Musical culture of society and schoolchildren. Musical culture of society Music as an expression of the essential forces of a person and as a dominant element of musical culture

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The concept of "culture" does not have an unambiguous interpretation. In the broadest sense, culture is understood as what is created by people in the process of activity. Allocate the material, spiritual and artistic areas of culture (some researchers attribute the latter to the area of ​​​​spiritual culture).

In the wealth of culture accumulated by mankind, experience is transmitted that each subsequent generation must "master and assimilate, thus connecting to the level achieved by the development of society."

The level of a person’s mastery of the experience of cultural heritage is determined by his natural inclinations, upbringing and education, therefore many modern pedagogical concepts are based on the formation of a personality through culture - the upbringing of a person who is able to appreciate, creatively assimilate, preserve and increase the values ​​of native and world culture.

Musical culture is part of artistic culture. The formation of individual musical culture, and through it - the impact on the formation of the personality as a whole is the core of the pedagogical concept of D.V. Kabalevsky.

Teachers Yu.B. Aliev, D.B. Kabalevsky, O.P. Rigan - tried to reveal the content of the concept of "musical culture". Schoolboy - diagnosed the presence of musical culture in young children and described in detail the results of her experimental work.

A study of the literature showed that there is no unequivocal opinion on the definition of the concept of musical culture. Each teacher has his own subjective point of view.

Dm. Kabalevsky identifies musical culture with musical literacy. In his writings, he says: “Musical culture is the ability to perceive music as a living, figurative art, born of life and continuously connected with life, this is a special “sense of music” that makes you perceive it emotionally, distinguishing good from bad in it, this is the ability to listen determine the nature of music and feel the inner connection between the nature of music and the nature of its performance, this is the ability to identify by ear the author of unfamiliar music, if it is characteristic of this author, his works with which students are already familiar. The introduction of students into this delicate sphere of musical culture requires caution, consistency and great precision in the choice of composers and their works. According to D.B. Kabalevsky, listening to music is based on an emotional, active perception of music. However, this concept is not limited to any of the “activities of students”. Active perception of music is the basis of musical education in general, all its links. Music can fulfill its aesthetic, cognitive and educational role only when children learn to truly hear and think about it. "He who can't hear music will never learn to play it really well."

A real, felt and thoughtful perception is one of the most active forms of familiarization with music, because this activates the inner, spiritual world of students, their feelings and thoughts. Outside of hearing, music as an art does not exist at all. Consequently, musical art, which does not carry the feelings and thoughts of a person, life ideas and images, does not affect the spiritual world of a child. D.B. Kabalevsky points out that the ability to hear music must begin to be educated from the very beginning of school. This is facilitated by the instillation of rules of conduct that contribute to the reign in the classroom of an atmosphere close to the atmosphere of a concert hall and the emergence of the skill of attentive listening. A well-known teacher, professor, doctor of pedagogical sciences, member of the Academy of Pedagogical and Social Sciences Yu.B. Aliyev.

The nuances of education:

The concept of the learning process, its goals and functions
Learning is understood as an active, purposeful cognitive activity of a student under the guidance of a teacher, as a result of which the student acquires a system of scientific knowledge, skills and abilities, ...

Raising boys is not a woman's job
This was considered in ancient Sparta, and therefore the sons were separated early from their mother, transferring them to the care of male educators. This was also considered in old Russia. In noble families from birth for a baby ...

“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,” thinker and musicologist A. Shveytsar

culture

Society culture activities Personal culture norms laws rules

Art culture -

Artistic culture is considered as the most specific layer of general culture; it covers a certain part of the material and spiritual culture of society. The values ​​of artistic culture, or artistic values ​​are works of art

Artistic culture artistic artistic culture culture of the society of the individual artistic activity

Through what can one see artistic culture?

1. Masterpieces: uniqueness, durability, communication
2. Public consciousness (aesthetic consciousness)
3. The main indicator of personality culture:
4. Aesthetic consciousness of personality: intellect, feelings, spirituality

musical culture

• musical culture types of musical musical culture
• individual activity society
• Music. Musical and aesthetic consciousness
• society (tastes) consciousness of the individual
• Music.works
• (meet the requirements
• masterpiece)
• social institutions and
• institutions associated with
• storage, execution, etc.

The musical and aesthetic consciousness of the individual is an internal ideal plan of musical activity, which forms the second, repeating the content of musical activity, but differing in form, component of the musical culture of the individual.

Based on the provisions of psychology on the role of activity in personality development, several components are distinguished in the structure of the child's musical culture.

Musical culture of the child Musical activity Perception Performing Creativity Musical and music educational activities Knowledge, skills Experience Performing: Creative: General perception singing, rhythm, perception, knowledge playing musical instruments expressive about music, performance, etc. cultural skills

Musical and aesthetic consciousness Aesthetic Aesthetic emotions Aesthetic need, experiences, evaluation, taste, attitude, feelings interest in music

With the help of musical-aesthetic consciousness (aesthetic attitude to the world) there is a comprehension of musical works, one's own impressions of them. Developing in musical activity, it helps a person to perceive the content of a musical work and determine its meaning for himself.

