influence. In addition to activity, musical perception is characterized by a number of qualities, in which its beneficial, developing influence on the human psyche, including mental abilities, is revealed.

Musical perception, like no other, is distinguished by vivid emotionality and imagery. It affects various aspects of the emotional sphere. Despite the abstractness of the musical language, the musical content is diverse and embossed in images. And the specificity of their perception lies not in the strict fixation of these images, but in their variability. The work of reproductive thinking is connected with musical perception and its inherent evaluative activity.

Speaking about the specifics of musical perception, it is necessary to understand the difference between hearing music, hearing music and perception music. Hearing music does not imply concentration of attention only on it, listening already requires focusing attention on music, while perception is associated with comprehending the meaning of music and requires the inclusion of intellectual functions. Moreover, the more complex, larger-scale a piece of music, the more intense intellectual work it requires from a person when it is perceived. An intermediate stage between listening to music and its perception is comitate perception, a kind of “lightweight” perception, “half an ear”. It has been dominant for thousands of years.

The formation of a full-fledged musical perception testifies to the most complex multilateral interrelated process: firstly, about intellectual growth person, secondly, about the improvement of all his basic musical abilities, thirdly, about high level the development of musical art, the peak of which was the appearance of the classical sonata and symphony. It is the perception of such genres as symphony and sonata that requires the greatest intellectual tension and concentration.

The development of music perception occurs in the process of all types of musical activity. For example, in order to learn a song, you must first listen to it; when performing a song, it is important to listen to the purity of the intonation of the melody, the expressiveness of its sound; moving to the music, we follow its rhythmic, dynamic, tempo change, development and convey our attitude to the work in motion.

In the process of perception of music, we can distinguish several stages:

The stage of the emergence of interest in the work to be heard, and the formation of an attitude towards its perception,

listening stage,

Stage of understanding and experience,

Interpretation and evaluation stage,

realizing that the division is conditional, since the sequence of stages can change, one period of perception can merge with another.

Analyzing the process of musical perception, we can present it in two planes of activity, inextricably bound friend with the other - perception as such and the idea of ​​music, i.e. holistic image of the work. Only multiple perception (repetition) of music allows a person to form a full-fledged holistic image of the work. In the process of multiple perception of music, there is a constant improvement of auditory actions, the degree of their coordination. At the first listening, the main task of perception is the approximate coverage of the entire musical plan of the work with the selection of individual fragments. In the process of repeated listening in the structure of musical activity, forecasting and anticipation based on previously formed ideas begin to appear. The listener compares what sounds in this moment time with the previously perceived, with its own associative series. Finally, in the process of subsequent perception on the basis of in-depth analysis through synthesis, a rational-logical assimilation of musical material takes place, a comprehensive comprehension and experience of its emotional meaning.

From the foregoing, it is clearly seen that musical perception is characterized by certain properties. Some of them are specific to musical perception (emotionality, imagery), while others are common to all types of perception (integrity, meaningfulness, selectivity).

Speaking about the perception of music, one cannot bypass such an integral part of it as emotionality. Aesthetic emotionality is understood as the experience of the beauty of the artistic image, feelings, thoughts awakened by music. Aesthetic perception music is always emotional, without emotions it is unthinkable. At the same time, emotional perception may not be aesthetic. Listening to music, a person can simply “succumb” to its mood, “get infected” with it, simply rejoice or be sad, without thinking about its aesthetic content. Only gradually, as a result of purposeful activity to gain experience in communicating with music, having received certain knowledge, musical baggage, he will begin to highlight the aesthetic side of a musical work, to notice and realize the beauty and depth of sounding music.

Sometimes the aesthetic experience is so strong and vivid that a person experiences a feeling of great happiness. "This feeling - according to the definition of the composer D. Shostakovich - arises from the fact that in a person, under the influence of music, the dormant forces of the soul awaken until now and he cognizes them."

Another characteristic property of musical perception is integrity. A person perceives a piece of music, first of all, as a whole, but this is carried out on the basis of the perception of the expressiveness of individual elements of musical speech: melody, harmony, rhythm, timbre. The perceived musical image is a complex unity of various means of musical expression, creatively used by the composer to convey a certain artistic content. An artistic musical image is always perceived by a person as a whole, but with varying degrees of completeness and differentiation, depending on the level of development of each individual.

“The concept of the integrity of musical perception is not adequate to the concept of its completeness of differentiation. Naturally, an unprepared listener cannot adequately perceive the whole system of means that creates a musical image, as a professional musician is capable of doing. Nevertheless, he perceives in the work its holistic image - the mood, the nature of the work.

