Diploma work: Development of musical thinking of younger schoolchildren in music lessons. Development of musical thinking Musical thinking activates attention, memory, imagination

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

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

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

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

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

2. Types of thinking. Individual features of thinking

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

Visual-figurative thinking associated with specific listener perception.

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

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

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

- musical text

acoustic parameters,

Melody

harmony

metrorhythm,

dynamics,

Register,

Invoice;

to the spiritual beginning:

- sentiments,

associations,

Expression,

The senses;

to the logical beginning:

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

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

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

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

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

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

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

3. The logic of the development of musical thought

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

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

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

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

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

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

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

4. Development of musical thinking

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

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

Organization of practical work;

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

Formulation of hypotheses;

Encouraging students to compare, compare and contrast their knowledge;

Encouraging students to a preliminary generalization of new facts;

Research tasks.

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

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

Reveal the main intonational grain in the work;

Determine by ear the stylistic directions of a musical work;

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

Reveal the features of the performing style;

Identify harmonic sequences by ear;

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

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

Compare the performance plan of different editions;

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

Draw up several performance plans for the work;

Perform a work with various imaginary orchestrations;

Perform the work in a different imaginary color.

To develop thinking skills in the process of composing music:

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

Pick up familiar songs by ear;

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

The embodiment of speech, everyday dialogues in musical material;

Improvisation for different eras, styles, characters;

Stylistic, genre diversity of the same work.

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

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

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

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

Think creatively about their content;

To influence the subject through music;

Develop student performance skills.

In accordance with this, requirements are also formulated for a music lesson (in a general education school, in a music school, etc.), which should be holistic, aimed at emotionally meaningful communication of students with music.

The perception of musical works by adolescent students involves:

- their awareness of their emotional observations, experiences;

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

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

1. Psychological and pedagogical factors:

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

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

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

2. Analytical and technological factors:

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

3. Artistic and aesthetic factors:

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

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

1. Characteristics of the reproductive component of musical thinking:

Interest in musical activities;

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

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

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

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

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

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

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

3. Characteristics of the productive component of musical thinking:

The need for creativity in various types of musical activity;

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

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

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

Literature

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2. Berkhin N.B. General problems of the psychology of art. - M.: Knowledge, 1981. - 64 p. - (New in life, science, technology; Series "Aesthetics"; No. 10)

3. Bludova V.V. Two kinds of perception and features of the perception of works of art // Problems of ethics and aesthetics. - L., 1975. - Issue. 2. - S. 147-154.

4. Vilyunas V.K. Psychology of emotional phenomena / Ed. O.V. Ovchinnikova. - M .: Publishing House of Moscow. un-ta, 1976. - 142 p.

5. Witt N.V. About emotions and their expression // Questions of psychology. - 1964. - No. 3. - S. 140-154.

6. Vojvodina L.P., Shevchenko O.O. Pedagogical rethinking the formation of musical thought among schoolchildren of the junior age // Bulletin of the Luhansk State Pedagogical University named after. T. Shevchenko Scientific journal No. 8 (18) (According to the materials of the All-Ukrainian Scientific and Methodological Conference "Artistic Culture in the System of Higher Education" 20-23 January 1999). - Lugansk, 1999. - S. 97-98.

7. Galperin P.Ya. Psychology of thinking and the doctrine of the phased formation of mental actions // Studies of thinking in Soviet psychology - M., 1966.

8. Golovinsky G. On the variance of the perception of the musical image // Perception of music. - M., 1980. - S.

9. Dneprov V.D. On Musical Emotions: Aesthetic Reflections // The Crisis of Bourgeois Culture and Music. - L., 1972. - Issue. 5. - S. 99-174.

10. Kechkhuashvili G.N. On the role of attitude in the evaluation of musical works // Questions of Psychology. - 1975. - No. 5. - S. 63-70.

11. Kostyuk A.G. The theory of musical perception and the problem of the musical and aesthetic reality of music // Musical art of a socialist society: Problems of spiritual enrichment of the individual. - Kyiv, 1982. - S. 18-20.

12. Medushevsky V.V. How the artistic means of music are arranged // Aesthetic essays. - M., 1977. - Issue. 4. - S. 79-113.

13. Medushevsky V.V. On the regularities and means of the artistic influence of music. - M.: Music, 1976. - 354 p.

14. Medushevsky V.V. On the content of the concept of "adequate perception" // Perception of music. Sat. articles. / Comp. V. Maksimov. - M., 1980. - S. 178-194.

15. Nazaikinsky E.V. On the psychology of musical perception. - M.: Music, 1972. - 383 p.: hell. and notes. ill.

16. Sokolov O.V. On the principles of structural thinking in music // Problems of musical thinking. Sat. articles. - M., 1974.

