Musical culture is a specific kind of culture. Characteristics and structure of musical culture History of Russian folk music

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 a musical cult

tours 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.

Under the musical culture of the child's personality, he means “the individual, social and artistic experience of the personality, which determines the emergence of high musical needs; this is an integrative property of a personality, the main indicators of which are:

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

Musical education (armament with the 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).

According to Yu.B. Alieva, a fruitful program of musical education can be interpreted as a reflection of the initial relationship: composer - performer - listener, and the development of this relationship can be qualified as a process of practical musical activity of children in the position of "composer" (creator of improvisation and composition), "performer" (interpreter of musical text ) and "listener" (perceiving a piece of music).

At the same time, in order to advance in the development of a personal musical culture, the child also needs the position of a “critic”, who evaluates music based on the level of his own needs, in accordance with a certain stage in the development of artistic taste.

The path of becoming a qualified "listener" of music (and as you know, it is musical perception that underlies the formation of a personal musical culture) is quite long. However, in many respects its success depends on how and what the music teacher teaches the child. “One of the main tasks of forming through the development of personal musical culture, - according to Y. Aliyev, - is to put the child in those positions, without which a full-fledged musical activity is impossible, in the position of a “listener” and “performer”.

The activity of the child in the position of "listener"

The task of the reader, according to M. Bakhtin, is to understand the work in the way that the author himself understood. By analogy with reading, it can be argued that the “listener” also “creates an image”, and does not perceive it ready with the help of hearing. In this or that interpretation of the musical text, we hear only what a particular performer has contributed to the written work. It is a landmark offered by the composer and performer. It is intended for the listener, who recreates the artistic image of a musical composition, creates it, builds an adequate, but not identical, author's image. And therefore, we can assume that the child- "listener" in the process of musical perception, to a certain extent, can even be considered a "co-author" of a musical work. In this case, the idea of ​​the musical activity of children, as reproductive, changes. And the task is not only to memorize music, but to educate a creative listener who creates his own “musical picture of the sounding world”, capable of self-assessment of the work.

The well-known expression: "The book grows with us" is directly related to the process of development of musical culture. From musical creativity in different age periods, the listener can take different things for his spiritual development. But we can’t dispute the fact that “the depth of perception of a musical work depends primarily on the activity of the creative concept of a young music listener, the perfection of his listener’s “interpretation” of a sample of musical art” and is an indicator of his musical culture.

The activity of the child in the position of "critic"

An important task of musical education is to teach the child to develop his point of view in the process of artistic and musical "dialogue" with the author, to agree with him or enter into an argument, to hear the world of music with his own inner ear, to evaluate the quality of the work. That is why the work of the listener seems to merge with the work of the "critic".

At music lessons, a certain type of listener's musical activity is formed: listening to the work, its verbal interpretation, reflections on the music heard and the opinions and judgments made about it. This activity contributes to the development of the skills of listener analysis and evaluation, which are important in the formation of musical culture.

Topic 6. The child as a subject of musical education

Questions:

1. The concept of the musical culture of the individual

2. Features of the development of the components of the musical and aesthetic consciousness of preschoolers

3. The concept of musicality as a complex of musical abilities. Her interpretation

4. Theories of determination of musical abilities

5. Features of the development of musicality of preschoolers. Diagnostics of musical abilities and control over their development in preschool age

The recognition of a person as a biosociocultural being allows us to speak of the formation of personality as a process of familiarization with culture. The essence of education in this context is "the transformation of the culture of society into the culture of this particular individual" (M.S. Kagan).

Since the development of any sphere of the culture of society by a person is possible only through activity, the level of mastery of the activity can serve as a criterion for the external manifestation of the level of culture of the individual. In a broad sense, activity is a specific human form of active attitude to the surrounding world, the content of which is its expedient change and transformation. In musicological and musical-pedagogical literature, the concept "musical activity", the essence of which is interpreted in such its main manifestations as creativity, performance, perception (B.V. Asafiev, A.N. Sokhor, N.A. Vetlugina, D.B. Kabalevsky, etc.), characteristic of preschool children age.