One of the most important (if not the most important) components of perception in general and musical perception in particular is meaningfulness. Psychologists say that perception is impossible without the participation of thinking, without awareness and understanding of what is perceived. V.N. Shatskaya writes that "under the main perception of a musical work is meant the perception associated with its aesthetic assessment and awareness of music, its ideas, the nature of experience and all the expressive means that form the musical image" .

The thesis about the unity of the emotional and the conscious in the perception of music also takes place in the works of Russian scientists. One of the first to formulate it was B.V. Asafiev. “Many people listen to music,” he wrote, “but only a few hear it, especially instrumental music…It is pleasant to dream to instrumental music. To hear in such a way as to appreciate art is already intense attention, which means mental work, speculation. The unity of the emotional and conscious in the perception and performance of music is one of the basic principles of musical pedagogy.

Logic plays an important role in the perception of music. thinking. All his operations (analysis, synthesis) and forms (judgment, conclusion) are aimed at the perception of the musical image and means of musical expression. Without it, the process of musical perception could not take place.

One of the most important operations of thinking for the perception of music is comparison. At the heart of the perception, "becoming" of music lies precisely the process of comparing, for example, the intonations of the previous and subsequent sounds in one work, repeating complexes of consonances in different works.

Of essential importance are the operations of classification, generalizations, which help to attribute a piece of music to certain genre or style that, in turn. Makes it much easier to understand. Forms of thinking - judgment and inference - underlie the evaluation of specific musical works, the entire process of artistic education and musical culture as a whole.

Selectivity perception is manifested in the ability to catch the expressiveness of intonations and follow the development of melodies, musical themes. One can also speak about the selectivity of musical perception in a broader sense - as a preference for one or another musical style, genre, certain musical works. In this case, the selectivity of perception can be considered as the basis for the formation of artistic taste.

Selectivity as a property of musical perception, in particular, in children, has not yet been studied enough. Mass pedagogical observations and surveys show that the majority of children prefer "light" music to "serious" music. But this phenomenon has not been scientifically explained. It is not clear why children like some works and are accessible, while they reject others as boring and incomprehensible.

Musical perception is a complex process, which is based on the ability to hear, experience the musical content of a work as an artistic and figurative reflection of reality. In the process of perception, the listener, as it were, "gets used" to the musical images of the work. However, to feel the mood in the music is not all, it is important to comprehend the idea of ​​the work. The structure of adequate thoughts and feelings, understanding of the idea arise in the listener due to the activation of his musical thinking, which depends on the level of general and musical development.

Summing up the analysis of the process of musical perception, it is worth noting that the need for the development of perception has been repeatedly drawn attention by musicologists-practitioners who work directly with the children's audience. The development of musical perception expands and strengthens the musical experience of students, activates their thinking. An important condition for the development of the ability to think is direct emotional perception. Only after it can one proceed to a detailed analysis of the work.

In this way, proper organization"listening" to music, taking into account the peculiarities of perception contribute to the activation of musical activity, the development of interests, musical tastes students, and, consequently, the gradual formation of musical culture.

The assimilation of knowledge, skills and abilities in musical education is carried out on the basis of artistic material. The perception of musical works in all types of activity is always peculiar and has a creative character. Creative learning activity should permeate the entire process of assimilating knowledge, developing skills and abilities, and therefore should not stand out as an independent element of learning.

In connection with the foregoing, the elements of the content musical training are: - the experience of a person's emotional and moral attitude to reality, embodied in music (that is, music itself, " musical material»); - musical knowledge; - musical skills; - musical skills.

Selection criteria musical material - the main component of the content of musical education, are:

Artistry;

Enthusiasm and accessibility for children;

Pedagogical expediency;

Educational value (the possibility of forming moral ideals and aesthetic tastes of students.

musical knowledge. Knowledge of two levels serves as the basis for understanding musical art: 1) knowledge that contributes to the formation of a holistic view of musical art; 2) knowledge that helps the perception of specific musical works.

The first level of knowledge characterizes the nature of musical art as social phenomenon, its function and role in public life, aesthetic norms.

The second level is knowledge about the essential features of the musical language, the patterns of construction and development of music, about the means of musical expression.

These provisions of musical science determined the approach to the choice of knowledge about music. In accordance with them, D.B. Kabalevsky singled out generalized (“key” knowledge) in the content of musical education. This is knowledge that reflects the most general phenomena of musical art. They characterize the typical, stable connections between music and life, and correlate with the patterns of children's musical development. Key knowledge is necessary to understand the art of music and its individual works.

