Musical culture: history, formation and development. Coursework musical culture of the child as an indicator of his overall development Stages of music development

INTRODUCTION

The relevance of research due to the demand for pedagogical knowledge about the interaction of a teacher and a student in a changing education system. The Law of the Republic of Kazakhstan “On Education”, in the “Concept for the Development of Education in the Republic of Kazakhstan until 2015” emphasizes that the competitiveness of a nation is primarily determined by its level of education.
The culture of any nation leaves mankind not only material and spiritual values, but also a certain type of formed personality, which is both the creator and the product of this culture. One of the main indicators of the formation of a personality at the stage of preschool childhood is the development of a child's musical culture. Today, the task of educating the child's personality, developing his musical consciousness, and forming a system of spiritual and moral values ​​is being brought to the fore.
The musical culture of the individual is the most important condition for its harmonious development. As part of life, music contains the genetic code of mankind, its intellectual, strong-willed, artistic charge, which has absorbed the entire palette of the spiritual and material culture of peoples, the entire diversity of the appearance of mankind (epochs, ethnic groups, traditions, ideals, etc.). The perception of music in various forms and types of musical activity contributes to the development of a child's creativity, figurative thinking (eccentricity, plasticity, fantasy, associations). In this regard, it would be legitimate to talk about the creative, artistic, musical exploration of the world.
The issues of the development of the musical culture of children were studied in the works of E.B. Abdullina, Yu.B. Alieva, O.A. Apraksina, D.B. Kabalevsky and others. The following results of these studies are especially important for us: the content of musical education of preschool children has been developed, forms and methods of theoretical and practical musical and aesthetic education have been identified children, which emphasize the importance for the personality of the child of the formation and development of their own musical and aesthetic culture.
Purpose of the study is to consider the theoretical and methodological foundations for the development of a child's musical culture as an indicator of his overall development.
Object of study is the process of developing a child's musical culture.
Subject of study- an indicator of the overall development of the child.
Research objectives:
1. Consider the concept of musical culture, its structure and content.
2. Determine the features of the development of the musical culture of a preschooler.
3. To analyze the program content of the educational area "Creativity" and the sub-area "Music".
4. Consider the indicators of diagnosing the child's musical culture.
5 . Consider music as a means of child development.
Research methods: the study of psychological and pedagogical literature on the research problem.

1 THEORETICAL ASPECTS OF A CHILD'S MUSICAL CULTURE AS AN INDICATOR OF ITS GENERAL DEVELOPMENT

1.1 Musical culture: concept, structure, content

The concept of "musical culture" has recently become more and more common, less metaphorical and more operational. Usually, they turn to it when a research or journalistic thought, having been satisfied with a substantive study of a musical text, turns to its real historical fate.
The concept of "culture" (its scope is wider than the scope of the concept of "musical culture") captures the integral characteristic of any self-organized community, taken from the content of the main information consolidating it. Otherwise, we can say that culture is the informational characteristic of society. Information here should be understood not as a “quantitative measure for eliminating uncertainty”, as is customary in cybernetics, but as a set of means available to a particular community and directed by it to self-organization, to eliminate its own chaos, to establish an internal order specific to a given society. . It is clear that the originality of these means directly affects the originality of the organization of society. That is why culture, when viewed from the outside, is perceived as the front side of society, its appearance, its individual characteristics.
But information is a process. In social systems - a continuously flowing process of opposition to chaos. Its meaning is to constantly reproduce those ideas, relationships and meanings that are recognized as fundamental in a given community. Hence the need for constant reproduction of the same type of information.
Musical culture is part of the general system of information support of society, one of the means of streamlining public life. The specificity of musical culture is that the main means of ordering the reproduction in it of ideas, relationships, meanings recognized as essential for a given community are relations regarding the creation, reproduction and perception of music. From this point of view, the sounding musical text is not a goal, but a means of social interaction, a mediating link, an intermediary. So the ball is an intermediary of the relations of all twenty-two players on the football field, all the spectators of this match and, plus, everyone for whom its final score will be significant.
Romance and symphony also mediate different commonalities. But what is the fundamental difference between these communities (between the cultures of these communities, between their "musical cultures"), is not so obvious. In both musical cultures, positions of the author, performer and listener are easily distinguishable. And in this they are similar. Differences between musical cultures are found in their specific ordering, in the mutual organization of the positions of “composer”, “performer”, “listener”, i.e. in the structural features of these communities.
The musical text, functioning in the musically organized community that gave birth to it (which can be described by its musical culture), not only resides in it, but reproduces (confirms, actualizes) the structure of this community by the very way of its existence. The “correct” functioning of a musical text reproduces the type of structure inherent in this type of culture. This means that one or another musical culture is still alive and because musical texts created and functioning according to its rules actually function in society. In this property of a musical text - while functioning, to reproduce the structure of "its own" musical culture - is the source of its meaning-generating ability.
Of course, a musical text, like any artistic text, is potentially ambiguous. But in this case, we are only interested in those meanings that are generated due to the very correspondence between the structures of musical texts of a certain type, on the one hand, and the corresponding structuredness of musical cultures - if we distinguish them by the type of mutual ordering in them of the main functional positions that are offered to their carriers: positions of "composer", "performer" and "listener". In other words, we are interested in the meanings and experiences of individuals and groups that grow out of their identification with one of these positions, and, as a result, their experiences of relations with other positioners, in accordance with the way it is “prescribed” to the members of this community by its musical culture. .
The meanings that interest us, although they are generated in the musical environment, are much broader in their sociocultural nature, since the mentioned positions fix relations not only in musical communication. For example, the position of "authorship" in a number of cultures can also be attributed to the idea of ​​a person's fate or biography. If in antiquity an individual does not have an idea of ​​his life path as the realization of his own creativity, then in the culture of romanticism, the characters and their authors strive to realize their biography, in the limit, as their own free creation. It should be assumed, accordingly, that in the musical culture of romanticism, authorship should be accentuated and even hypertrophied, while in antiquity musical "authorship" should normally remain undiscovered.
Another side of the differences between musical cultures should be differences in the structures that mediate these commonalities of musical texts. In other words, the structure of the romance should correspond to the structure of the type of musical community that the romance, as a type of musical text, mediates and in which the romance generates certain socially significant meanings (and for which, at least, it is not indifferent or exotic). The same can be said about the symphony. At the same time, the genre definitions used here for examples (romance, symphony) only represent, but do not exhaust the type (or class) of texts that structurally correspond to the corresponding type (class) of musical cultures mediated by them. In this case, it would be more accurate to speak of works of the "romance type" or "symphony type".
Turning now to the relationship between the formal structures of musical texts and the corresponding musical cultures, we outline the main opposition: on the one hand, there are musical texts that are stable in their completeness, authentic to themselves (we call them “thing”, “work”), on the other hand - musical texts that do not have an unambiguous original, more or less changed during each performance. Accordingly, the structures of musical communities (musical cultures) in which such texts function turn out to be different: complete musical texts function in musical cultures with a distinctly formed author's position "composer", while in musical cultures with variable musical texts, authorship is not revealed, but the performance is clearly expressed. function. As a first approximation, one could say that completed texts (they are fixed by musical notation) correspond to the structure of "author's" musical cultures, while variable (not recorded) musical texts are created within the framework of "performing" musical cultures.
Further analysis formally leads us to a distinction between two types of "author's" musical cultures. These are communities with an independent performing function (performer on the concert stage) and a listener function (in the hall). Let's designate it as "Concert type of musical culture". And communities in which the listener and the performer easily change places, occupying the same site (salon, room in the house). Let it be a type of home, amateur music-making, an "amateurish type of musical culture."
A formal analysis of “performing” musical cultures also makes it possible to distinguish, in one case, musical communities, where, while the author himself is not expressed, his function, along with his own, is taken over by a performer-improviser who performs in front of the assembled listeners (jazz club, teahouse in the East) - “ Improvisational type of musical culture. Finally, in folk music-making (the musical side of rituals), none of the functions is formalized - folklore does not know the author's, performing or listener's specialization (“Folklore type of musical culture”).
Thus, all the problems associated with the study of man necessarily affect the sphere of culture. Culture forms the world only of the human. It comes to the fore both in the analysis of the human world, human reality, and in the analysis of the social life of people in this world, and in the concrete being of a particular person, in his self-consciousness. These are the conditions and the sphere of being in which a person can manifest himself to the full extent of his capabilities.
An analysis of modern scientific literature has made it possible to identify various approaches to the definition of the concept of "musical culture". Musical culture of personality, according to Yu.B. Aliyev, acts as a complex integrative education, an individual socio-artistic experience that determines the emergence of high musical needs of a person, the main indicators of which are musical development (love for musical art, manifestation of an emotional attitude to music, musical observation) and musical education (mastery of the methods of musical activity). , emotional and value attitude to art and life, development of musical taste, criticality). The researchers determined that the criteria that determine the quality of the musical culture of the individual are participation in musical creativity through various forms of musical activity, the development of the moral and aesthetic aspects of the individual under the influence of his musical and cultural potential, knowledge and evaluative ideas about music.