The principle of the unity of consciousness and activity indicates the sphere of internal manifestations of any personal education, including musical culture. So, musical consciousness, being an internal plan of musical activity, forms, according to R.A. Telcharova, the second component of the musical and aesthetic culture of the individual, repeating it in content and different in form. It is "a set of socio-psychological processes and expresses the ideal form of external practical-operational actions that determine the state of musical activity." At the same time, musical activity, reflecting the level of consciousness of the individual, stimulates its development.

The connecting link between activity and consciousness in the structure of the musical and aesthetic culture of the individual are capabilities. The domestic theory of abilities (S.L. Rubinshtein, B.M. Teplov, B.G. Ananiev, K.K. Platonov and others) proceeds from two methodological provisions: the formation and development of abilities in activity and the dialectical unity of natural and acquired in personality structure. Turning to abilities in musical activity, following B.M. Teplov, N.A. Vetlugina, K.V. Tarasova needs to emphasize both the importance of general aesthetic abilities and musical and auditory abilities, traditionally defined by the term "musicality".

Content of the concept musical culture of the child in the works of the founders of the national methodology of musical education, starting from the theoretical works of the 20s of the 20th century, it was revealed through the analysis of the content of the general aesthetic components of the musical culture of the individual. So, B.V. Asafiev and B.L. Yavorsky, opposing the dry teaching of music, emphasized the importance of educating the need to communicate with music, the ability of aesthetic perception and appreciation of music. Aesthetic experiences, judgments, evaluation of music by V.N. Shatskaya directly connected with the success of musical activity. The program of musical education of D.B. Kabalevsky, in fact, developed the ideas of pedagogy of the 20s, and set the goal of educating the personality of the child through the development of musical culture, the formation of a person through art, i.e. considered the formation of the student's musical culture as an integral part of his spiritual culture.

The issues of the formation of the musical culture of preschoolers have been studied to a lesser extent, which is associated with the increased relevance of considering the issues of forming the culture of the personality of a preschooler only in the last decade. On the whole, their solution proceeded in ways similar to the solution of the problem of determining the essence and structure of the musical culture of schoolchildren.

The research of K.V. Tarasova (musicality), N.A. Chicherina (prerequisites for musical taste), I.V. Gruzdova (emotional responsiveness to music), A.V. Shumakova (emotional responsiveness to music), G.A. Nikashina (aesthetic feelings), E.V. Mogilina (musical abilities).

For the first time, O.P. Radynova. In her interpretation, the musical culture of a preschooler is “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 and value experience in creative musical activity, development of 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. This definition contains a direct indication of the role of such components of musical culture as musical activity, musical consciousness, musical abilities, evaluative attitude. In a similar way, A.I. Katinen, highlighting musical activity, musical experience, musical and aesthetic consciousness. At the same time, the researcher speaks of the need to systematically develop the musical culture of the child, starting from the age of 4.

Thus, the formation of the foundations of a child's musical culture involves purposeful work:

On the development of the musicality of the child

On the formation of skills and abilities in various types of musical activity

On the formation of musical interests, taste prerequisites, evaluative attitudes as components of musical consciousness

On the formation of a value attitude to music

MUSICAL CULTURE IN THE DEVELOPMENT OF THE PERSONALITY OF THE TEACHER

Obskova Natalya Ivanovna

studentVcourse, Faculty of Theory and Methods

preschool education MGPI

music director, Kindergarten No. 2443, Moscow

Yakusheva Svetlana Dmitrievna

scientific supervisor, Ph.D. ped. Sciences, Associate Professor, Moscow State Pedagogical Institute, Moscow

Cardinal changes in the socio-economic structure of modern society have led to the emergence of innovative trends that determine the various vectors of educational systems at all levels.

In the modern education system, special attention is paid to the development of the creative potential of a teacher with modern thinking and personal culture.