In the content of school musical education, the second group of knowledge correlates with knowledge that is commonly called “private” (D.B. Kabalevsky). They are subordinate to the key. This category includes knowledge about certain specific elements of musical speech (pitch, metrorhythm, tempo, dynamics, mode, timbre, agogy, etc.), biographical information about composers, performers, about the history of the creation of a work, knowledge musical notation and etc.

Musical Skills. The perception of music is the basis for the formation of the musical culture of schoolchildren. Its essential side is awareness. Perception is closely related to knowledge and includes artistic appreciation. The ability to give an aesthetic assessment of a work can serve as one of the indicators of a student's musical culture. Perception is the basis of all types of performance, since it is impossible without an emotional, conscious attitude to music, without its evaluation.

So, the ability of students to apply knowledge in practice, in the process of perceiving music, is manifested in the formation of musical skills.

"Key" knowledge is used in all types of musical learning activities schoolchildren, therefore, the skills formed on their basis are considered as leading ones.

Along with the leading musical skills, private ones are distinguished, which are also formed in specific forms of activity.

Among the "private" skills, three groups can be distinguished:

Skills related to knowledge about individual elements of musical speech (pitch, rhythm, timbre, etc.);

Skills related to the application of musical knowledge about composers, performers, musical instruments, etc.;

Skills associated with knowledge of musical notation.

Thus, leading and particular skills correlate with key and particular knowledge, as well as with various forms of musical learning activities.

musical skills are in direct connection with the educational musical activity of schoolchildren and perform in certain methods of performing music. Performing skills are also formed on the basis of musical perception. Without their acquisition, it is impossible to talk about the complete assimilation of the content of training.

Topic 6:

The concept of musical education and the program on music by D.B. Kabalevsky: past and present

1. General characteristics

By the 70s of the twentieth century, domestic pedagogy had accumulated a lot of experience in the field of musical education of schoolchildren. At the same time, there is a need to create a single, generalizing concept, giving clear directions for the formation of the musical culture of schoolchildren.

A concept, according to the dictionary, is a system of views on a phenomenon, the main point of view from which this phenomenon is considered, the leading idea, etc.

To develop such a concept was proposed to a group of young scientists led by famous composer and public figure Dmitry Borisovich Kabalevsky. The concept and program were developed in the laboratory of the Research Institute of Schools of the Ministry of Education of the RSFSR in the period from 1973 to 1979. The main ideas of the concept are embodied in the article that precedes the music program "Basic principles and methods of the music program for general education schools." The program itself was published in small print runs with the note "Experimental". At the same time, music readers were issued for the musical support of the program, as well as phono readers with recordings of all the works of the program. During the experimental testing of the program, music lessons in one of the schools in Moscow were conducted by Kabalevsky himself. These lessons were shown on television. The book for children “About three whales and about many other things”, written by D.B. Kabalevsky for children.

For mass use, the music program for grades 1-3 (with lesson methodological developments) was released in 1980, and for grades 4-7 - in 1982.

Kabalevsky's program is still widely used in our country. It is the starting point for developing new music programs. However, in last years this program is increasingly becoming an object of criticism. At the same time, it also has a lot of supporters. It seems that it is unreasonable to consider it obsolete and unusable.

This concept is a major achievement of our culture. It absorbed the best experience of domestic pedagogy, and also anticipated a number of qualitatively new processes that are emerging both in art history and in all aspects of public life. Namely, the desire to preserve and nurture spiritual culture, the recognition of the priority of universal human values. This concept has great potential for development. While maintaining the essence, this development has the following directions:

Development of artistic didactics and theory of art pedagogy;

Substantiation of the musical material of the program;

Expansion of the musical material of the program;

Expansion of the role of improvisation, vocal and instrumental music making;

Enriching the lesson with folklore, sacred music, samples of modern folk musical creativity etc.

One of the most important tasks of a teacher working according to the program of D.B. Kabalevsky - to develop humanistic ideas concepts. In their line, the content of the educational process is a spiritual dialogue. different cultures. The content is the process of educating children in a moral and aesthetic attitude to reality, by art itself, by the child’s artistic activity as his “life” in art, by creating himself as a person, looking into himself.

Thus, understanding the content of the concept as the process of the formation of a child's spirituality through music, through experience, feeling and impression, it can be argued that there is nothing to update in the program.

If we talk about updating the content of the program as updating musical material, ways of communicating with music, etc., then this process is embedded in the concept as a permanent, necessary and natural one.