The structure of musical and aesthetic consciousness:

• Aesthetic installations
• aesthetic needs
• Aesthetic interests
• Aesthetic emotions
• Aesthetic experiences
• Aesthetic feelings
• Aesthetic evaluations
• aesthetic tastes
• Aesthetic ideals
• Aesthetic theories

Only for adults

The initial forms of musical and aesthetic consciousness are revealed quite early.

• Up to 3 years: musical emotions are formed, the need for music, the simplest judgments appear
• From the age of 4: interest in music, in certain types of musical activities
• From the age of 6: the ability to motivate evaluation, the beginning of musical taste

The quality of musical and aesthetic consciousness is determined by:

• The level of development of the musicality of the individual
• Musical erudition
• Knowledge of elementary means of expression and the ability to recognize and integrate them

The main means by which musical and aesthetic consciousness and musical culture as a whole are formed is music itself.

Only music can cause (or not cause) the child's emotional reactions, which are the basis of musical and aesthetic consciousness.

It is important that the content of music (feelings, emotions) be accessible to children, evoke an emotional response.

Conditions for educating the aesthetic attitude of children to music:

• Problem situations - the acquisition of musical experience, mastering it creatively, independently
• The development of special artistic abilities, as well as appreciation, taste as indicators of the level of musical and aesthetic consciousness of children

Culture Philosophical Encyclopedic Dictionary, ed. S.S. Averintseva, M.: Soviet Encyclopedia - 1989 - p.293. a specific way of organizing and developing human life activity, represented in the products of material and spiritual labor, in the system of social norms and institutions, in spiritual values, in the totality of people's relations to nature, to each other and to themselves. The concept of "Culture" fixes both the general difference between human life activity and biological forms of life, as well as the qualitative originality of the historically specific forms of this life activity at various stages of social development within certain eras, socio-economic formations, ethnic and national communities. Culture also characterizes the features of consciousness, behavior and activities of people in specific areas of public life. In culture, the way of life of an individual (personal culture), a social group (for example, class culture) or the whole society as a whole can be fixed.

Culture Dictionary of Aesthetics, ed. Belyaeva A. A., Politizdat, M.: 1989, p.167

a historically determined stage in the development of society and man, expressed in the results of the material and spiritual activities of people, in the "second nature" they create. The concept of k. characterizes both the level of development of certain historical epochs, socio-historical formations, specific societies, nations and nationalities, and the degree of improvement of various spheres of human life. In the broadest sense, the term “K.” covers everything that determines the specifics of human existence in the world, in a narrower sense, it refers only to the sphere of the spiritual life of people.

Personality Philosophical Dictionary, ed. I.T.Frolova, M.: political literature - 1987, p.238

the human individual in the aspect of his social qualities, formed in the process of historical specific activities and social relations

Masterpiece Dictionary of Aesthetics, ed. Belyaeva A. A., Politizdat, M.: 1989, p. 399

The perfect work of art, achieved when

M. I. Naydorf

TO THE STUDY OF THE CONCEPT "MUSICAL CULTURE".

EXPERIENCE OF STRUCTURAL TYPOLOGY

(The article was published in the collection:Musical art and culture. Scientific Bulletin of the Odessa State Conservatory named after A.V. Nezhdanova.- Vip. !. - Odessa: Astroprintnt, 2000. - S. 46-51.The numbers in square brackets indicate the end of the corresponding page in the book. PDF articles - in the appendix at the bottom of the page.

The concept of "musical culture" has recently become more and more common, less metaphorical and more operational. Usually, he is referred towhen the research or journalistic thought, having satisfied the subjectnym study of the musical text, refers to its real historical fate. Target,for the sake of which a musical text is created, namely, the generation of socially significantmeanings, is achieved in the process of manifestation of this text in the public environment. Onlyhere the text acquires the historical reality of its existence.

It is known, however, that for the manifestation of a musical text, the socialthe environment must be technologically prepared, for example, by creating appropriatevenues, training of performers, qualification of listeners, production of mulanguage instruments, the availability of special and popular publications, etc.So, in fact, any sounding musical text is included in the publicbeing through very complexly organized communication about and for the sake of creation,voicing, perception of texts similar to it, provoking, in the course of this activity, a meaning generation specific in its musical genesis. In other words,the music is real, i.e. meaningful, will be created and exist only a special number of communities(groups, communities), membership in which implies a certain qualification(skill) and interaction rules.

The communities in question show themselves not only as more or less limited in their membership, but also as productive, meaning-generating communities. And although, at first glance, the meanings born in the process of social manifestationlanguages, individual and completely arbitrary, in fact, a collective characterprocedures of musical manifestation actually multiplies (strengthens, makes sociallysignificant) some meanings and blocks others within the limits of private experience. And in thisparagraph reveals the basis of public interest in these included in itunformalized (and therefore unnamed) musical communities as generators of constantly reproduced socially significant meanings.