Art is a kind of spiritual assimilation of reality by a person, the purpose of which is the formation and development of his ability to creatively transform the world around him and himself according to the laws of beauty. Art cannot exist outside of culture, one of the areas of which is musical culture.

The problem of the development of the musical culture of the individual was developed in the works philosophers(Aristotle, G.W.F. Hegel, I. Kant, M.S. Kagan, A.F. Losev, Plato, A. Schweitzer, V. Shestakov, A. Schopenhauer); psychologists(L.S. Vygotsky, E.V. Nazaykinsky, B.M. Nemensky, V.I. Petrushin, S.L. Rubinshtein, G.S. Tarasov, B.M. Teplov, P.M. Yakobson); musicians-teachers(O.A. Apraksina, M.M. Berlyanchik, E.V. Boyakova, N.A. Vetlugina, N.L. Grodzenskaya, I.V. Gruzdova, A.I. Demchenko, E.A. Dubrovskaya, M B. Zatsepina, D. B. Kabalevsky, L. N. Komisarova, K. V. Tarsova, B. L. Yavorsky); musicologists(B.V. Asafiev, V. Vasina-Grossman, G.G. Kolomiets, V.V. Medushevsky, V.N. Kholopova).

Education, intelligence, spirituality and culture, the desire for creativity and the ability to navigate in changing conditions are the most important factors in the development of the personality of a modern professional.

Today, as before, the issue of culture, "culture" is the main one in the context of the development of our Fatherland. It is necessary to increase the intellectual, moral potential of the culture of the people. Without a qualitative shift in the field of education and upbringing, this development is unlikely to take place, because education is nothing more than the transfer of culture from one generation to another.

In this regard, the choice of the research topic "Musical culture in the development of the teacher's professional skills" was not accidental.

To study the psychological and pedagogical aspects of the development of musical culture in the development of the teacher's professional skills, it is necessary to analyze the substantive foundations of the categories "culture", "musical culture", "musical art", as well as to consider the concepts of "personality" and "formation".

Culture is as capacious and complex formation as life itself, therefore, within the framework of research, one can find a wide variety of ideas about culture.

Hegel argued that culture is a "second nature" created by man.

In the explanatory dictionary V.I. Dahl's concept of culture is interpreted as processing and care, cultivation, cultivation; this education is mental and moral.

IN AND. Maksakova argues that various cultural concepts converge in that culture distinguishes a person from other living beings. It is in culture that social inheritance, the connection of generations, the preservation and development of the ethnos take place. Culture allows individuals to comprehend the world around them more or less equally, to perform actions that are understandable to others, and to treat each other adequately.

There is a tendency to understand culture as the entire content of life that is characteristic of humanity as a whole, specific communities of people (peoples and countries, industrial and informal associations, etc.), for each person - an adult and a child.

Culture reveals and studies the most important laws of origin, functioning and development.

The laws of cultural development are objectively existing, recurring, leading connections of phenomena or stages in the sphere of society. According to a number of reputable scientists (L.N. Kogan and others), there are several of them.

The Law of Unity and Diversity of Culture states that culture is the cumulative collective property of all mankind; it embodies the generic property of man and mankind; all cultures of all peoples are internally united and at the same time original, unique. Each nation, having its own culture, makes an independent and original contribution to the common treasury of the cultural achievements of mankind. The diversity and unity of the cultures of the peoples inhabiting the planet is an objective reality. The loss of the cultural conquests of any people, even the smallest, inevitably turns into a loss for all mankind.

Law of succession and development of culture is the most important in the content of cultural studies. Culture is, first of all, the historically inherited experience of generations. Where there is no continuity in the development of culture, there is no culture itself. Continuity is the basis for the development of culture.

The law of discontinuity and continuity in the development of culture states that culture is a complex system, which in its development is both discontinuous and continuous. Each epoch in the development of mankind has its own type of culture as a historical integrity. In connection with the change of these epochs (formations), there is a change in the types of culture - they leave, they are replaced by others - this is how discontinuity appears in the development of culture. Each new stage in the development of mankind necessarily inherits the cultural achievements of previous eras, including them in a new system of social relations. Therefore, discontinuity is relative, and continuity is absolute.