1.2 Features of the formation of the musical culture of a preschooler

Already in the second year of life, the child actively develops an emotional response to music. At this age, children are able to emotionally respond to the perception of contrasting mood music, so you can observe a cheerful revival when a child perceives cheerful dance music or a calm reaction when perceiving music of a calm nature, such as a lullaby.
Children develop auditory sensations, they become more differentiated: the child can distinguish between high and low sounds, quiet and loud sounds.
By the end of the second year of life, a certain stock of musical impressions accumulates, the child can recognize well-known pieces of music and react emotionally to them, and shows interest in new pieces. However, the stability of attention, due to age characteristics, is insignificant: children are able to listen to music continuously for 3-4 minutes, so a quick change in activities, game actions allows you to keep the child's attention, directing him in the right direction.
Researchers note that children have prerequisites for creative manifestations in musical activity based on imitation of an adult. Most often, these manifestations can be observed in dances and musical games, where children independently use familiar movements.
In the third year of life, the development of the fundamentals of the child's musicality continues. There is an active emotional response to music of a contrasting nature. Children lively and directly react to musical works, expressing a variety of feelings - animation, joy, delight, tenderness, calm, etc.
There is a further accumulation of musical impressions. Children recognize familiar songs, plays and ask them to repeat them. They develop musical thinking and memory.
Children love to participate in musical story games, playing certain roles (chickens, sparrows, bunnies, kittens, etc.) and learn to associate their movements with the changes that occur in music (they move quietly if the music is not loud, faster if the tempo of the music becomes agile).
Creative manifestations of children become more noticeable. They can also be observed in singing, when children reproduce onomatopoeia, sing each other's names with different intonations, compose simple improvisations on “la-la-la” (for example, a lullaby or dance for a bear, dog, Dasha doll, etc.).
Children of the fourth year of life show emotional responsiveness to music, distinguish between the contrasting mood of music, and learn to understand the content of a piece of music. They begin to accumulate, albeit a small, musical listening experience, musical preferences are observed, and the foundations of a musical listening culture are laid. In the process of perception, children can, without distraction, listen to a piece of music from beginning to end. Differentiation of perception develops: children allocate separate expressive means (tempo, dynamics, registers), by changing movements they react to the change of parts in a two-part piece of music, they begin to distinguish between the simplest genres - march, dance, lullaby.
In the process of musical activity, the basic musical abilities are actively developing (modal feeling, the manifestation of which is emotional responsiveness to music, a sense of rhythm). The development of musical-sensory abilities continues: children distinguish contrasting sounds in terms of height, dynamics, duration, timbre (when comparing familiar musical instruments).
The experience of performing musical activity is accumulating. All types of musical performance begin to develop more actively. Children gradually master the skills of performing in singing, rhythm, playing elementary musical instruments. The vocal and respiratory apparatus grows and improves. Children listen with interest to songs performed by adults and with a desire to sing songs together with an adult and independently, conveying their emotional attitude. They develop and become more stable singing skills, favorite songs appear.
Interest in playing children's musical instruments is becoming more stable. The stock of ideas about elementary musical instruments is increasing, the skills of playing them are being improved.
Children are happy to participate in various types and forms of musical activities (in independent musical activities, holidays, entertainment).
In the fifth year of life, children's ideas about music as an art are expanding, and musical listening experience is accumulating. Children begin to understand that music can tell a story. They listen more closely to its sound, distinguish between festively cheerful, gentle, sad, calmly focused intonations, begin to highlight and capture the most vivid, contrasting changes in the means of musical expression throughout the entire piece of music (changes in tempo, dynamics, registers). With pleasure they listen to classical music, folk song and dance melodies, modern children's songs. Children begin to form a more stable interest in the perception of music, their own preferences, favorite works appear. They develop musical memory, children begin to memorize and recognize familiar pieces of music.
The development of musical-sensory abilities continues. In this process, the use of a variety of musical and didactic games and manuals is especially helpful. The basic musical abilities develop (modal feeling, sense of rhythm), which are manifested in more active and varied musical activities of children. So, children of the fifth year of life show interest in singing, sing together with adults, peers and independently. Their singing abilities are expanding: the range (re - si of the first octave) increases, breathing becomes more organized, and diction improves due to the active development of speech.
Children begin to develop creative abilities in all types of musical activity: in singing this manifests itself in the simplest onomatopoeia, composing individual song intonations of different moods on the finished text. In movements to music, children also show creativity: they use familiar dance movements in free dances and, combining them in their own way, create original game images.
There is a growing interest of children in such an activity as playing children's musical instruments. Children are already familiar with many percussion instruments and know the simplest ways to play them. In the fifth year of life, systematic learning to play the melodic percussion instrument - the metallophone - begins. In addition, children continue to master playing such instruments as castanets, triangles, as well as folk orchestra instruments (spoons, rattles, bells, etc.).
In children of the sixth year of life, the perception of music is more purposeful. They are able not only to listen to music with interest, but also to independently evaluate it. They gradually cultivate the skills of a culture of listening to music, form initial knowledge about music as an art and its features. Children know and can name the names of composers whose works they are familiar with, distinguish between vocal and instrumental music, distinguish between the simplest musical genres (song, dance, march), distinguish individual means of musical expression (melody, rhythmic pattern, dynamics, tempo, registers), distinguish a simple two- and three-part form of a piece of music. They are able to compare and analyze pieces of music that are contrasting or similar in character.
Musical abilities are intensively developing - modal feeling, sense of rhythm, musical and auditory representations. This is especially evident in various types of musical activity. In singing activity, the child feels more confident due to the strengthening and development of the vocal cords and the entire vocal and respiratory apparatus, the development of vocal-auditory coordination, the expansion of the singing range (D of the first octave - C, C-sharp of the second octave), the formation of clearer diction. In most children, the voice acquires a relatively high sound, a certain timbre. Children can sing a more complex vocal repertoire, performing it together with an adult, peers and individually.
In musical and rhythmic activity, children also feel more confident: they orient themselves well in space, master various types of rhythmic movements - gymnastic, dance, figurative and game. They move freely, quite rhythmically, adequately to the character and mood of the music. In dances, musical games, they are able to expressively convey a musical image.
At the senior preschool age, quite vivid creative manifestations can be observed in composing song improvisations, in creating game images and dance compositions. There is still interest in playing children's musical instruments. Children continue to master the skills of playing instruments, mainly percussion groups (maracas, rumba, triangles, metallophones, xylophones, etc.). They play individually, in small ensembles and in a children's orchestra.
The seventh year of life is very important and responsible in the life of a child in terms of his development as a person, as well as in connection with the preparation for the upcoming schooling. The child actively develops thinking, imagination, memory, speech. All this contributes to active musical development. By the end of their stay in kindergarten, preschoolers accumulate a fairly large supply of musical impressions and elementary knowledge about music. So, they distinguish between musical works of different genres, styles, eras, recognize and name familiar works of domestic and foreign classical composers.
Interest in the perception-listening of music becomes quite stable. Most children have their own musical preferences. Listening to musical works, they are able to compare, analyze, evaluate them, motivating their assessment.
At this age, the development of basic (modal sense, sense of rhythm, musical and auditory representations) and special (ability to perform activities - singing, musical and rhythmic, playing instruments, creative) musical abilities continue. Musical and sensory abilities develop and improve.
Improved vocal and respiratory apparatus. In this regard, the singing abilities of children are expanding. The singing range expands up to the first octave - D, D-sharp of the second octave. The performance of songs acquires greater expressiveness, melodiousness. Children are happy to sing collectively, in small ensembles, individually (solo), both accompanied by an instrument and unaccompanied. They have favorite songs and there is a need to re-perform them.
In musical games, a good reaction is found, the ability to listen carefully to music and change movements with the change of its parts, the nature of the sound. The figurative movements with which children depict the characters of games, fairy tales become very bright, expressive, original.
In playing the instruments, the improvement of skills and performance techniques continues. Children's knowledge and ideas about various groups of orchestra instruments are expanding. The performing repertoire is expanding. Children, uniting in small ensembles, perform it with pleasure not only in the classroom, but also during holidays and entertainment. In the case of systematic and purposeful work, it is possible to create a children's orchestra in which almost all children of this age group can take an active part.
The musical and creative abilities of children are actively developing, manifested in all types of musical activity: in the perception of music, thanks to a more developed imagination and the accumulation of musical and life impressions, children are able to creatively perceive program music, interpret it in their own way, expressing their own attitude with the help of drawings, expressive gestures , facial expressions, movements.
etc.................