Research interest in musically organized communities is dictated bypractical purposes, which can be described by two groups of questions. First ofthem consists of questions related to the structure of musical works, more precisely, to the topicstypical structures that make musical texts adequate to the conditions of their functionpositioning in the corresponding musically organized community. Second groupquestions is addressed to the very disorganized musically organized communities from the point of view of the meanings that are generated through the functioning in them.musical works. Ultimately, both groups of questions can always becretized by the question of the meaning generated by the social functioning of givenof a musical work - in the conditions of its time and in a historical perspective.

From the point of view of this problem (music and the meanings generated by it),of informal musically organized communities acquire the character of semiotics, and the description (comprehension) of these communities as special social phenomenafocuses on their cultural characteristics. This is where the term comes up. "musical culture" in its well-defined meaning: a qualitative characteristic tics of musical communities as that specific social environment that fuss kaet about the social existence of musical texts.

The concept of "culture" (its scope is wider than the scope of the concept of "musical culture") fixes the integral characteristic of any self-organized community, taking moreover, from the content of the main information consolidating it . Otherwise, we can say that culture is the informational characteristic of society. Under informationhere it should be understood not as a "quantitative measure of the elimination of uncertainty", as it isaccepted in cybernetics, and the totality of the means at the disposal of one or anotherth community, and directed by it to self-organization, to eliminate their own chaoticness, to establish an internal order specific to a given society. Byit is clear that the originality of these means directly affects the originality of organizationsociety. That is why culture, when viewed from the outside, is perceived as the front sidesociety, its appearance, its individual characteristics.

But information is a process. In social systems - continuously flowingthe process of resisting chaos. Its meaning is to constantly reproduce those ideas, relationships and meanings that are recognized as fundamentalin this community. Hence the need for constant reproductionthe same type of information. AT XX century, it became obvious that myths can be of the same type,fairy tales, novels, paintings, architectural forms, symphonies, scientific theories, etc., including TV news, incl. and weather news.

Musical culture is part of the general system of information support for generalproperty, one of the means of ordering public life. The specifics of the musical cultours in that the main means of ordering the reproduction in it of representations, relations,the meanings recognized as essential for a given community are relationships about 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 mediates the relationship of all twenty-two players on the football field, all the spectators of this match and, plus, all those 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 - 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 structuring 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 the individual has 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 clearly formed author's position "composer", while in musical cultures with variable musical texts, authorship is not revealed, but the performing function. As a first approximation, one could say that complete 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 domestic, 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, performer's or listener's specialization ("Folklore type of musical culture").

Thus, the simplest analysis of the formal structure of musical communication in society allows us to distinguish four types of building communicative relations - from the syncretic fusion of all three functions (in folklore, close to archaic prototypes) to their distinct specialization (in musical communities that cultivate classical concert music). performance). It should be remembered that, as we have established above, each of these variants of the socio-musical structure is "built" in such a way as to generate meanings in society that have an organizing (self-organizing) influence in it.

So, musically organized communities exist for the sake of and for the functioning of musical texts in them and for the sake of the meanings generated by the process of this functioning. . And these communities exist only insofar as the musical text mediates these relationships. An uninformed person has the right to buy a ticket to a classical music concert, to a jazz festival or to a rock show, but the mere presence in the hall will not make this person a member of the corresponding musical community until the process of manifesting music is meaningful to him. But in exactly the same way, the generation of meaning will be violated if, for some reason, the musical text turns out to be transferred to a musically organized community alien to it or, what is the same, to a community with an alien musical culture.

The text generated in the musical structure of folklore, when it is "brought" to the concert stage, is subject to inevitable distortions, adapting it to the requirements of a different musical culture ("concert type"). Of course, the modifications will be different, depending on the method of "introduction". If, say, an opera singer performs a "folk song" in a philharmonic concert, then the text is transformed in the direction of a distinct structural and intonational design, approaching a romance in an emotional and semantic sense. If the same fragment of folklore is presented on stage by its amateur performers, who have taken the text from its natural carriers, then distortions are inevitable here, for example, the perception of the fragment as an independent integral unit of the text. And the deployment of the performance to the viewer masks a peculiarity naturally inherent in folklore - its subordination to internal "circular" communication and, accordingly, its focus on the "universal" meaning.

The romance, born to function in the musical culture of "home music-making", being folklorized, undergoes intonational leveling and formal loosening, and in a concert situation begins to gravitate towards theatricalization or hyperbolization, bringing it closer to the type of aria (this is clearly seen in composers who sought to "bring out" the genre romance on the stage, for example, Mussorgsky, Tchaikovsky, Rachmaninoff).

The most receptive is the type of "improvisational musical culture", which is able to use not only its own, but also borrowed patterns. Prelude by Chopin, theme of Piano Concerto by P.I. Tchaikovsky. "Hey, let's go" Alyabyev's "Nightingale" - musical texts from different musical and cultural types - turned out to be just as suitable to serve as themes for jazz improvisations, as, say, Duke Elington's "native" jazz "Caravan". But precisely and only by themes and by virtue and for the time of its popularity. The sources of topics lose their own formal structure.