The law of interaction and cooperation of various, often conflicting cultures. Different epochs, the cultures of different peoples developing in them, each in its own way expressed its own understanding of the world, its development (“worldview”). Each culture, with all its specific features, contributes to universal human achievements, the general progress of world society.

At present, it is customary to single out the following "aspects" of culture: 1) genetic; 2) epistemological; 3) axiological; 4) humanistic; 5) normative; 6) sociological.

AT genetic aspect, culture appears as a product of society; epistemological (cognitive) aspect, culture acts as a set of achieved material and spiritual values; axiological in the aspect, culture is a phenomenon that reflects the spiritual nature of a person in the aggregate of its basic values ​​and moral norms; humanistic aspect, culture is revealed as the development of the person himself, his spiritual, creative abilities; regulatory aspect, culture acts as a system that regulates social relations in society, orienting a person in the world; sociological aspect, culture is expressed as the activity of a historically specific social subject, as well as the state and development of a particular mode of production.

In the axiological aspect, culture is a totality, a system of material and spiritual values ​​created by man. Culture absorbs different ways of life and has material, spiritual, and artistic manifestations.

Spiritual culture is ideas, thoughts, experiences expressed in a symbolic form that reinforces certain meanings that are transmitted to people.

According to David Matsumoto, "culture" is a complex concept rooted in numerous aspects of human life. Some aspects involve material objects such as food and clothing; others refer to social and structural entities, such as the organization of power and the structure of society; still others deal with individual behavior, reproduction, or organized activities such as religion and science.

The Latin term "culture" means cultivation, improvement of something. Accordingly, and in relation to a person, this is the cultivation, improvement, formation of his image. Taking into account this interpretation, culture acts as a prerequisite and result of human education.

The concept of value is closely connected with the concept of culture as a way of objectifying the historically developed creative activity of a person. Since all human achievements had their goals, and goals are regulated by needs and values, then the world of culture is also a world of values.

If culture is an aggregate, a system of values ​​developed by man, then musical culture is an aggregate, a system of musical values, values ​​of music, musical creativity.

AT ancient society almost all free citizens were trained in music. A component of a “cultured person” in ancient society was the ability to play a string instrument, to understand musical works and their influence on morality - “signs of a cultured person”.

The very concept of "music" was interpreted by the ancient Greeks in a narrow and broad sense: in a narrow sense - as the art of music or the science of music, and in a broad sense - as a complex of knowledge related to general culture and education. .

Plato believed that music contributes to the improvement of the soul. A true musician is not one who plays or listens to music, a true musician is a sage who has mastered the relationship between harmony and number, music and mathematics, which is “really amazing and divine for a thoughtful thinker.”

Aristotle emphasized the peculiarities of the influence of music on the human psyche. “... Or, rather, one should think that music leads to virtue, and that it is capable, just as gymnastics affects physical qualities, to influence the moral warehouse of a person, developing in him the ability to rejoice correctly; or ... does it contain something that serves for the enjoyment of leisure and for the development of the mind?

In the works of Aristotle, music is an object that forms a “man” in a person, which is why “ancestors ... placed music among the general educational subjects.” According to the philosopher, playing music is “beautiful in itself” and beyond practical use. In addition, music lessons lead in the future to an understanding of the meaning of life as “blissful activity”, open the doors to the philosophical call: “know thyself”. Musical science was part of the philosophical education in the school of Aristotle. Discussing the most valuable property of music - its ability to influence the soul and temper of a person, he believed that the power of music should be used to educate young people ..

Plato and Aristotle considered music as an exclusive means of creating a certain mental mood - ethos. Music tames licentiousness, subdues passions, turns people into well-behaved and steadfast in their high spirituality.

Antiquity gave culture the image of music as harmony, as an ideal image of harmony, harmony.