MUSICAL CULTURE

multi-level system, including decomp. types and genres of music. art-va, composing and performing arts, concert, theatrical and musical educational institutions, musical institutions. about-va, clubs, mugs, life. and home music.

In the development of music life of Ekat. reflected the processes of merging Nar. Russian traditions. us., representative other nationalities and prof. music to-ry European type. In the sphere of life. music, forms and genres typical of the mountains were affirmed. to-ry. One of its signs is mountains. orc., the presence of which was obligatory at all festive evenings of the local nobility. Since 1843, the muses have gained great popularity. performances, which was facilitated by the arrival in the city at the invitation of V. Glinka theater. troupe P. Sokolov. Vaudevilles and op., presented by guest performers, were a resounding success, which served as an impetus for the implementation of the idea of ​​​​creating your own mountains. t-ra. H. actors of the troupe, incl. prima donna E. Ivanova, as well as a small instrumental ensemble that accompanied the performances, remained in Ekat. In 1847 on Ch. Ave. for t-ra they built a kam. building (now k / t "Coliseum").

In the 70s of the XIX century. begins to actively develop op. claim. In 1874 on the stage of the mountains. t-ra toured in the city of soloist imp. t-ditch D.Leonova staged op. G. Verdi "Troubadour". Its success led to the emergence of Ekat. music mug (1880), where, on the initiative of P. Davydov and G. Svechin, op. staging.

In the 1880s, a noticeable shift in the development of choral art took place in the city. Along with choral performances of Nar. songs and church performances of choirs of muses become popular. mug and chapel of S. Gilev, who included in their repertoire works. classical music. Sacred music concerts of united amateur choirs and churches are successfully held. choristers. Highest choral art reached a rise in the beginning. 20th century thanks to the activities of A. Gorodtsov and F. Uzkikh, who led the free choral regent courses of the lips. to-ta guardianship about nar. sobriety.

At the turn of the XIX-XX centuries. in Ekat. there is an increase in the level of instrumental performance. On the initiative of V. Tsvetikov, P. Basnin and others, chamber meetings are organized in the city, historical events are held. concerts. In the summer garden of the Society. coll. under the direction of dir. O. Kassau, S. Hertz and others are regularly symphonic. concerts, in the Kharitonovsky garden - concerts of light music (see Ork. Ekat.)

In the beginning. 20th century in Ekat. new concert and theater buildings appear: Verkh-Isetsky Nar. t-r (1900, see People's House), I. Makletsky Concert Hall (1900), Concert Hall of the Commercial Assembly. (1910). This contributed to a significant increase in the number of concertos and op. productions. The most important events in the music life of Ekat. occurred in 1912: the New Mountains opened. t-r (see Ekat. state acad. t-r op. and ballet), who declared 50 op. in the repertoire at once, earned Ekat. Department of the Imp. Rus. music about-va, which laid the beginning. development of prof. music education in the city. In 1916, music. class IRMS with the patronage of D. Solomirsky are transformed into muses. school, where V. Bernhard and N Ivanova-Kulibina work, who later became authoritative muses. ped.

After 1917 pl. established music. city ​​structures cease to exist. Premises op. t-ra and concert and theater buildings are used for watered. coll. and rallies, often accompanied by mass singing roars. songs and music performances. products, consonant with the roar. events. In the 1920s, the activities of choir circles were acquired by the slave. and Red Army clubs.

In the 1920s–1930s, the Central Musical life Ekat.–Sverdl. becomes op. t-r. A. Ulyanov, F. Mukhtarova, S. Lemeshev, I. Kozlovsky, D. Agranovsky, V. Ukhov, G. Pirogov sang on its stage, I. Paliev, I. Palitsyn, A. Pazovsky, A. Margulyan conducted. In the summer, when the theatrical season ended, ork. t-ra gave traditional symphonies. concerts in the garden Weiner (former Club).

Since 1925, a new means of propaganda of muses. the lawsuit becomes Sverdl. radio. Muses. ed. V. Trambitsky and B. Pevzner worked as radio broadcasters. Radiokt had its own soloists and orchestra, which in 1934 was expanded and transformed. in symph. orc. Sverdl. state. Philharmonic Society (see Ural State Academic Philharmonic Orchestra) under the direction of M. Paverman.

The 1930s were marked by the creation in Sverdl. institutions that greatly enriched the muses. to-ru city. In 1933, the activity of the t-ra of muses began. Comedies The troupe was led by an experienced director invited from Leningrad. A. Feona, the basis of the acting team was S. Dybcho, M. Viks, A. Marenich, P. Emelyanova. Already after 10 years, tr was recognized as a “lab. owls. operettas". In 1934, she began the first study. Ural. state. Conservatory, in 1939 Sverdl was approved. Department of the USSR IC (see Ural. Department of the Union of Composers of Russia).

In the years Vel. Fatherland music wars. k-ra Sverdl. continued to develop rapidly. 40 members lived and worked fruitfully in the city. UK, incl. evacuees R. Glier, T. Khrennikov, A. Khachaturian, V. Shebalin, D. Kabalevsky and others. musicians. In Sverdl. for a long time was Mrs. orc. All-Union. radio, the Kyiv Conservatory, G. Neuhaus, D. Oistrakh, E. Gilels, L. Oborin successfully gave concerts. At this time, the creation Ural. nar. choir (see Ural state acad. Russian folk choir), philharmonic choir, choir of the region. radiokt. For the years war only Sverdl. state. the Philharmonic has organized more than 20,000 concerts.

In the postwar period on the state of music. to-ry had a serious impact post. Central Committee of the All-Union Communist Party of Bolsheviks of February 10. 1948. Accusations of "anti-people" and "formalism" also touched the Urals. composers. The policy of the "cold war" and entrenched in Sverdl. the status of the closed city contributed to the artificial isolation of Sverdlovsk from the world. music to-ry. And yet the music life of the capital U. did not stand still. The song genre developed intensively. Creative success accompanied B. Gibalin, E. Rodygin, L. Lyadova in this direction. Song festivals organized by the Choral Society, led by G. Rogozhnikova, were very popular. Song material, osn. to the Ural folklore, formed the basis of the symphony. G. Toporkov and N. Puzeya, op. G. Beloglazova "Ohonia", music. comedy K.Katsman "Mark Beregovik".

Performing skills have reached a high level. Pianist I. Renzin, violinists M. Zatulovsky and N. Schwartz, cellist G. Tsomyk, singers J. Vutiras, N. Dautov, V. Kitayeva, M. Glazunova, A. Novikov, I. Semenov performed in the 1950s–1960s . World. Izv. purchased by Ural graduates. state. the conservatory art. USSR B. Shtokolov and Yu. Gulyaev. When the Philharmonic formed highly professional. instrumental ensembles: Ural. string quartet them. N. Myaskovsky and the Urals. accordion trio.

Art was actively developed. amateur performance. Muses worked in the houses of the k-ry under the guidance of experienced musicians. mugs and even op. studios. More than ten op. staged by an amateur studio in the recreation center of the Verkh-Isetsky factory (headed by P. Lantratov). Husband. choir Sverdl. bugle in-ta (headed by V. Glagolev) became a laureate of the All-Union. music festival (1957), choir Ural. state. un-ta (headed by V. Serebrovsky) - laureate of the World Festival of Youth and Students in Vienna (1959), pop-symphony orc. DK railway workers (headed by V. Turchenko) - laureate of the World Festival of Youth and Students in Sofia (1968).

In the 1960s, widespread development in student circles and the mountains. intelligentsia receives the genre of author's song. Amateur song clubs are being organized, from which many came out. Izv. bards (A. Dolsky and others).

New rise Ural. school games on nar. instruments occurred in the 1960s. in the Urals. state. the conservatory is created by a special department, which was headed by izv. in the country and abroad, the balalaika performer E. Blinov (1963). Ped. and pupils of this department. repeatedly won the All-Union. and international competitions. Orcs are organized. nar. instruments, original music for which is written by V. Bibergan (“Ural. nursery rhymes”) and other Urals. composers.

In the 1970s-1980s in the music. life Sverdl. new names of talented musicians appeared. victory at the international competition them. Beethoven in Vienna (1977) was won by the pianist N. Pankova; E. Kolobov (Sverdl. op. and ballet), V. Kozhin (symphonic orchestra. Sverdl. State Philharmonic). For staging op. "Prophet" in Sverdl. t-re op. and ballet composer V. Kobekin, dir. E. Brazhnik and dir. A.Titel were awarded the State. etc. (1987). In 1987, the Mus. about-in Sverdl. region, which was headed by Nar. art. USSR V. Baeva.