The transfer of texts to a different cultural musical environment, therefore, should be interpreted as quoting, but not of the transferred text itself, but of the culture that the quoted text represents. For example, the immediate meaning of Tchaikovsky's citation of the folk melody "In the field a birch stood" in the finale of the Fourth Symphony was to compare two types of musical culture, represented by the dance and the symphony, "folklore" and "concert". The introduction of the romance into the operatic and symphonic score also creates a situation of juxtaposition of two types of musical culture. Exactly the same citation is "humming for oneself" (folklorization) of melodies from the concert repertoire.

The conflict that arises every time when quoting musical texts in a musical environment of a different culture gives a clear idea of ​​the significant degree of correspondence that exists between the structure of musical cultures and the structure of musical texts generated in their environment. The task of further research is to show why and how the process of functioning of the text in "its own" musical culture turns out to be at the same time the process of meaning generation.

©M. I. Najdorf, 2000

Obviously, the concept of "musical culture" is included in the mainstream of more general concepts: "culture", "artistic culture" and "artistic culture of the individual".

The modern concept of "artistic culture" includes "a set of processes and phenomena of spiritual and practical activities for the creation, distribution, development of works of art or material objects of aesthetic value." [Artistic culture: the concept of the term. / Ed. L N. Dorogovoy. - M., 1978 - p. 67].

Thus, artistic culture is a set of artistic values, as well as a certain system of their reproduction and functioning in society. Note that the concept of "art" is sometimes used as a synonym for artistic culture.

Since these definitions have become synonymous, basic for dozens of others and their derivatives, it must be pointed out that the key feature of this approach is the identification of two facets of artistic culture, namely, the artistic culture of society, and through this prism, the artistic culture of the individual.

The concept of "artistic culture of the individual" can be singled out on the basis that the definitions of artistic culture often emphasize such aspects of it as "the ability to understand art and enjoy it" Rapatskaya L.A. Formation of artistic culture of a music teacher. - M., 1991 - p. 41.; active creative activity of people; the process of creation, perception and assimilation of artistic values. This is what gives scientists reason to separate the concepts of "artistic culture" and "artistic culture of the individual."

The initial impetus for such a division was the statement about the transformation of the personality itself under the influence of art. Defining culture as a kind of spiritual equipment of a person, scientists mean by it a kind of “projection” of images onto the perceiver, previously mastered knowledge, calling it individual culture.

Obviously, this point of view cannot be fully shared, since it reflects only one of the many aspects of the concept of "individual culture". The culture of personality is not a “warehouse” of ready-made ideas, but a real tool for understanding and transforming the world and the personality itself. Despite the obvious one-sidedness, the very idea of ​​transforming the personality itself seemed to us very fruitful and worthy of further consideration.

Yu.B. Alieva, Ts.G. Arzakanyan, S.B. Bayramova, G.M. Breslava, A.V. Gordeev, L.V. Goryunov, L.N. Dorogov, Yu.A. Lukina, L.P. Pechko, A.V. Piradova, L.A. Rapatskaya, V.B. Churbanova and a number of others. With all the differences in the research directions of the above authors, they have one thing in common - an analysis of the functional changes that occur in a person under the influence of the artistic (aesthetic, spiritual).

An integral part of aesthetic education is musical education as a determining factor in the formation of a person's musical culture. In pedagogy, musical education and upbringing are interpreted as a process of organized assimilation of the basic elements of social experience, turned into various forms of musical culture. In the study of G.V. Shostak understands musical culture as a complex integrative education, which includes the ability to navigate in various musical genres, styles and trends, knowledge of a musical-theoretical and aesthetic nature, high musical taste, the ability to emotionally respond to the content of certain musical works, as well as creative performing skills - singing, playing musical instruments, etc.

According to the activity approach to culture M.S. Kagana, culture, is a projection of human activity (the subject of which can be an individual, group or clan) and includes three modes: the culture of mankind, the culture of a social group, and the culture of an individual. The musical culture of a person can be considered as a specific subculture of a certain social group. It has two components:

• individual musical culture, including musical and aesthetic consciousness, musical knowledge, skills and abilities that have developed as a result of practical musical activity;
• · the musical culture of a certain social age group, which includes works of folk and professional musical art used in working with children and various institutions that regulate the musical activities of children.

The concept of an age musical subculture can be represented as an original set of musical values ​​followed by representatives of a given age group. Researchers point to its components such as: internal acceptance or rejection of certain genres and types of musical art; orientation of musical interests and tastes; children's musical and literary folklore, etc.

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 and aesthetic consciousness is a component of musical culture, which is a musical activity carried out in an internal ideal plane.