17. Teplov B.M. Psychology of musical abilities. - M., 1947.

18. Yuzbashan Yu.A., Weiss P.F. Development of musical thinking of younger schoolchildren. M., 1983.

Musical-figurative thinking is a necessary condition for the perception or reproduction of the artistic content of a musical work. It is characterized by the fact that it is based on figurative material. Musical images are intonationally meaningful sound sequences, the content of which is the feelings, emotions and experiences of a person.
It is known that the artistic content of a musical work is expressed through melody, rhythm, tempo, dynamics, etc., which in general is a specific language of music. The development of musical-figurative thinking presupposes, therefore, an understanding, first of all, of the language of music and the realization of the fact that music does not depict the visible world, but expresses, mainly, the sensual attitude of a person to this world. And its figurativeness is limited only by onomatopoeia (for example, birdsong), connections between auditory and visual sensations, association (birdsong is a picture of the forest, high sounds are light, light, thin; low sounds are dark, heavy, thick).

A characteristic feature of music is that it is devoid of objective visualization. The same feelings, and hence the sound intonation of their expression, can be caused by different circumstances, phenomena or objects. Therefore, the perception of the musical image presents a certain difficulty. Consequently, one of the main methods for developing an understanding of the figurative expressiveness of music is the method of concretizing the image by analyzing a sequential chain: representation of an objective image (for example, a dance scene), feelings caused by this objective image, means of musical expression of these feelings.

The content of the musical-figurative representation is prompted, first of all, by the genre of the play, its form, title, for the song - by the text, etc., and the means of expression are always predetermined by the author of the musical work. Thus, the whole question is to find out with the student what feelings the presented object image evokes, and to indicate to him how the feelings evoked are reflected in this piece of music.
In the process of analyzing this chain, it is necessary to avoid overloading the student's thinking with excessive detailing of the objective image and strive for a minimum of generalizations. The purpose of the analysis is to find out what emotional state (mood) or volitional quality of a person causes a given objective image, that is, joy, fun, cheerfulness, tenderness, despondency, sadness; or - thoughtfulness, determination, energy, restraint, perseverance, lack of will, seriousness, etc. After that, the means of musical expression characteristic of a particular mood or volitional quality are analyzed: mode, tempo, dynamics, sound attack (hard or soft) and others.
The main expressive means is, of course, the melody - its intonational character, rhythmic organization, division into motives, phrases, periods, etc., which is perceived similarly to speech, affecting not only the sound, but also the meaning. This circumstance is very important for the development of musical-figurative thinking, especially the analogy of the intonational meaning of the melody of an emotionally rich speech. Indeed, by the beginning of learning to play the button accordion, the student already has some life experience: he can distinguish the emotional states of the people around him, distinguish their volitional qualities, is able to perceive and reproduce emotionally rich speech, and also has some musical experience. All this is a necessary and logical prerequisite for the successful development of an understanding of the intonational meaning of a melody, and, consequently, the development of musical-figurative thinking. The whole point is to skilfully rely on this experience, using it as previously acquired knowledge and skills.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1

One of the tasks of school musical education is to provide the child with the opportunity to "hear the essential content of music ..., to form ... an ear for music as an organ for searching for unprecedented beauty." A person who has just been born already establishes his connections with the world through intonations. At whatever stage of development the child is, he responds to its emotional expressiveness.

Intonation is a micro-center of thought in a sound structure, an expression of feelings and a plastic outline in a sounding micro-matter. No matter how a person positions himself to the World, no matter how he addresses it, no matter how he perceives the World, he operates with intonations, which are the essence of speech and the essence of music. Intonation, according to V. Medushevsky, is our "artistic self". The intonation sphere unites all types of art, since the origins of music, fine arts, literature, choreography, theater, etc., have an attitude to being, the essence of which can be conveyed in the words of F. Tyutchev: “Everything is in me, and I am in everything! ".

Intonation is also musical-linguistic memory, in which melodic-rhythmic, figurative, plastic and other imprints of the life-cultural experience of mankind are hidden. To comprehend the intonation, to feel its individuality and uniqueness, to feel its image, to penetrate into its innermost nature, to admire the conciseness of the construction, to predict its development is difficult, but incredibly interesting. Revealing the secret of this microstructure, you begin to more subtly and deeply understand and hear the World, as well as understand and hear yourself in this world. Therefore, it is obvious that the development of intonation thinking - the ability to think with intonation and through intonation - is the way of turning a child into himself, into the depths of his soul and his mind, the way of accumulating life experience through music, and, ultimately, one of the surest ways to overcome the spiritual and moral crisis of humanity.