It focuses on the fact that the musical material can be replaced, on the fact that the implementation of the program requires a creative approach of the teacher in choosing methods, forms of practical music-making.

In 1994 a new version of the program was released, which was made by Bader and Sergeeva. The main objectives of the reprint are to eliminate the ideological content of the content, to enable the teacher to show creative initiative in planning lessons. Thus, in this edition, the musical material has undergone a change and the lesson methodological developments have been eliminated.

2. The purpose, objectives, principles and fundamental methods of the music program,

developed under the direction of D.B. Kabalevsky

Purpose of music lessons in general education school- education of the musical culture of schoolchildren as a necessary part of their general spiritual culture.

Leading tasks: 1) the formation of an emotional attitude to music based on its perception; 2) formation of a conscious attitude to music; 3) the formation of an active-practical attitude to music in the process of its performance, primarily choral singing, as the most accessible form of music-making.

Basic principles of the program:

The study of music as a living art, relying on the laws of music itself;

Links between music and life;

Interest and passion for music education;

Unity of emotional and conscious;

Unity of artistic and technical;

Thematic structure of the music program.

According to the last principle, each quarter has its own theme. Gradually becoming more complex and deepening, it is revealed from lesson to lesson. Between quarters and stages (classes) there is a succession. All secondary, secondary topics are subordinate to the main ones and are studied in connection with them. The topic of each quarter corresponds to one "key" knowledge.

Fundamental methods of the program. The leading methods of the program in their totality are primarily aimed at achieving the goal and organizing the assimilation of content. They contribute to the establishment of the integrity of the process of musical education in a music lesson as an art lesson, that is, they perform regulatory, cognitive and communicative functions. These methods interact with all other methods.

Musical generalization method. Each topic is of a general nature and unites all forms and types of classes. Since the topic is general in nature, it is possible to assimilate it only by the method of generalization. Mastering generalized knowledge by students is based on musical perception. This method is primarily aimed at developing in children a conscious attitude to music, at the formation of musical thinking.

The method of musical generalization acts as a cumulative way of organizing the activities of students, aimed at mastering key knowledge about music, the formation of leading skills.

The method includes a number of sequential actions:

1st action. The task is to activate that musical and life experience schoolchildren, which is necessary for the introduction of the topic or its deepening. The duration of the preparatory stage is predetermined by the nature of the generalized knowledge. The duration of training also depends on the level of musical experience of students. The main thing is not to allow the study of the topic to take place formally, without relying on auditory experience sufficient for this.

2nd action. The goal is to introduce new knowledge. Of primary importance are techniques of a productive nature - a variety of options for organizing a search situation. In the search process, three points stand out: 1) a task clearly formulated by the teacher; 2) gradually, together with students, solving the problem with the help of leading questions, organizing one or another action; 3) the final conclusion, which the students themselves must make and pronounce.

The 3rd action is connected with the consolidation of knowledge in different types educational activity, with the formation of the ability to independently navigate in music on the basis of acquired knowledge. Implementation this action involves the use of a combination of various methods of a productive and reproductive nature.

The method of "running" forward and "returning" to the past. The content of the program is a system of interrelated topics. It is important that the lesson in the minds of the teacher and students act as a link common theme and the whole program. The teacher needs, on the one hand, to constantly prepare the ground for upcoming topics, on the other hand, to constantly return to the material covered in order to comprehend it at a new level.

When implementing the method, the task of the teacher is to choose the best options for “running in” and “returning” for a particular class. There are connections of three levels here.

1. Connections between the stages of learning 2. Connections between the topics of the quarters. 3. Links between specific musical works in the process of studying the topics of the program.

Method of emotional dramaturgy. Lessons are built mainly on two emotional principles: emotional contrast and consistent enrichment and development of one or another emotional tone of the lesson.

Based on this, the task is to correlate one or another principle of constructing a lesson proposed in the program with specific conditions, the level of musical and general development students.

The method of emotional dramaturgy is primarily aimed at activating the emotional attitude of schoolchildren to music. It contributes to the creation of an atmosphere of enthusiasm, a keen interest in music lessons. This method allows, if necessary, to clarify the sequence of works planned for the lesson (its beginning, continuation, culmination - especially important point lesson, at the end) in accordance with the specific conditions of the lesson.

It is important to determine the best combination of forms and types of musical activity (classes) in the conditions of a given class.

The personality of the teacher (his passion for the subject, which is manifested in the performance of music, in judgments, objectivity in assessing students, etc.) acts as a powerful incentive to intensify the activity of schoolchildren in the classroom.