Some aspects of aesthetic consciousness were studied in the pedagogical and psychological aspects by S.N. Belyaeva-Instance, N.A. Vetlugina, I.L. others

Elements of musical and aesthetic consciousness identified by O.P. Radynova:

• The need for music is the starting point for the formation of a child's aesthetic attitude to music; arises early along with the need to communicate with an adult in a musical environment saturated with positive emotions; develops with the acquisition of musical experience and by the age of 6 a steady interest in music can form;
• aesthetic emotions, experiences - the basis of aesthetic perception; unites the emotional and intellectual attitude to music. Teplov wrote: “In order to understand a piece of music, it is important to experience it emotionally and reflect on it on this basis.” Developed aesthetic emotions are an indicator of the development of individual musical culture;
• musical taste - the ability to enjoy artistically valuable music; is not inborn, is formed in musical activity;
• · Evaluation of music - a conscious attitude to their musical needs, experiences, attitudes, taste, reasoning.

Lyudmila Valentinovna Shkolyar, speaking of musical culture as part of the entire spiritual culture, emphasizes that the formation of a child, a schoolchild as a creator, as an artist (and this is the development of spiritual culture) is impossible without the development of fundamental abilities - the art of hearing, the art of seeing, the art of feeling, the art of thinking. The development of a human personality is generally impossible outside the harmony of his "individual cosmos" - I see, I hear, I feel, I think, I act.

The structure of the concept of "musical culture" is very diverse, it can distinguish many components, parameters of musical development: the level of singing development, the skills of perceiving modern music, the level of creative activity, etc. But the development, advancement of children in different aspects of comprehension of music still does not constitute a musical culture in total. The components should be generalized, meaningfully express the most essential in it, become general in relation to the particular. Such a basis can and should be those new formations in the spiritual world of the child that develop due to the refraction in his thoughts and feelings of the moral and aesthetic content of music and which make it possible to find out how the musical culture of the individual is connected with the entire vast material and spiritual culture of mankind. Yu.B. Aliyev believes that the main criteria in determining the development of the musical culture of schoolchildren include:

• The level of development of artistic preferences;
• participation of schoolchildren in any field of artistic creativity;
• · Awareness in the field of artistic culture of the society.

Similar components are distinguished by L.V. Schoolboy:

• the musical experience of students;
• musical literacy;
• musical and creative development of schoolchildren.

Availability criteria musical experience may perform:

• level of general awareness of music;
• the presence of interest, certain predilections and preferences;
• · the motivation of the child's appeal to this or that music - what the child is looking for in it, what he expects from it.

The methodology aimed at identifying spiritual formations has three options: 1) encounters with music in the classroom; 2) music for home music library; 3) music for friends. It is proposed to draw up a program for the final lessons of the quarter, to choose records to listen to at home with the family, a party program for friends.

Additionally, you can have a conversation:

• 1. How do you feel about music?
• 2. What is music for in life?
• 3. What pieces of music do you know, which ones are your favorite?
• 4. What do you sing in class, what songs do you know?
• 5. Where do you listen to music (TV, radio, concerts)?
• 6. Do you meet with music at school, except for the lesson? Where?
• 7. Do you like to sing at home? What will you eat?
• 8. Do your parents sing at home, at a party? What are they singing?
• 9. What music did you last listen to with your parents? Where?
• 10. What music programs have you liked lately? Why?

Also, a questionnaire for parents and the identification of certain skills in musical performance are possible.

Questionnaire for parents:

• 1. What, in your opinion, should a child be to be considered cultural in the field of music?
• 2. What is necessary for your child to achieve a certain level of musical culture?
• 3. How do you see the family helping to solve this problem?

The second component is musical literacy understood as:

• 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;
• The ability to identify the author of unfamiliar music by ear, if it is characteristic of this author.

Several methods are used to identify musical literacy “Musical and life associations”, “Choose music” (definition of music related in content); "Discover yourself through music."

The method of "Musical and Life Associations" involves answering questions about some unfamiliar work:

• 1. What memories did this music evoke in you, what events in your life could it be associated with?
• 2. Where in life could this music sound and how could it affect people?
• 3. What in music allowed you to come to such conclusions (meaning what the music tells about and how it tells, what are its expressive means in each individual work)?

Method "Open yourself through music." Children are offered a piece of music and three tasks are associated with it:

• · children are put in the position of “the interlocutor of music”: it tells them something and they must then tell about their feelings, about what was born in them during the dialogue;
• The 2nd task involves the disclosure by the child of the musical content in plastic, in motion;
• · the third task is connected with the embodiment of “oneself” in the drawing, self-assessment, and music acts here as a source, a meaningful occasion.

Creativity (creativity) is considered as a special quality of personality, characterized by the ability to self-development. In the broad sense of the word, this is a conscious purposeful activity of a person in the field of cognition and transformation of reality. In music, creativity is distinguished by a pronounced personal content and manifests itself as a special ability to reproduce, interpret, and experience music. The parameters for assessing children's possession of creative skills and abilities are:

• emotionality;
• The degree of awareness of the intention;
• · ingenuity, originality, individuality in the choice of means of embodiment;
• Artistic embodiment of the idea;
• Engaging existing musical experience.