“We have to wonder,” noted the famous researcher of ancient culture Alexei Fedorovich Losev, “how sensitive the Greeks were to the musical harmony. They associated each mode with such a specific ethical and aesthetic content that even now this content can be clearly imagined.

Philosopher of the Middle Ages Bede The Hon. in his treatise "Practical Music" put music in first place among the arts. As proof of the incomparable perfection of music, he cited the thesis that the only of the ancient sciences is capable of being the property of not only the learned representatives of the church, but of the whole world in general: “The use of it (music) is great, amazing and very perfect, since it dared to go beyond church confines. After all, not a single science dared to go beyond the boundaries of the church.

Kant I saw the value of art in that it allows a person to expand the boundaries of his consciousness, "to experience productive moments of self-exceeding." According to him, aesthetically fruitful is that which awakens the imagination, promotes the play of cognitive abilities, and art cultivates this human ability in every possible way. "Beauty in nature is a beautiful thing, and beauty in art is a beautiful representation of a thing".

Hegel defined the value of art in the ability to awaken feelings, infect with "disturbances of the soul", and also serve as a means of moral influence. The highest goal of art is to reveal the truth in a sensual form. The most important feature of art is the ability of a person as a spiritual being to double himself in the images of the outside world he creates.

Music as a part of spiritual culture contains the values ​​of the human spirit (aesthetic, moral, ideological). The content core of spiritual culture is also made up of human values, which means that music is the intonational way of existence of these values ​​(L. Sachs). According to B. Asafiev's definition, music is the art of intoned meaning, since the nature of music is not so much sound as intonation - from the tone, intonation of human speech that carries meaning, thought.

V.N. Kholopova defines intonation in music as "an expressive and semantic unity that exists in a non-verbal-sound form and functions with the participation of musical experience and extra-musical associations".

Musical art, having a strong emotional impact, on the one hand, charges our emotions, has the ability to cause a special upsurge of feelings, can cause a direct physiological reaction that does not affect the intellect in the form of a rhythmic movement of the body, on the other hand, it discharges, promotes purification, catharsis, calm and pacification . However, there is a paradox that the priority of the sensual principle in music (there are well-known sayings: music is needed for the soul; “where words end, music begins”) exists antinomially with the opposite point of view: “according to a tradition that has been going on since ancient times, music is recognized the most generalized abstract art - the artistic equivalent of philosophy and mathematics.

The rationale is the opinion of the modern French composer J. Xenakis, who said that the essence of music is to express the intellect with the help of sounds.

Music as an art form combines the sensual and rational principles, performs the function of both pleasure and food for the mind, develops thinking. The perception of high music, being an aesthetic act, includes the work of sensations and emotions, affects the sensual side and, at the same time, involves the work of the intellect.

In the scientific literature, the theoretical foundations of the process of development of musical culture are given, its specific features are highlighted:

A. Sohor argues that the musical culture of society is the unity of music and its social functioning.

M.G. Rytsareva believes that musical culture is the same subtle organism as, for example, the economy. Everything is interconnected in it. If one of its links gets upset, the whole culture "sicks".

M.I. Najdorf states that musical culture in its quite definite meaning: a qualitative characteristic of musical communities as that specific social environment that arises from the social existence of musical texts.

Musical culture is focused primarily on revealing the unique personality of a person.

Personality is a person integrated in a culture that is in dialogue with it. In modern conditions, the most prestigious properties of a person of culture are freedom, spirituality, humanity, creativity, therefore, a person in the modern view is a free, spiritual, humane, creative person, capable of moral choice and responsible behavior.

Personality is a social quality of a person. And quality has a degree of development: from a minimum of personality ( awareness of self...) to the author's, creative personality. A personality develops through its activity - subjectivity: the ability to make a life choice, social action, responsibility for it.

According to A.N. Leontiev, personality is not only “a moment of activity, but also its product”, “it is not born, but becomes”. A lot depends on what opportunities the environment will provide for the realization of personal potential.