The educational and methodical set "Music", developed by a creative team led by G. P. Sergeeva and E. D. Kritskaya, provides the broadest opportunities for solving the above problems. The concentric structure of the teaching materials, the division into blocks, a diverse associative range allow the formation of an "intonation dictionary" of schoolchildren, based on the understanding of intonation as a pattern of art. The program material is built in such a way that “intonational baggage” is gradually accumulated, and intonation experience is enriched. Purposeful comparisons of different works with similar genre intonations, intonations of a certain style develop musical intuition and significantly increase the quality of music perception.

The basis for the development of children's thinking is the ambiguity of their perception, the multiplicity of interpretations and the variety of "hearing options". The educational and methodical set "Music" constantly pushes the child to search for intonation-figurative connections of music with fine arts, history, literature, sculpture, art photography. Thus, the emphasis in music education based on the UMC "Music" is shifting from the theory and history of music towards the expansion of the child's intonation-figurative baggage, the development of his response to music and the desire to express himself in art. The lessons conducted under this program allow, according to B. Asafiev, "to rejoice, and to be sad, and to feel energy and severe courage in oneself ... not about music or to music, but to experience it in intonations."

The method of "perspectives and retrospectives", proposed by D. B. Kabalevsky and successfully developed in this UMK, makes it possible to go from the birth of intonation and its development to the embodiment of the image and the disclosure of the ideological orientation of major musical works. Obvious and understandable for the child are those thoughts and feelings that were laid down by the author in major musical forms. Turning to the intonation sphere allows one to “decipher” the content of the work itself, to understand the result of which an artistic idea is born, to reflect on a certain moral and aesthetic collision. And only then consider the dramaturgy of the work, the arrangement of musical images, the degree of their conflict and interaction. As a result, intonational thinking is formed as a component of artistic and creative thinking, the child takes the path of search, the path of the creator, comprehends art as a “relationship experience” (S. Kh. Rappoport).

Considering the evolution of musical forms, comparing different interpretations of works and their performance, mastering various layers of musical art (from folklore and religious tradition to modern academic and popular music in their dialogue), a “holistic artistic picture of the world” is gradually built in the minds of students. Appeal to musical art as the experience of generations, living them in their own musical activity allows you to actively form the emotional and value, moral and aesthetic experience and the experience of musical and artistic creativity.

What, in a practical sense, does a teacher get by teaching a subject on the basis of the teaching material “Music”?

Firstly, children are not afraid to compose music, because the nature of creativity is familiar to them, understandable and familiar. They willingly compose and perform their works. Of course, these are not large musical compositions, but only small forms, but among them there are already songs presented at municipal and federal competitions.

Secondly, children develop creative thinking. The teacher rarely gives the students ready-made theoretical concepts, more often they are comprehended in the course of cooperation and co-creation of the teacher and students, or in the process of independent work in the lesson. For example, the patterns of construction of cyclic forms in the second grade were deduced by the children themselves and themselves suggested that the parts of the cycle should be connected either by intonation or melody, then the cycle would acquire greater integrity. And what a pleasure it gave them to follow the changes in the sound of "Walk" in "Pictures at an Exhibition" by M. P. Mussorgsky.

Thirdly, children acquire a kind of “social ear” (B. Asafiev), they better feel the style of the time, the national characteristics of music, and acquire a sense of “a stylistic portrait of a composer”.

Fourthly, they are interested in large musical forms. Listening in the elementary grades not to separate fragments of operas, ballets, concertos and symphonies, but to whole actions and parts, in the senior grades - the whole work in full, the work of the soul and mind of the students is visible and the understanding comes that nothing can replace such moments in a person's life, when a person conducts a dialogue with his inner "I", when he learns to live with Music!

BIBLIOGRAPHY:

1. Medushevsky VV Intonation form of music. - M., 1993. - 265 p.
2. Sergeeva G. P., Kritskaya E. D. Music: method. allowance. - M., 2005. - 205 p.
3. Kritskaya E. D., Sergeeva G. P., Shmagina T. S. Methods of working with textbooks "Music" 1-4 cells. - M., 2002. - 206 p.

Bibliographic link

Talalaeva N.V. DEVELOPMENT OF INTONATIONAL THINKING ON THE BASIS OF THE EDUCATIONAL AND METHODOLOGICAL SET "MUSIC" // Fundamental research. - 2008. - No. 5. - P. 125-126;
URL: http://fundamental-research.ru/ru/article/view?id=3002 (date of access: 10/28/2019). We bring to your attention the journals published by the publishing house "Academy of Natural History"