The level of musical and creative development is checked, first of all, by observing children in the process of their communication with music (what role the child chooses: composer, performer, listener).

Another technique, “I compose music”, is carried out individually and helps to identify the degree of development of figurative representations, fantasy, imagination, thinking within the framework of artistic tasks, figurative hearing, vision, etc. The initial creative task is given, the situation: “Spring voices”, “Summer day”, “Sounds of a big city”, etc. After choosing a situation, the student, together with the teacher, reflects on the logic and originality of the development of the figurative content of the future work of art. You can embody your idea on the piano, other instruments, voice, plastique.

The third technique is "Child and Music". Music is a living being. The student is invited to draw it the way he feels, understands the music when he performs or listens. Don't forget to draw yourself in this drawing.

The block of objects of the aesthetic cycle in elementary school is aimed at studying the basic laws of the relationship between a person and the world around him, comprehending the semantic meanings of the process of reflection by a person of the world around him in artistic and symbolic forms, is designed to help the child master the world around him, being, space, society, developing value orientations through expanding the possibilities of self-expression. This stage is aimed at the purposeful preparation of students for the conscious perception of cultural information in the future.

The main skills and abilities for this stage are the following:

• Understanding the language of art as a means of communication between people;
• decoding and transmission of information through the available means of expression of various types of art (in particular, music);
• · translation of information contained in the artistic image in the work of one type of art into expression through another type of art;
• · aesthetic perception of the phenomenon of the surrounding world and the transfer of one's perception of the world through an artistic image.

A feature of constructing the content of medium-level aesthetic objects should be a parallel study of the historical development of world and national artistic culture, which will contribute to understanding the role and place of national culture in the global context. Such a construction of the taught material, ensuring the unity of theoretical and practical training of students, corresponds not only to the psychological characteristics of the processes of perception in children of this age, but also corresponds to the specifics of humanitarian knowledge.

The skills and abilities that students should demonstrate as a result of studying it can be reduced to something like the following:

ü consciously perceive and characterize the artistic image in the works of the studied art form;

- characterize the means of expression, genre criteria, style features of specific musical works;

l understand and identify the links between the creation of a particular work of art and the culture of the respective society;

to understand and use in their work the means of expression characteristic of folk musical culture.

1.2 Personal musical culture as a component of the concept of "artistic culture"

Obviously, the concept of "musical culture" is included in the mainstream of more general concepts: "culture", "artistic culture" and "artistic culture of the individual".

The modern concept of "artistic culture" includes "a set of processes and phenomena of spiritual and practical activities for the creation, distribution, development of works of art or material objects of aesthetic value."

Thus, artistic culture is a set of artistic values, as well as a certain system of their reproduction and functioning in society. Note that the concept of "art" is sometimes used as a synonym for artistic culture.

Since these definitions have become synonymous, basic for dozens of others and their derivatives, it must be pointed out that the key feature of this approach is the identification of two facets of artistic culture, namely, the artistic culture of society, and through this prism, the artistic culture of the individual.

The concept of "artistic culture of the individual" can be singled out on the basis that the definitions of artistic culture often emphasize such aspects of it as "the ability to understand art and enjoy it"; active creative activity of people; the process of creation, perception and assimilation of artistic values. This is what gives scientists reason to separate the concepts of "artistic culture" and "artistic culture of the individual."

The initial impetus for such a division was the statement about the transformation of the personality itself under the influence of art. Defining culture as a kind of spiritual equipment of a person, scientists mean by it a kind of “projection” of images onto the perceiver, previously mastered knowledge, calling it individual culture.

Obviously, this point of view cannot be fully shared, since it reflects only one of the many aspects of the concept of "individual culture". The culture of personality is not a “warehouse” of ready-made ideas, but a real tool for understanding and transforming the world and the personality itself. Despite the obvious one-sidedness, the very idea of ​​transforming the personality itself seemed to us very fruitful and worthy of further consideration.

Yu.B. Alieva, Ts.G. Arzakanyan, S.B. Bayramova, G.M. Breslava, A.V. Gordeev, L.V. Goryunov, L.N. Dorogov, Yu.A. Lukina, L.P. Pechko, A.V. Piradova, L.A. Rapatskaya, V.B. Churbanova and a number of others. With all the differences in the research directions of the above authors, they have one thing in common - an analysis of the functional changes that occur in a person under the influence of the artistic (aesthetic, spiritual).

Appeal to adjacent, but not identical to our direction, areas is also important because until now the problem of the formation of the artistic culture of the personality of a teenager has not yet been the subject of special study. It is interesting to dwell on the most significant positions of the authors that determine the specifics of the musical and aesthetic culture of adolescents.