A person's personality is formed and developed under the influence of numerous factors - objective and subjective, natural and social, internal and external, independent and dependent on the will and consciousness of people acting spontaneously or according to certain goals. At the same time, a person is not a passive being, he acts as a subject of his own formation and development.

A person builds his subjectivity from his mental and psychological properties: biogenic, sociogenic and spiritual resources, correlating them with the content of the problem being solved.

"Personal work" includes: introspection, reflection, correlation of meanings, values ​​of activities with the meaning and values ​​of the personal I; psychosynthesis, "stitching" of various facets "I am experience"(personal activity) into a single canvas of personal life; psychological protection of the individual from negative, destructive contents; and most importantly - spiritual work: spiritual self-determination, the development of a value-semantic code.

The result of the indicated work of the personality is a change, development, the process of personality neoplasms.

Personality, according to G.S. Tarasova has inner motives, motivation, needs that characterize the potential for her cultural and creative growth.

In the concept of man, developed by Russian philosophers N.A. Berdyaev, N.O. Loskim, P.F. Florensky, he appears as the epicenter of culture, its highest spiritual value.

Each person needs to know his abilities and use them rationally, plunging deeper into his own spirituality and comprehending more and more the meaning and beauty of the Universe. For the development of human sensibility, there is no other way than to cultivate a taste for the treasures of world art.

Art becomes a powerful factor in the humanization of the individual, as it stimulates the development of the spiritual sphere, the formation of a holistic picture of the world in accordance with the canon of beauty developed by man.

In this regard, the problem of building relationships between the individual and culture and art is of particular importance.

According to S.D. Yakusheva, the specificity of art lies in the fact that it develops a universal universal human ability, interacts and forms the spiritual world of a person, his worldview, morality, culture.

Art does not exist outside of culture, it is a workshop and its self-knowledge. The dominant position of art in a number of "objects" capable of actively forming a holistic, competent, developed personality is also explained by the fact that in communicating with works of artistic creativity, a person joins the world of a brilliant artist, identifies himself with him, "lives" together with his author. intellectual and emotional life.

A.A. Oganov believes that art creates a self-portrait of society and is the self-knowledge of culture.

According to L.A. Zubareva in the process of the comprehensive development of the personality, musical culture plays a crucial role, because although the basis for the comprehensive development of the personality is life itself, in which purposeful creative work plays the main role, life without art does not form and educate a person who is holistic, comprehensively and harmoniously developed.

According to the interpretation of art critics, musical culture is a complex system, the elements of which are, on the one hand, types of musical activities with their infrastructure and musical values, on the other hand, types of music belonging to different eras and world cultures; The factors in the development of this system are the interaction of elements and the unity of music with the context of culture, the purpose is characterized by social polyfunctionality, the embodiment of the value orientations of culture and the focus on the spiritual improvement of man.

Despite the various approaches to the definition of the concept of “personality culture” available in modern studies and the originality of theoretical concepts to identify the essence of the subjective level of culture (M. Kagan, L. Kogan, W. Suna, etc.), the recognition of the active essence of a person remains unshakable, according to in which the personality is formed in activity, as a result of which it changes the environment, changes and develops itself as a subject.

The analysis of psychological and pedagogical literature made it possible to find out that, firstly, the development of musical culture occupies an important place in the development of a holistic personality of a teacher, and secondly, the effectiveness of musical culture depends on the development of a person’s musical abilities, enabling him to most fully embrace, understand, comprehend the nature of music, thereby delivering aesthetic pleasure to a person; thirdly, the effectiveness of the impact of musical art on the comprehensive development of a person depends on its skillful use in the pedagogical process, i.e. the success of the process of forming the teacher's musical culture is mediated by the level of his pedagogical support; fourthly, the musical culture of the teacher's personality plays an important role in its health protection: resistance to adverse factors, the ability to overcome life's difficulties, the formation of self-control to curb aggressive reactions.