In the 1980s and 1990s, a youth movement openly declared itself. A rock club arose in the city (1986), and the best gr. - "Nautilus Pompilius", "Agatha Christie", "Chayf", "Semantic Hallucinations", "Chicherina" - took a leading position in Russia in this music. direction. “Grandfather Ural is actively working. rock "composer A. Pantykin (see Rock music). The activity of masters and jazz lovers revived. Created Ural. state. orc. jazz music (headed by N. Baranov), jazz festivals are regularly held. World. Izv. received a pupil of the Urals. conservatory jazz musician V.Chekasin. Pop music (V. Presnyakov Jr., A. Malinin) and author's song (A. Novikov) are developing.

A remarkable phenomenon of music. life of Ekat. last decades of the twentieth century. - the emergence of many independent concert, musical and theater structures and the strengthening of foreign countries. connections. They successfully tour abroad and participate in international. philharmonic orchestra competitions. under the direction of D. Liss, orchestra. nar. hand tools. L.Shkarupy, chamber orchestra. V-A-S-N (founded in 1990 by S. Dyachenko), "Lyceum", "Camerata" (headed by Honored Art. of the Russian Federation V. Usminsky), folk ensembles. instruments "Ayushka" (headed by V. Zykin) and "Ural" (headed by M. Ulyashkin), the choir "Domestik" (headed by V. Kopanev, Gub. pr. 1998), etc. The creative contacts of the Urals have strengthened. conservatories with music universities in France and Italy, which is the great merit of the rector of the UGK, pianist M. Andrianov. Of particular importance are victories at the international. competitions for young Yekaterinburgers: children. choir "Aurora" (headed by V. and N. Bulanova), male choir. choral lyceum (headed by S. Pimenov), choir and dance ensemble "Smile" Det. Philharmonic Society (headed by Y. Bondar, O. Zhuravleva), etc.

Lit .: From the musical past: Collection of essays. Issue. 1. M., 1960; Issue. 2. M., 1965; About music and musicians of the Urals // Scientific and methodological notes of the UGK. Issue. 3. Sverdlovsk, 1959; Belyaev S. History of musical culture of the Urals: a course of lectures. Yekaterinburg, 1996.

OK. Shabalina

Encyclopedia of Yekaterinburg. EdwART. 2010 .

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Udmurt musical culture- until the twentieth century. was presented to creativity. Changes occurred in the 20th of the twentieth century, when the beginning. recording and processing udm. nar. songs. Only in the 30s were the foundations laid. for the development of prof. music culture: the choir of Udm. radio (director D. Vasiliev Buglay), ... ... Ural Historical Encyclopedia

The culture of modern Montenegro has absorbed many of the customs of its neighbors: Serbia, Croatia, Greece, Italy, Turkey and Albania. Contents 1 History of Montenegrin culture 1.1 Literature ... Wikipedia

Udmurtia is a republic within the Russian Federation, is its integral subject, is part of the Volga Federal District, is located in the western Cis-Urals, in the interfluve of the Kama and its right tributary, the Vyatka. The country is inhabited ... ... Wikipedia

Azerbaijani folk dance to the music of folk instruments during the Eurovision 2012 festival in Baku ... Wikipedia

A series of articles on the topic of US culture ... Wikipedia

- ... Wikipedia

The first information about the musical life of Moscow dates back to the turn of the 15th-16th centuries, when, presumably, a choir of the sovereign's singers was created to participate in royal divine services and court ceremonies. In court life from the end of the XV century. penetrate... Moscow (encyclopedia)

Books

• Musical literature for 3 years general developmental general educational program Russian musical culture of the twentieth century 3rd year of study, Shornikova M., The appearance of this textbook is due to the fact that on January 1, 2014, the Federal State Educational Standard for Additional Education, approved by order, came into force ... Category :

Musical culture. Characteristics of the concept of "musical culture", the structure of the musical culture of preschool children, the sources of musical culture.

The musical culture of society is the unity of music and its social functioning.

This is a complex system that includes:

1) musical values ​​created or preserved in a given society,

2) all types of activities for the creation, storage, reproduction, distribution, perception and use of musical values,

3) all subjects of this kind of activity, together with their knowledge, skills and other qualities that ensure its success,

4) all institutions and social institutions, as well as tools and equipment serving this activity.

Musical culture is spiritual and material in nature. Its main content is made up of musical images and other phenomena of public musical consciousness (interests, ideals, norms, views, tastes, etc.).

Consider the concept of musical culture of preschoolers.

D.B. Kabalevsky associated the musical culture of the child's personality with the spiritual comprehension of musical art. He believed that musical literacy, in fact, is a musical culture, which manifests itself in the qualities of music perception:

The ability to perceive music as a living figurative art, born of life and inextricably linked with life;

A special “sense of music”, which allows you to perceive it emotionally, to distinguish good from bad in it;

The ability to determine the nature of music by ear and feel the inner connection between the nature of music and the nature of its performance.

Yu.B. Aliyev under the musical culture of the personality of the child means individual social and artistic experience, which causes the emergence of high musical needs. Musical culture is understood as an integrative property of the individual, the main indicators of which are:

Musical development (love for musical art, emotional attitude towards it, the need for various samples of artistic music, musical observation;

Musical education (armed with methods of musical activity, art history knowledge, emotional and value attitude to art and life, “openness” to new music, new knowledge about art, development of musical and aesthetic ideals, artistic taste, critical selective attitude to various musical phenomena).

O.P. Radynova considers the musical culture of a preschool child as an integrative personal quality that is formed in the process of systematic, purposeful education and training based on emotional responsiveness to highly artistic works of musical art, musical-figurative thinking and imagination, the accumulation of intonational cognitive-value experience in creative musical activity, development all components of the musical and aesthetic consciousness - aesthetic emotions, feelings, interests, needs, taste, ideas about the ideal (within the limits accessible to age), giving rise to the emotional and evaluative attitude of the child to music, actualized in the manifestations of aesthetic and creative activity.

The core of the concept of “musical culture of a preschooler” is emotional responsiveness to highly artistic works of musical art, which plays the role of an initial positive assessment for the child and contributes to the formation of interest in music, the beginning of taste, and ideas about beauty.

Let us dwell on the characteristics of the concept of "musical culture of preschool children" and analyze its structure.

The musical culture of children can be considered as a specific subculture of a certain social group (preschool children).

It has two components:

1) the individual musical culture of the child, including his musical and aesthetic consciousness, musical knowledge, skills and abilities that have developed as a result of practical musical activity;

2) the musical culture of preschoolers, which includes works of folk and professional musical art used in working with children, the musical and aesthetic consciousness of children and various institutions that regulate the musical activity of children and satisfy the needs of their musical education.

The volume of the musical culture of society corresponding to preschool age is adopted by the child in the family, kindergarten, through the media, musical and cultural institutions.

The influence of the family on the formation of the beginnings of the child's musical culture is determined by its traditions, the attitude of family members to musical art, the general culture, and even the gene pool.

The role of the kindergarten is manifested through the personal and professional qualities of the teacher-musician, his talent and skill, the general cultural level of educators and the entire teaching staff, through the conditions they created.

Public institutions (mass media, creative musical unions, musical and cultural institutions, etc.) organize various musical activities for children, the creation, reproduction and storage of musical works, and scientific research.

The basis of the musical culture of the child can be considered his musical and aesthetic consciousness, which is formed in the process of musical activity.

With the help of musical and aesthetic consciousness (a person's aesthetic attitude to music), musical works are comprehended, one's own impressions of them. Developing in musical activity, it helps a person to perceive the content of a piece of music and determine its meaning for himself.

For a full-fledged perception, the listener needs to experience a piece of music, be able to distinguish between the main means of musical expression, have musical experience, and some information about music. Musical consciousness gradually rises to a higher level, if the child has an interest in musical activity, given the attitude to the perception of music, if the child is able to evaluate the sounded work, give his own, albeit elementary judgment. The main means by which musical and aesthetic consciousness and musical culture as a whole is formed is music itself.

Based on the provisions of psychology on the role of activity in personality development, several components can be distinguished in the structure of the child's musical culture (Fig. 1).

Fig.1. The structure of the child's musical culture

The components of the structure of the musical culture of the child include: musical experience, musical literacy, which D.B. Kabalevsky called "essentially musical culture" and which, indeed, is its core, its meaningful expression, and musical and creative development.

Musical experience, according to L.V. Shkolyar, the most visible, the very first "layer" of musical culture. It allows you to judge the musical interests of the child, his passions, the breadth of the musical and life outlook. The experience of perception of music and its performance testifies to the orientation (or lack of it) in the values ​​of the musical heritage of the past (classics, musical folklore) and in the modern surrounding musical life. The criteria for having experience can be: the level of general awareness about music, the presence of interest, certain predilections and preferences, the motives for turning the child to this or that music (what the child is looking for in it and what he expects from it).