Topic 1. Music as a phenomenon. Types of musical creativity.

Music(from the Greek musike, lit. - the art of the muses) - an art form in which the means of embodiment artistic images meaningful and specially organized (in height and time) sound sequences serve. Expressing thoughts and feelings in an audible form, music, along with speech, serves as a sound means of human communication.

In developed musical culture creativity is represented by many intersecting varieties that can be differentiated according to different criteria.

Classification of musical phenomena by types of musical creativity:

1. Folklore or folk art.

Characteristics of creativity:

1) Oral. Passed from mouth to mouth.

2) Unprofessional.

3) Canonical (canon - a model according to which this or that work is created)

2. Creativity minstrel type. Or urban entertainment music from the early Middle Ages to contemporary pop or pop music.

Characteristics of creativity:

1) Oral.

2) Professional.

3) Canonical.

4) Theoretically meaningless.

3. Canonical improvisation(religious music).

Characteristics of creativity:

1) Oral.

2) Professional.

3) Canonical.

4) Theoretically meaningful.

4. Opus - music(opus is the original composition recorded in the musical text). Opus - music is also called - composer, autonomous, serious, classical, academic.

Characteristics of creativity:

1) Written.

2) Professional.

3) Original (requirements - originality, individuality).

4) Theoretically meaningful.

Classification characteristics of music as an art:

1. Non-pictorial.

2. Temporal (not spatial).

3. Performing.

Topic 2. Properties of musical sound. Expressive means of music.

In the musical language, separate musical sounds meaningful and organized so that they form complex of expressive means of music. The expressive means of music serve to embody artistic images that can evoke a certain range of associations in the listener, through which the content of a musical work is perceived.

Music sound properties:

1. Height.

2. Duration.

3. Volume.

Expressive means of music:

1. Melody.

2. Harmony.

3. Invoice.

5. Dynamics.

Melody. Organizes sounds by pitch in their sequence.

One of the most important (along with rhythm) means of expression. The word "melody" can act as a synonym for the word "music". (Pushkin A. S. “From the pleasures of life, music yields to one love, But love is a melody”). Melody is also called musical thought.

The expressiveness of the melody is based on the fact that its analogue outside of musical phenomena is speech. Melody plays the same role in music as speech plays in our Everyday life. Common between melody and speech - intonation. In speech, intonation carries mainly emotional coloring, in music - both semantic and emotional.

Harmony. Organizes sounds by pitch (vertical) in simultaneity.

Harmony organizes sounds into consonance.

Consonances are divided into consonances(nice sound) and dissonances(sharp sound).

Consonances can sound stable and unstable. These qualities are a colossal means of expression. They convey the growth of tension, the decline in tension, create a sense of development.

Texture. This is a musical fabric that organizes sounds both horizontally and vertically.

Invoice types:

1. Monody (melody without accompaniment).

A) polyphony is the simultaneous sounding of equal melodies.

3. Melody with accompaniment (homophonic texture).

4. Chord and Chord figuration.

Rhythm is the organization of sounds in time. Sounds have different duration. Sounds have an accent (accent and non-accent). Rhythm Functions:

a) rhythm arranges music time, divides it into proportional sections from accent to accent. The section from accent to accent is a measure. This is the metric function of rhythm (called "meter");

b) the rhythm conveys forward movement, creates a feeling of life, uniqueness, since sounds of different duration are superimposed on the metric grid.

The associative field of rhythm is very wide. The main association is with the movement of the body: the plasticity of the gesture, the rhythm of the step. It can also be associated with heartbeat, breathing rhythm. Reminds me of the countdown. Through rhythm, music is connected with other art forms, primarily with poetry and dance.

Dynamics– organization of sounds by loudness. Forte is loud, piano is quiet. Crescendo - decrease in dynamics, tension and diminuendo - increase.

Timbre- the color of the sound that distinguishes this or that instrument, this or that singing voice. To characterize the timbre, visual, tactile, taste associations are most often used (bright, shiny or matte timbre, warm or cold timbre, juicy timbre), which once again indicates the associative nature of music perception.

Men's: tenor, baritone, bass

Women's: soprano, mezzo-soprano, contralto

Composition of the symphony orchestra:

4 main groups

(the order of listing instruments in groups is by pitch, from top to bottom):

Strings (violin, viola, cello, double bass).

Woodwinds (flute, oboe, clarinet, bassoon).

Brass wind instruments (trumpet, horn, trombone, tuba).

Percussion (timpani, big drum, snare drum, cymbals, triangle).

Compound string quartet:

2 violins, viola, cello

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