1.3 The specifics of the musical and aesthetic culture of adolescents

Analyzing the aesthetic culture of teenage schoolchildren, L.P. Pechko notes that “human culture is the result of his creative mastering of perfect ways of acting and evaluating in relation to the human objective world”, and “an indicator of culture is “the breadth and depth of the aesthetic attitude to cultural values, possession of methods for mastering cultural objects, creative transfer of their in their activities and in the sphere of communication on the basis of a unique, unconventional vision and assessment. It is easy to see that in this case it is no longer just a "projection" of culture on the personality, but a completely new quality of the student's personality itself.

Revealing the essence of the musical culture of adolescent students, experts mean by this the social and artistic experience of the individual, which determines the satisfaction of high spiritual needs, and is formed primarily under the direct influence of music. Obviously, the musical culture of adolescents depends not only on the quality of the works, but also on the intensity of communication with them; as well as individual characteristics of students. Of course, the most significant in the above provision is that the culture of the individual as a kind of new qualitative education as a result of the accumulation of social and artistic experience is formed depending on the intensity of communication with high-quality artistic, including musical, works.

What is the power of music and its impact on personality? For thousands of years there has been music on earth, and for thousands of years people have been trying to answer this question again and again. Why does music excite and touch? Why is it that not only people, but also animals and even plants are drawn to it, as to sunlight? Why does a modern schoolboy associate his ideas of beauty with music, when, wanting to express the highest charm of the world, he says: “music of nature”, “music of the soul”?

In our difficult time, mostly technocratic, vain and, perhaps, too dynamic, in order for a teenager to be able to get a full impression of the perception of musical works, a music teacher must make sure that this type of art appears before the student as “... a special inner light , pure and uncomplicated, like a precious talent that must be protected from the destructive monotonous everyday life.

Obviously, the teacher in the process of developing the musical and aesthetic culture of adolescents is always helped by the fact that a person carries music, first of all, in himself, and this is the special secret of his responsiveness to musical sounds, responsiveness, which is the stronger, the more we cherish this gift. original sincerity and purity.

Everything that a modern teenager has to do - study, communicate with parents, adults and friends, listen to the media - everything is certainly colored by his emotional attitude to the world around him. Thousands of elusive circumstances, even the simplest everyday things, can cause a flood of the most diverse feelings of a teenager, which sometimes it is impossible for him to express. There are also such phenomena in the world that cannot be expressed in words, cannot be depicted, their element is music with its fluidity, changeability, play of colors and states, music is sometimes stormy, sometimes contemplative. It is no coincidence that sometimes it is as difficult for a teacher to talk about music with his students as it is to talk about his own experiences.

Contrary to the popular and very dubious opinion that modern teenagers, living and developing in accordance with the time, are callous in soul and are not inclined to listen to classical music, researchers A.V. Moshkin and V.N. Rudenko in the book "Children of Troubles" (Yekaterinburg, 1993), as well as M.S. Egorova, N.M. Zyryanova, S.D. Pyankov and Yu.D. Chertkov in a study entitled “From the life of people of school age. Children in a Changing World” (M., 2001) cites specific data obtained in 1992, 1995 and 1998 that “... middle school students include listening to music, studying it, obtaining additional knowledge about it among their "cherished", "magical" desires.

The authors of the study “From the life of people of school age”, based on their long-term observations, believe that music immerses the modern teenager in the world of a fairy tale, removes all restrictions, gives rise to a flight of fantasy; with the help of music, a person of thirteen or fourteen years of age can express his deepest desires and even those that are impossible in real life.

Here are some statements of modern thirteen-year-olds obtained by A.V. Moshkin and V.N. Rudenko, about why they need music.

First of all, attention is drawn to the fact that teenagers need music in order to enjoy listening to it: “When I listen to music, I feel very good: it’s easy, calm in my soul, but I don’t always like music. Sometimes tiresome”; “I love music because it works well for me. I can enjoy any music. But classical music is hard for me to listen to and I don't understand it. Or maybe there just isn’t enough time”; “Music is a good mood. At least for me. I love music because it brings me pleasure”; “Music is great. It becomes easy, joyful somehow ... "

When asked where teenagers most often listen to music, researchers A.V. Moshkin and V.N. Rudenko, answers were received indicating that music basically “comes” to them, as they say, in a “technocratized” form: the vast majority of modern teenagers listen to tape recordings, watch video cassettes; half of the surveyed teenagers go to concerts of their favorite bands (the survey was conducted in Moscow, St. Petersburg, Samara, Yekaterinburg); only 35% of the respondents attend piano music concerts with their parents, watch opera performances in the theatre; at the same time, children believe that concerts with “real” music are extremely rare in their city (it is interesting that teenagers living in Moscow and St. Petersburg answered the same way).

Noteworthy is the use of the epithet "real" in relation to classical music. Classical music is “awarded” with this epithet by 65% ​​of the adolescents surveyed. When asked what, in their opinion, classical music is, thirteen-year-old children answer as follows: “Classical music is serious musical works. It is complex, I rarely listen to it, but my parents insist that I listen to such music. I don't know if I like it or not"; “Classical music is complex, heavy music. But this is real music. Not everyone can understand it”; “Real music is called classical. Classical music was written by serious musicians. I don’t belong to the listeners of such music at all ... ”; “Classical music is too cool for me. It is real, serious music. But I guess I'm too stupid for her. I don't understand this music"; “No one listens to classical music these days. But for some reason it is called "real". And in my opinion, real music is the one that is for you, that you like ... ".