The parameters of musical literacy are related to the qualities of perception of musical works. This is an individual-personal ability to perceive music as a living, figurative art, born of life and inextricably linked with life; a special “sense of music”, which allows you to perceive it emotionally, to distinguish good from bad in it; the ability to determine the nature of music by ear and feel the internal connection between the content of music and the nature of its performance; as well as the ability to identify by ear the author of unfamiliar music, if it is characteristic of this author.

The musical and creative development of the child (the third component) is considered in the integral system of musical culture as the ability for creativity and self-development. Creativity is an indicator of a person's development, and in music it is the highest indicator of a person's mastery of musical art. Musical creativity manifests itself as self-knowledge, self-expression and self-affirmation in their unity. The need for self-expression is manifested when the child expresses his attitude to the moral and aesthetic ideals contained in art; self-knowledge is manifested when a child explores his spiritual world through music, and self-affirmation - when through musical art he declares himself, about the richness of his sensuality, about his creative energy.

http://otveti-examen.ru/pedagogika/12-metodika-muzykalnogo-razvitiya.html?showall=1&limitstart

MOSCOW STATE UNIVERSITY OF CULTURE AND ARTS

Institute of Cultural Studies and Museum Studies

IMPACT OF MODERN MUSICAL CULTURE ON PERSONALITY

(BY THE EXAMPLE OF ROCK AND ROLL)

Course work

Completed by: Volkova E.O.

1st year student 126 group

Scientific adviser:

Leontief

Moscow 2009

Introduction…………………………………………………………………………………3

Chapter I . Music specifics. What is musical culture? .............................four

Chapter II . The history of rock and roll……………………………………………..……...........7

Chapter III . Famous people of the sixties………………………………………...12

Chapter IV . The influence of rock music on the human body…………………………….16

Chapter V . The negative impact of rock and roll…………………………………………….19

Chapter VI . Positive aspects of rock music………………..................................................21

Conclusion……………………………………………………………………………….23

List of sources and literature

Introduction.

The purpose of this work is an attempt to study the influence of music on personality. Much of this work is devoted to examining the influence of rock music on the youth of the 60s. I would like to explore in detail the development of rock and roll music in different countries. Also in this work, I would like to find out what role the music that we listen to every day plays in the life of each of us and how the musical culture that we follow affects our lifestyle, our worldview, our worldview. I would like to clarify this question, considering the 60s of the life of the USA and England, because it was at this time that the “musical revolution” took place in these countries, by which I mean the emergence of rock and roll and those groups that could leave a big imprint on music . I would like to solve the problem I have posed by analyzing the biographies of famous musical figures of the 60s.

It is known that in the teenage period of development, musical culture reaches a certain level. Young people develop their own musical taste, their own circle of musical interests and preferences appears, which gradually acquires stability. The observations of many allow us to say that most of today's youth are passionate about rock music. Rock is the social reality of our time. Contemporary music is perceived as a separate area of ​​musical art that exists autonomously.

The work consists of an introduction, six chapters, a conclusion and a list of references. The first chapter is devoted to defining the role and place of music in the life of modern youth and identifying the concept of "musical culture". The second chapter deals with the origin of rock and roll, its development in different countries and gives its characteristics as a whole. The third chapter will provide facts from the lives of famous people who played rock music and also played a big role in the life of their country. In the last three chapters, the negative and positive aspects of rock and roll as a musical culture will be considered.

Chapter I

Music specifics. What is musical culture?

In modern society, music occupies a special, far from the last place. Even ancient philosophers described the positive influence of music on a person. Aristotle argued that with the help of music one can influence the formation of human character in a certain way. Avicenna called music a non-drug treatment along with diet. In India, national chants are performed as a prophylactic in many hospitals. Music has a significant impact on the behavior, life and health of people. Music and its rhythm were widely used during rituals and other cult activities. A fairly striking example of this is the shamanic practice known among different peoples of the world. Specially selected rhythmic beats of the shaman's tambourine contributed to the entry into special states of consciousness of both the shaman himself and the other participants.

The world we live in is filled with various natural and artificial sounds, but sounds in and of themselves are not music. Music arises when a person began to organize these sounds. Any music that we listen to every day can not only entertain and delight our ears, but also this music has the ability to have a noticeable effect (both positive and negative) on the psycho-emotional and physical state of a person. In modern society, music is defined by the concepts - “fashionable” or “not fashionable”. In ancient times, music played a soothing, entertaining role, but now its meaning has changed significantly. With the invention of sound recording, music becomes a commodity that can be bought or sold. This product, in turn, creates a market that allows you to make huge profits. There were a huge number of radio stations broadcasting only music. In 1981, MTV music television appeared in the United States, broadcasting 24 hours a day. Thus, music is an integral part of human life. Now there are a huge number of different genres, directions and styles of music. In modern society, there is no leading genre of music. The differences are not in the music itself, but in its listener. Musical genres have different value spectrums that determine their perception by audiences as phenomena associated not only with art, but also with real life. In my opinion, each listener is individual, each person perceives something in his own way. Music is able to convincingly convey the emotional state of people.

Musical culture is a set of musical values, distribution and storage of them. In my opinion, music in modern society is not just entertainment, it is also a means of self-expression. On the basis of music, people, and most often young people, unite in various subcultures, finding their own kind. But such a role is played by music that is opposed to mass taste.

The main elements and expressive means of music are melody, rhythm, meter, tempo, dynamics, timbre, harmony, instrumentation and much more.

Music, in my opinion, is the most symbolic art of all, because it influences a person and his psyche without using either words or visual images. Music is considered one of the highest modes of symbolic thinking. According to the philosopher Attali, “music is the vibrations and symbols of society clothed in sounds.” In Greek mythology, the word "music" is associated with the Muses - the nine daughters of Zeus and the goddess of memory Mnemosyne. The Muses, with the exception of Urania and Clio, are associated with singing, dancing and music. They sing of the deeds of the gods, and they know the past, present and future. Another tradition links the Muses with the magical musician Orpheus.

Every day most of us listen to different kinds of music, even if we do it not purposefully, we have to hear it, for example, in the car, bus, supermarket, cinema, on the street, at a disco, in a bar or restaurant - wherever we are, we are accompanied by the sound of music. At the same time, hardly anyone can think about what a huge impact it has on our inner world and its outer expression, i.e. behavior. With its rhythm, melody, harmony, dynamics, variety of sound combinations, music conveys an endless set of feelings and moods. Its strength lies in the fact that, ignoring the human mind, it penetrates directly into the soul, into the subconscious and creates the mood of a person. According to its content, music can evoke a variety of feelings, urges and desires in a person. It can relax, calm, invigorate, irritate, but these are only those influences that are recognized by our mind. At the same time, we regulate our behavior depending on the quality of this influence. All this happens consciously, with the participation of thinking and will. But there are influences that pass precisely “by” our consciousness, settling in the depths of our brain and making up a significant proportion of all our meanings and motives. Of course, the role of music in the construction of the human "I" and its behavior cannot be exaggerated: there are a lot of factors, both external and internal, that influence our inner world. But one cannot deny the fact of the participation of music in the formation of consciousness.

Many of today's youth, taking into account all the variety of genres of music, trying to demonstrate their rich inner world and their otherness, give their preference to such genres that somehow go against the accepted norms in society. These genres include rock, which has many manifestations (hard rock, punk rock, art rock). Rock originated in the West in the early 60s, under the name rock'n'roll.

Chapter II

History of rock and roll

Rock and roll (Rock and roll) - literally translated from English as "swing and spin." This is one of the genres of popular music that originated in America in the 1950s and was an early stage in the development of rock music. It is also a dance performed to the music of rock and roll and a musical composition in the style of rock and roll. Rock and roll is characterized by a fast pace, a lot of slang (mostly Negro) and freedom of musical performance. The main instruments are electric guitar, bass, drums and piano.

Initially, the term "rock and roll" was coined by Alan Fried from Cleveland (a disc jockey of one of the American radio stations). In the early 50s in the USA there was a popular song in the rhythm and blues style, in which there was such a phrase: "We" ll rock, we "ll roll", which roughly means "we will rock, we will spin ". This phrase was used by Alan Freed, describing with it the new music that he broadcast on the radio. The word "rock and roll" immediately came into use. Alan Fried not only invented the term "rock and roll", but also vigorously promoted a new musical style. Becoming a celebrity, he starred in several films, the most famous of them "Dance rock around the clock", which featured Bill Haley. But in the end, Fried in 1960 was sentenced to imprisonment for his active bribery and died of alcoholism.