Based on the foregoing, S.D. Yakusheva defines the musical culture of the teacher as the formation and measure of the development of his creative activity in the process of their implementation and improvement. Thus, by definition, S.D. Yakusheva, the musical culture of a teacher is an integrative personal quality, which is characterized by a certain level of musical development, awareness of ways to achieve this level and manifests itself in various types of activities aimed at mastering the musical and pedagogical experience developed by mankind, controlled by musical and aesthetic consciousness, in order to form the foundations for schoolchildren musical culture as an integral part of their spiritual culture.

The theoretical analysis of psychological and pedagogical research on the problem of the development of the musical culture of the individual allows us to draw the following conclusions:

1. musical culture - a phenomenon of spiritual culture, the social activity of mankind in the sphere of production, distribution and consumption of the results of creative activity, the artistic values ​​of which are works of musical art;
2. various types of musical activity, as well as the musical and aesthetic consciousness of people that have developed in the process of this activity, and the activities of various institutions related to musical education and upbringing, musicology, and training of personnel form the musical culture of society;
3. the musical culture of the individual is a complex dynamic formation, which is characterized by a certain level of musical development, awareness of the ways to achieve this level and manifests itself in various activities aimed at mastering the musical and pedagogical experience developed by mankind, controlled by musical consciousness, in order to develop the foundations of musical culture as an integral part spiritual and personal culture of the teacher;
4. The development of a teacher's musical culture is a complex process that is carried out on the basis of the interaction of social and natural factors of personality development and is expressed in the peculiarities of the internal transformations of the future teacher's personality, the formation of which is influenced by musical education in pedagogical universities.

Thus, education is considered as a powerful factor of culture, which should contribute to the self-realization of the individual, his potentialities and abilities. Today, the individual himself must be responsible for his educational potential and social trajectory. Vocational education becomes a process in which the personality of a specialist is born, possessing a creative type of thinking, a developed musical and aesthetic culture, high professionalism and moral values ​​that ensure its real competitiveness.

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7. Kolomiets G.G. Musical and Aesthetic Education (Axiological Approach): Monograph. Orenburg: Publishing House of OOIPKRO, 2001. - 240s.
8. Culturology. Introduction to cultural studies: textbook. allowance / Under the total. ed. V.A. Saprykin. M.: MGIEM (TU), 1995. - 210 p.
9. Maksakova V.I. Pedagogical anthropology: textbook. allowance. M.: Publishing Center "Academy", 2001. - 208 p.
10. Musical aesthetics of the Western European Middle Ages and Renaissance "M., 1966.
11. Oganov A.A., Khangeldieva I.G. Theory of culture. M.: FAIR-PRESS, 2001. - 238 p.
12. Pedagogy: textbook. allowance / V.A. Slastenin, I.F. Isaev, A.I. Mishchenko, E.N. Shiyanov. M.: School-Press, 1998. - 512p.
13. Plato. Afterlaw (989c-d). Cit.: In 3 vols. Vol. 3 (2). M., 1973.
14. Psychology and culture / Ed. D. Matsumoto. St. Petersburg: Peter, 2003. - 718p.: ill.
15. 1Tarasov G.S. On the psychology of music // Questions of psychology. - 1994. - No. 5. - S. 95-99.
16. Kholopova V.N. Music as an art form. 2nd ed. M., 1994.
17. Cherednichenko T.V. Music in the history of culture. Part I Dolgoprudny: Allegro-press, 1994 .
18. Yakusheva S.D. Musical art in the formation of the spiritual culture of student youth // Russian Scientific Forum. "Russia. Culture. Future". Part I Proceedings of the International Scientific and Practical Conference "Identity in Culture: Phenomena, Theoretical and Methodological Aspects of Research" / CHGAKI, CHI (branch) URAGS. Chelyabinsk, 2005. - 169 p.