Obviously, understanding the meaning of the epithet "real" in relation to classical, "serious" music, teenagers do not look down on it. Practically all the answers sound touching, cautious veneration of classical music as something that is certainly significant and correct, but inaccessible to their understanding. The reason for this misunderstanding, as the children's answers testify, is in themselves. In this case, the researcher did a good job of being so often criticized by adults for the excessive straightforwardness of adolescents ("Classical music is too cool for me ...").

Thus, the responses of adolescents indicate that, in principle, they would not mind listening to classical music; children respect the “adult” opinion that only music is truly “real”, but it is interesting that teenagers perceive themselves, their personality “separately” from music. Most of them believe that classical music is not for them.

Analyzing the reasons for this state of affairs, one can, in particular, state that, to a certain extent, such reflections of adolescents are “imposed” on them by adults, including parents. Let us analyze the most typical answers received by V.N. Rudenko in 1998: “My father and I listen to classical music, but he laughs at me, says that I still can’t understand anything, but he understands ...”; “My parents call me a “rocker” and then they don’t know that I listen to Grieg’s music on cassettes. Well, it's good - less problems ... "; “Mom loves to listen to all sorts of symphonies, she says that it’s beautiful, and she needs it for loneliness (to sit alone), she doesn’t call me when she listens to music. They go to concerts with a friend, but they won’t let me into the concert hall yet (I’m 14 years old). I go to the Philharmonic with the crowd (with classmates, - And Sh.) ”; “No one told me that classical music is beautiful, but somehow I liked it myself. At home, no one listens to such music, I'm the only one ... Mom is against it, she says: "Turn it off, as if a cat is being pulled by the tail ...".

Based on these answers of teenagers who do not receive additional education at a music school, we can conclude that “real” music for most of them is a spiritually spontaneous phenomenon: parents practically do not develop the musical culture of their children, believing that their thirteen are fourteen years old. children still cannot understand, appreciate music as a work of true art. Obviously, this situation is observed in society as a whole: adults consider the phenomenon of musical culture to be purely “age-related”, inaccessible to the understanding of a teenager. However, the children's answers, of course, indicate an interest in the world of music, and therefore they simply need guidance from an adult in this direction.

The music teacher, presumably, should become the first guide of the child to the world of musical culture.

Analyzing the level of formation of the musical culture of a teenager, a music teacher can look into the world of his interests, deep feelings, aspirations, understand what the child lacks, what he aspires to, what he wants to get. In addition, analyzing the "musical desires" of adolescents living at the turn of the two centuries, their musical preferences and dislikes, one can draw certain important conclusions about the world surrounding the child, about his real life situation, about the relationship that a teenager has with this world, about his preferences and concerns.

In addition, it is well known that music brings completely different people together, helps them to better understand each other, to enter into communication not at the level of “ration”, but at the level of the spirit, because music is primarily a phenomenon of the spiritual plane. Perhaps, answering the questions of his pupils, the music teacher gets to know not only music, but also himself better: after all, music does not live outside a person, it always carries a particle of his soul, “and what is the music that excites us, such are we ourselves.” : no matter how different the characters of people, their habits, appearance, in the main they may turn out to be not so dissimilar.

The main advantage of music is that it lives in the soul of each of us - both a child and an adult, it, awakening dormant feelings, returns a person to himself.

Summing up the results of the first chapter of the thesis, we can conclude that in line with such concepts as "culture", "artistic culture of the individual", the essence of the concept of "musical and aesthetic culture" is extremely obvious. The musical and aesthetic culture of a teenager is based primarily on a spiritual craving, a desire to join music as a cultural phenomenon. The first impulse of this phenomenon is spiritual, emotional, and only then comes the desire to comprehend music at the level of the mind: to learn about its diversity, its brilliant creators - composers and performers, musical instruments that have been created over a huge number of years all over the world. The power of authentic music is truly limitless. “She is able to awaken the best that is in a person - his desire for beauty, love, creation. It opens up worlds full of boundless wealth - worlds that are ready to give their treasures to anyone who really needs them.

The task of a music teacher is to promote the development of the musical and aesthetic culture of the student, which is extremely difficult in the current difficult situation, but it is possible if special work is carried out in this direction to study the level of development of the musical culture of adolescents and form their musical and aesthetic culture as a way of aesthetic attitude to cultural values, the development of cultural objects, their creative transfer to their activities and to the sphere of communication.

The second chapter of the thesis will present the results of an empirical study of the level of formation of the musical and aesthetic culture of adolescents aged 13; the most effective forms and methods that contribute to the education of musical culture in schoolchildren will also be considered.