Rock and roll was the result of a mixture of different styles of music common at the time in America. Almost simultaneously, independently of each other, unknown white and black musicians of the American South began to mix rhythm and blues, boogie-woogie and country, achieving hitherto unknown sounds. Bill Haley (the very first "pure" rock and roll performer) used black slang with might and main in the early 1950s. in their rhythmic songs built on country music with an admixture of jazz and boogie-woogie. His two singles "Rock Around The Clock" (recorded in April 1954) and "Shake Rattle And Roll" played a decisive role in the mass popularity of rock and roll, which was until then only a musical experiment and was known only to listeners of local radio stations. Of course, it is very difficult to determine the beginning of the birth of this style of music, but experts often give the primacy of rock and roll to the song "Rocket 88", recorded by Ike Turner in the Sam Phillips studio in 1951. As a result, the classic sound of rock and roll was formed in 1954-55, when Bill Haley, Elvis Presley, Chuck Berry, Little Richard and Fats Domino recorded the songs that laid the foundation for this direction. Presley boldly experimented with country and blues, Fats Domino finally proved that his New Orleans piano boogie woogie was rock and roll; pianist Little Richard's whirlwind rhythms and frenzied screams are the quintessence of rock's rebellious nature, while Chuck Berry's guitar chords and witty lyrics are examples for countless imitations.

Another person who left his mark on the creation of rock and roll is Little Richard, a black rhythm and blues singer. In 1973, he declared that he was the founder of rock and roll, just as Ford was the founder of Ford. Little Richard claimed that it was he who first accelerated the pace of rhythm and blues and it became known as rock and roll.

But despite the accelerated pace of development of rock and roll until 1954, its popularity did not go beyond several states. The real success came after the appearance on the movie screens of the picture "Slate Jungle" about gangs of teenage schoolchildren. The action of the film was accompanied by music performed by the Bill Haley Orchestra. Bill was already over thirty, and teenagers ranked him as an older generation, and they wanted to see their peers on the screen. And then Elvis comes out. Elvis Presley fit perfectly into Hollywood standards and, moreover, was the owner of an outstanding voice. His performance was characterized by exceptional dynamism and temperament. He is still the epitome of rock and roll. Although he cannot be considered the first performer of rock and roll, the history of the new style is calculated from the moment Elvis Presley appeared on the stage. From that moment on, rock and roll began to develop, as it were, to its own rhythm - the demand for records grew every year, and the lyrics became more social, problematic. Elvis Presley, dubbed the "King of Rock and Roll", had a huge musical and stylistic influence on the younger generation not only in America, but throughout the world.

After the unprecedented commercial success of Presley, rock and roll immediately became the object of interest of the cinema, as well as major labels. In 1956-57. rock and roll was replenished with new stars - Carl Parkins, Jerry Lee Lewis, Buddy Holly, Eddie Cochran - who demonstrated innovative playing techniques and had an even greater influence on the next generation of musicians. A special place in the history of instrumental rock and roll was occupied by Link Ray, whose composition "Rumble" had a huge impact on the development of subsequent guitar music. By the end of the 1950s, rock and roll records were among the most popular in the United States.
The development of rock and roll was rapid, but it also quickly found itself on the verge of self-exhaustion: Little Richard left pop music already in 1957, two years after his first success; Elvis Presley was drafted into the army for two years, and on his return in 1960 was more preoccupied with his film career; Buddy Holly, Ritchie Valens and Eddie Cochran died in 1959-60; Chuck Berry was sentenced to prison. Other singers began to master extraneous styles (country, rhythm and blues, etc.). In parallel, there were many commercially successful performers, but they did little to contribute to musical development.

By the beginning of the 1960s. rock and roll was at a dead end stage of development and it was only possible to breathe life into it with the “British invasion” (The Beatles) of the mid-1960s. Almost all rock and roll hits of the 50s. (especially Chuck Berry and Little Richard) have been re-covered by British bands. At this time, the term "rock" appears.

In the early 1960s, British youth who had grown up with American blues began to invent and compose their own style. Bands such as The Rolling Stones and The Who contributed to the birth of a new sound, new ideas and a new movement in music, namely rock. In any creative environment, there is always a need to develop, to look for something new. Since 1966, the direction of art rock has become quite popular, which subsequently made an impression on the whole world. Prominent representatives of this movement were Andy Warhol and the Welwit Underground, Pink Floyd, and David Bowie.

The year 1975 rightfully occupies a special place in the history of rock and roll. It was at this time that the two recognized world rock capitals - New York and London - are losing ground, and young musicians on both sides of the Atlantic are gaining momentum, wanting to breathe new strength into rock. Perhaps most clearly this process was reflected in the work of such teams as Patti Smith, Ramones, The Sex Pistols and The Clash. As a result of these bold and uncompromising experiments, the world has witnessed the birth of the third generation of rock and roll - punk rock.

In 1965, in the industrial capital of England - Birmingham - there was an accident that forever changed the history of rock. Young guitarist Tony Iron had the fingertips of his right hand cut off on a machine tool. After that, the guy did not give up hope of playing: he inserted metal plates on his fingers, as a result of which the sound began to turn out louder, stronger, harder and more aggressive. This caused an unheard of resonance among the musicians, from that moment everyone tried to reproduce this sound. "Heavy metal" has become a global phenomenon in the history of rock. The direction continues to develop today. Perhaps the most prominent representatives of this generation are Deep Purple, Iron Maiden and Metallica.

In the early 70s, rock sounds with such power that there is an opportunity and a need to listen to it in stadiums. Led Zeppelin is the first to take such a bold step. Soon, the band members discover that their music is not only listened to around the world, but also that it can make a lot of changes in it. The era of stadium rock is celebrated by a number of artists: Led Zeppelin, Kiss, The Police, Queen and Dire Straits.

In the early 1990s, Seattle turns into the musical capital of the world and at the same time new kings of alternative rock appear. Kurt Cobain, lead singer of Nirvana, is truly becoming the voice of a generation. Soon several more bands join alternative rock. The legacy of Kurt Cobain and R.E.M., Black Flag, Pearl Jam, Sonic Youth still influences rock today. Every day I am surrounded by those people who would sacrifice a lot in order to hear the members of these bands live.

In the early 80s, the indie direction is still a deep mystery in British music. It includes a number of artists such as The Smiths and Oasis. These performers initially did not enjoy great popularity, but after a few years their triumph becomes so complete that it is difficult to accommodate all the fans at the concerts. And the new wave of Manchester bands The Libertines, Franz Ferdinand, Blur, Kaiser Chiefs and Arctic Monkeys not only consolidates the position of "indie", but also elevates this direction to the top of rock music.

Now the whole world celebrates World Rock and Roll Day on April 13th. It was on this day in 1962 that the Beatles performed at the Star Club in Hamburg.

From the history of rock and roll in the USSR.

Rock and roll came to the Soviet Union after the World Festival of Youth and Students in 1957. Joseph Stalin died a year before the birth of rock and roll. At this time, a period of thaw began in the Union, everything began to revive. The first step was to revive the radio, which at that time still worked by wire. And after a long break, light music sounded through these archaic wires. Until then, as a rule, only ensembles of Russian folk instruments, classical music and Georgian chants sounded on the air. Gradually it came to playing tango, foxtrot, rumba on the radio - everything that was previously considered unacceptable. Collectors developed a fascination with foreign boogie-woogie records. They were expensive, it was quite difficult to find them, so they were distributed more and more on homemade records.

When, after 1959, the first long-playing records appeared on sale, including Bill Haley's discs, the musical people could finally see the face of their idol imprinted on the sleeves of long-playing discs.

For the first time "Rock Around the Clock" sounded on St. Petersburg radio in 1957 during the broadcast of a student performance of the LETI Institute called "Spring at LETI". And yet, then, rock and roll could only be missed on the radio in a parody form.

Rock and roll brought a huge impetus to the youth environment of those years, which continues to this day.

Chapter III

Famous people of the sixties.

Speaking about the famous people of the sixties, I mean those musicians playing rock and roll, who not only played their own music, but who contributed to the development of musical culture and to the life of their country. These were the people whom the youth (both modern and of that time) believed and proudly tried to be like them. I would like to talk about Chuck Berry, Mick Jagger and John Lennon.

Chuck Berry.

Chuck Berry is called the "black king" of rock and roll. It is generally accepted that the musician combined black music, blues, with white music, country music, and the result was rock and roll. Here are quotes from the musician himself:
“For God, it doesn’t matter whether you are black or white,” the musician retorted. “But in music, the only thing that matters is whether you know how to play or not. There were good black musicians and there were good white ones. Jazz was played by both black and white. As for rock n-roll, it is much more important that it brought a new drive and sound. It expanded the possibilities for self-expression. Music itself is able to unite people."
With Berry hits like "Rock and roll music", "Roll over Beethoven" and "Johnny B Goode", rock and roll finally took over the world in the 60s. He had a huge influence on the work of "The Beatles" (with lead singer John Lennon) and "The Rolling Stones" (whose front is Mick Jagger).
Chuck Berry began performing in the 50s of the XX century and, to the surprise of his fans, is still cheerful and regularly tours with concerts, although the musician is already 80 years old. "I play the guitar every day and rehearse a lot. I teach my musicians to play. I taught my children to play. I have a lot of concerts."

Thus, based on this information, it can be concluded that Chuck Berry was able to reduce racial tensions with his music by combining the music of blacks and whites.

Mick Jagger

Mick Jagger is a legendary English rock musician, actor, producer, frontman of the Rolling Stones. The man who owns the world-famous phrase "Sex, drugs and rock and roll." The image created by Jagger on stage is unique - his voice, at times rough, at times feminine and soft, thick lips, lustful smile, causing sexuality in behavior in front of a crowd of thousands, aggression, energy, and at the same time, foolishness and antics - all this made Jagger is one of the most popular rock frontmen. The Rolling Stones are a rock band that have continued to perform and record for over 30 years. Phenomenal longevity. Her contribution to world rock cannot be overestimated, the Rolling Stones have long been cult figures. On the wave of resounding success, the musicians had problems - drugs. Almost the whole of 1967 was marked by litigation regarding the offenses of Mick Jagger, Keith Richard, Brian Jones, related to drug use. The sentence was severe enough - three months in prison. However, an appeal was filed in this case, and the sentence was changed to a conditional release.

The merits of Jagger in the musical field were highly appreciated - on the occasion of the 60th anniversary, Queen Elizabeth II knighted Jagger. In an interview, Mick Jagger, comparing 1968 and 1998, said that earlier in the trinity "Sex, drugs and rock and roll" sex was in the first place, and now drugs are in its place. Jagger has now announced that he is quitting drinking, smoking and taking drugs. The reason for this decision was concern about their own health.

Despite worldwide recognition, the personality of the famous rocker evokes not only positive emotions. According to a poll conducted by Blender magazine, Sir Mick Jagger is currently ranked 13th in the list of the 50 worst musicians in the history of modern music.

A musician like Mick Jagger was able to make a huge contribution to the development of rock music. His music remains popular to this day. He also introduced a negative sign of rock music - these are drugs that could well ruin his health and reputation.

John Lennon

The contribution of John Lennon as part of The Beatles, as well as separately from the legendary group, to world culture can hardly be overestimated. Together with McCartney and Harrison, he raised the work of his American colleagues, rock vocalists, to a new artistic level. In the US, only Elvis Presley, Ritchie Valens, and a few other rockabilly stars were really serious about developing and performing vocal parts. The Beatles have always done this - so their covers of American artists sound much more expressive and technical than the same songs in the original. Most of the rock and roll artists of those times sang exclusively "about broken love and upset nerves." The Beatles were among the first to move away from pop topics, turning songs into real poetry and / or posing serious social and even political problems in them.

In addition, the work of The Beatles was distinguished by humanity, festivity, positivity, which Western art has always lacked. Lennon and other musicians from the Liverpool Four were full of sincere love for their listeners - and they felt it. And, probably, including this explains the huge success of The Beatles. John Lennon was a very sincere person and never hid his views. This was his strength, but precisely because of this, he, apparently, he could not live to this day. John Lennon's period of political activity lasted from 1968 to 1972. At this time, Lennon had already taken a very definite position - he advocated world peace, and even returned the Order of the British Empire to the Queen - in protest against the country's foreign policy. In 1969, the first public political actions of Lennon, together with Yoko Ono, belong. On December 15, 1969, the Lennons organized an anti-war concert under the slogan "The war will end if you want it." Immediately after moving overseas, Lennon became involved in the political life of the United States. He advocated for the empowerment of the Indians with civil rights, for the mitigation of prison conditions, for the release of John Sinclair, one of the leaders of American youth, who was sentenced to 10 years in prison for possession of marijuana.

The great musician John Lennon, with his songs and performances, proved to the whole world that people should fight for peace and freedom.

Chapter IV

The influence of rock music on the human body

As you know, not every musical direction has a positive effect on the human body. So let's take a closer look at the influence of rock music. This musical style has its own distinctive features or means of influencing the psyche:

1. Hard rhythm

2. Monotonous repetitions

3. Volume, super frequencies

4. Light effect

Rhythm is one of the strong ways of influencing the human body. The Voodoo cult used a special rhythm that, with a special sequence of musical rhythm and incantations during pagan rituals, could put a person into a state of trance or ecstasy. A well-thought-out system of rhythms controlled the human body and psyche, like a tool in the hands of Voodoo priests. American blacks who adopted these rhythms used them as dance music, gradually moving from blues to heavier rhythms.

The perception of musical rhythm is associated with the functions of the hearing aid. The dominant rhythm first captures the motor center of the brain, and then stimulates some of the hormonal functions of the endocrine system. But the main blow is directed at those parts of the brain that are closely related to the sexual functions of a person. The drumming was used by Bacchantes to drive themselves into a frenzy, and in some tribes, executions were carried out with the help of similar rhythms.

American psychologist and musicologist Janet Podell writes: "The power of rock has always been based on the sexual energy of its rhythms. These feelings in children frightened their parents, who saw rock as a threat to their children and were, of course, right. Rock and roll and you able to make you move, dance so that you forget about everything in the world.

Particular attention should be paid to the influence of frequencies used in rock music, which have a special effect on the brain. The rhythm acquires narcotic properties when combined with ultra-low (15-30 hertz) and ultra-high (80,000 hertz) frequencies.

An excess of both high and low frequencies seriously injures the brain. At rock concerts, sound contusions, sound burns, hearing loss and memory loss are not uncommon.

Our ear is tuned to perceive normal sound at 55-60 decibels. Loud sound will be 70 decibels. But passing all the thresholds of normal perception, a sound of strong intensity causes incredible auditory stress. The sound volume on the site, where walls with powerful speakers are installed, used during rock concerts, reaches 120 dB, and in the middle of the site up to 140-160 dB. (120 dB corresponds to the volume of the roar of a jet plane taking off in the immediate vicinity, and the average values ​​​​for a player with headphones are 80-110 dB.). During such sound stress, the stress hormone adrenaline is released from the kidneys (adrenal glands). This process occurs in every stressful situation. But the impact of the stimulus does not stop and there is an overproduction of adrenaline, which erases part of the information imprinted in the brain. A person simply forgets what happened to him or what he studied, and mentally degrades. Not so long ago, Swiss doctors proved that after a rock concert a person orients himself and reacts to a stimulus 3.5 times worse than usual.

So, the whole technical arsenal of rock is aimed at playing on the human body, on its psyche, like on a musical instrument. Rock music turned out to be able to completely change the individual characteristics of a person. It simultaneously affects the motor center, emotional, intellectual and sexual spheres of human activity.

What are the consequences of the impact of rock music on the behavior of the listener?

As noted above, each sound or work has its own "auditory path" and the reaction in changing human behavior depends on this. If nerve cells associated with negative emotions are involved, then this is immediately reflected in behavior.

The following are the possible effects of rock music on the human brain:

1. Aggressiveness.

2. Fury.

4. Depression.

5. Fears.

6. Forced actions.

7. A state of trance of various depths.

8. Suicidal tendencies. In adolescents, this tendency begins to manifest itself from the age of 11-12, but when listening to rock music, this feature of the teenage psyche is provoked or greatly intensified at an older age).

9. Unnatural, forced sex.

10. Inability to make clear decisions.

11. Involuntary muscle movement.

12. Musical mania (the desire to constantly sound rock music).

13. Development of mystical inclinations.

14. Social alienation.

This, of course, does not mean at all that a person who passionately loves rock necessarily possesses all these qualities, he just has a much greater predisposition to them, and with an appropriate combination of other factors, he will certainly be subject to this influence. By the way, rock music can also change religious ideas and values ​​(especially in childhood, when they are not yet fully formed), as well as stimulate in a person the desire for self-actualization, self-realization, individualism and exclusion in society.

All this can be considered, of course, as one of the negative aspects of this musical culture. The rest of the negative effects of rock music on personality I would like to consider in the next chapter.

Chapter V .

The negative impact of rock and roll on personality

In today's society, rock music has grown into a worldwide movement with hundreds of millions of followers. For many young people, rock music has become a lifestyle that encourages debauchery, drug use, rampage and nihilism. No matter how a person basically relates to rock music, he cannot deny the fact of the dominant influence of such music on the worldview and actions of young people.

Evidence shows that rock music stimulates sexual promiscuity. According to the US News and World Report of March 19, 1990, "There are currently 13 rock bands named after male genital organs, 6 after female genital organs, 8 are associated with abortion, one is uterine disease, 10 groups are named after different sexual acts, and 8 include swear words in their name.” Modern rock music is saturated with elements of extramarital copulation, adultery, sadism and masochism, homosexuality, rape and necrophilia.

The destructive mood of rock compositions can be directed against the listener of music. Some rock composers preach suicide - sometimes in hints, sometimes directly. So, for example, the composer Ozzy Osbourne in the song "Suicide Solution" says: "Suicide is the only way to liberation."

In addition to sex and violence, rock music promotes drug abuse. Back in 1969, the Times magazine (September 26). commented that "rock composers use drugs often and openly, their works are saturated with allusions to drugs."

Many of the most successful rock stars were involved not only in the occult, but also in Satanism. Trying to describe his own "inspired" processes, John Lennon explained: "This state is like a possession, like a psychosis or a psychic state." Little Richard experienced similar states and pointed to Satan as his inspiration: “I was led and ordered by another force. he named the spirits that at times took possession of, and in their honour, he composed poetic compositions.
All the poems of Jim Morrison, all his work is connected with the drugs that killed him.

I have listed all the negative aspects of this musical culture, which are the most dangerous in my opinion. But since this music and its performers have been popular for half a century, it also has a number of positive aspects.

Chapter VI .

The good side of rock music

Rock and roll is not just a musical direction, it is a youth culture, a means of communication for young people, a mirror of society. It was originally created as a way of youth self-expression, rebellion and protest, denial and revision of the moral and material values ​​of the world.

We see that throughout its history, rock and roll shows the insoluble eternal dilemma of fathers and children. As a means of self-expression of the younger generation, rock and roll in the eyes of the older generation looks only like children's entertainment, sometimes dangerous and harmful. Although rock has existed for a long time, the modern adult generation has grown up on it, but still it faces the same problems today as at the beginning of its path: misunderstanding and rejection. This circumstance well shows the spiral nature of development: no matter how we develop, we go through stages that have already remained in history.

Of course, the development of rock and roll is closely related to technical, economic, political and social development. It is technical development that gives impetus to the development of rock. The development of technology has also led to the fact that now almost every family has a radio and tape recorder, which increases the influence of music on society. Economic development raises the level of development of citizens, and therefore raises their education and they have more free time to devote to music, it also improves working conditions and the provision of jobs for musicians.

In rock and roll, all the laws of philosophy are manifested. In the fact that this is a protest of the youth and the appearance of new music, by negating the old, the law of negation is manifested, showing the development of rock music. In the emergence of a new style by merging other styles - the law of reflection, which underlies the development of consciousness. In the inconsistency of rock (opposition between pop rock and heavy music), the law of unity and struggle of opposites is manifested.

Rock 'n' roll proved to be the very medium that united black and white teenagers, which destroyed racial and social prejudice. Two black youth idols of the 50s - Little Richard and Chuck Berry - expressed their refusal to obey the racist movement with every stage gesture, with every sound of their songs.

By the beginning of the 1960s, another generation had come of age. The parents of these children actively fought for peace, tranquility and abundance, hoping that their descendants would not only appreciate their efforts, but also expand the horizons of this new world. However, the parents brought with them the fear of nuclear war and the sin of racial hatred, and the ideals of equality and justice were simply trampled in the pursuit of stability and success. Not surprisingly, children questioned the moral and political foundations of the post-war world; these new moods were reflected in their musical tastes.

But over time, the popularity of rock and roll began to fade, giving way to new genres, which have already been mentioned above. More and more branches began to appear. With the gradual democratization of society, new youth movements began to appear. Each movement gave birth to a new musical style. Gradually, the variety overshadowed the original genre. And in our time, it is believed that rock and roll has ceased to be a mass genre and, in general, has ceased to exist. But even now among music lovers there are those who remain faithful to the genre. This eternal struggle has not stopped even today - after all, rock and roll is essentially the music of growing up. Rock 'n' roll always knows how to surprise its fans, at least for a moment. And at the same time, it always remains a mystery to people in business suits, driving around in limousines, looking at the world from the height of skyscrapers, for whom stability and predictability are most important. In five tumultuous decades on the American scene, rock 'n' roll has gone through some phenomenal highs and lows and has given birth to many great musicians.

Conclusion

Music is one of the most inspired art forms. his rhythm, melody, harmony, dynamics, variety of sound combinations, colors and nuances, the music conveys an endless range of feelings and moods. Its strength lies in the fact that, bypassing the mind, it directly penetrates the soul, the subconscious and creates the mood of a person. According to its content, music can evoke the most sublime and noble feelings in a person, and vice versa, the darkest and dirtiest desires. It all depends on the music, what it is.
Modern composers of rock music agree that their works have great power. Their music guides the lives of people they don't know at all. Mick Jagger's famous phrase "Sex, drugs, rock and roll" speaks for itself. This is what makes you condemn the rock and roll lifestyle. The imposition of promiscuity is, indeed, a huge minus. After all, when rock musicians sing about freedom and fight for it, do they perceive it as permissiveness? Is promiscuous sex and drugs the peace of the world?

This problem remains relevant in our time. A person can follow a certain musical culture, but must always be responsible for their actions. We can love Jim Morrison (the lead singer of The Doors), but you don't have to become like him to do it - you don't have to use hard drugs and die. It is enough just to hear his voice in his songs and regret that he left us so early.

In its early days, rock 'n' roll was universally condemned as undermining the moral foundations of youth, but it seems that this is why it has gained unfading popularity, despite some periods of stagnation, decline and senseless self-defeat. Protest is the key word.

Each musical culture has its pros and cons, its pros and cons, its fans and opponents. Following any musical culture, it is necessary to extract only the best from it.

List of sources and literature

· R. Neckland "Music Keys to the Cosmos". Sunday Times Abroad 1995 #46.

G.S. Knabbe "The Phenomenon of Rock and Counter-Culture" Questions of Philosophy 1990, no. 8.

· YES. Leontiev, Yu.A. Volkov "Rock music: social functions and psychological mechanisms of perception". Problems of information culture vol. 4, 1997

concept culture passed a difficult path of historical development. Philosophers and culturologists count up to two hundred definitions.

In the theory of culture, its spiritual and material layers are distinguished, the concepts personality culture and the culture of society. In this regard, the statement of the famous German thinker and musicologist of the 19th-20th centuries is interesting. A. Schweitzer: "Culture is the result of all the achievements of individuals and of all mankind in all areas and in all aspects, to the extent that these achievements contribute to the spiritual improvement of the individual and general progress."

Artistic culture is considered in modern aesthetics as an independent, specific layer of general culture. It covers a certain part of the material and spiritual culture of society.

Direct participation in artistic activity, the perception of works of art develops a person spiritually, enriches his feelings, intellect.

The activities of people in the field of culture include the creation of artistic values, their storage and distribution, critical reflection and scientific study, art education and upbringing.

Certain areas of artistic culture can be distinguished, corresponding to the types of art, and among them musical culture. This concept includes various types of musical activity and their result - musical works, their perception, performance, as well as the musical and aesthetic consciousness of people that has developed in the process of this activity (interests, needs, attitudes, emotions, experiences, feelings, aesthetic assessments, tastes, ideals). , views, theories). In addition, the structure of musical culture includes the activities of various institutions related to the storage and distribution of musical works, musical education and upbringing, and musicological research.

Let us dwell on the characteristics of the concept of musical culture of preschool children and analyze its structure.

The musical culture of children can be considered as a specific subculture of a certain social group (children of preschool age). Two components can be distinguished in it: 1) the individual musical culture of the child, including his musical and aesthetic consciousness, musical knowledge, skills and abilities that have developed as a result of practical musical activity; 2) the musical culture of preschoolers, which includes works of folk and professional musical art used in working with children, the musical and aesthetic consciousness of children and various institutions that regulate the musical activity of children and satisfy the needs of their musical education.

The volume of the musical culture of society corresponding to preschool age is adopted by the child in the family, kindergarten, through the media, musical and cultural institutions.

The influence of the family on the formation of the beginnings of the child's musical culture is determined by its traditions, the attitude of family members to musical art, the general culture, and even gene pools. The role of the kindergarten is manifested through the personal and professional qualities of the teacher-musician, his talent and skill, the general cultural level of educators and the entire teaching staff, through the conditions they created.

Public institutions (mass media, creative musical unions, musical and cultural institutions, etc.) organize various musical activities for children, the creation, reproduction and storage of musical works, and scientific research.

Based on the provisions of psychology on the role of activity in personality development, several components can be distinguished in the structure of a child's musical culture (Scheme 1).

The elements of musical and aesthetic consciousness, manifested in preschool age, are still indicative in nature and do not correspond in content to completely analogous elements of consciousness, just as ideals, views, theories are inaccessible to preschool children.

Musical and aesthetic consciousness at different stages of a child's life manifests itself and develops unevenly. Its components are closely interconnected by external and internal connections and form a single system.

The basis of the individual musical culture of the child can be considered his musical and aesthetic consciousness, which is formed in the process of musical activity.

MUSICAL CULTURE OF THE CHILD

MUSIC ACTIVITIES

Music perception

Performing Creativity activities

Knowledge, skills and abilities