Introduction

Chapter I Philosophical Foundations of the Problem of Musical Culture

1.1. The concept of musical culture 13

1.2. Functions of musical culture 35

1.3. A systematic approach to the study of musical culture. Musical culture as a system of elements 56

Chapter II Basic elements of the structure of musical culture

2.1. Music as an expression of the essential forces of a person and as a dominant element of musical culture 78

2.2. Musical Theory and Musical Criticism as Structural Elements of Musical Culture 104

2.3. Music education and musical education as structural elements of musical culture 129

Conclusion 154

References 159

Introduction to work

Relevance of the research topic

The problem of studying spiritual values, their production and consumption is especially acute in the period of breaking the existing system and searching for new cultural foundations. Indicative in this regard is the Russian society, which at the present stage is undergoing radical changes in all spheres of its life, including in the sphere of spiritual culture. This situation is characterized by a change in values, which is due to the destruction of those spiritual values ​​that were a priority during the Soviet system and the establishment of spiritual values ​​in Russian society that have a different focus.

At the present stage of development of Russian society, musical culture plays a significant role in shaping the consciousness of members of society, individual social groups and communities. By accumulating and broadcasting values, musical culture influences the development of the entire spiritual culture of the society. In modern conditions, when the formation of personality in Russia is predominantly spontaneous, the worldview of the younger generation is often formed under the influence of products of musical culture of dubious quality, causing the corresponding views, tastes, mores and ideals. This circumstance indicates the need to create a system of musical culture, which would include the production and consumption of spiritual values ​​dictated by the interests of society and verified by many years of human experience.

The relevance of the topic of the work is also due to the needs of modern humanitarian education, in particular, cultural studies, which has been rapidly developing in recent decades, as one of the humanitarian disciplines. Musical culture in all its diversity began to be explored relatively recently. At the present stage of development of cultural science, there is a huge layer of phenomena for the study of musical culture as an integrity.

As a result, a problematic situation arises, which consists in the discrepancy between the socio-cultural needs of society and the degree of study of musical culture as a system in domestic science. This implies the need to apply a systematic approach to the study of musical culture as a whole.

The application of a systematic approach to the study of musical culture presupposes the knowledge of the whole, as it were, in a split, anatomical form, as a result of which the most complete comprehension of its essence and specific features is achieved. The study of the phenomenon in this aspect can make it possible to identify the existing trends in the development of the musical culture of society and the patterns of its functioning, as well as determine the mechanism and possible levers for controlling this system. A complete and deep knowledge of musical culture as a multifaceted phenomenon in the short term can make it possible to correctly assess the real state, as well as the prospects for the development of the musical culture of society.

At the present stage of development of the humanities, there is only a specialized study of music or musical theory, musical criticism or musical education and musical education as separate phenomena of musical culture. In this work, these phenomena act as structural elements of an integral system of musical culture. At the same time, the dominant, backbone element of the system of musical culture is music as a carrier of spiritual values.

The degree of development of the problem. A number of scientific and theoretical disciplines of musicological, social and humanitarian orientation are engaged in the study of musical culture, its various aspects. Among them, the most significant, of course, are musicology and the history of music related to it, the psychology of music, musical folkloristics, musical paleography, musical textology, as well as the sociology of music, musical pedagogy, musical aesthetics, and in recent years - cultural studies.

In our country, the most complete and in-depth study of various phenomena of musical culture was obtained in the Soviet period. The works of domestic researchers made it possible to learn certain aspects of such a complex phenomenon as musical culture (theoretical studies of V.P. Bobrovsky, N.A. Garbuzov, G.E. Konyus, A.V. Lunacharsky, L.A. Mazel, E.A. Maltseva, V.V. Medushevsky, E.V. Nazaykinsky, V.V. Protopopov, S.Kh. Rappoport, S.S. and others, historical studies by B.V. Asafiev, V.M. Belyaev, M.V. Brazhnikov, R.I. Gruber, Yu.V. .Uspensky and others). In addition, various national musical cultures, their distinctive features and national characteristics are being actively explored.

With the gradual expansion of the need for knowledge of musical culture as a multifaceted phenomenon, many aspects of its study arise. Thus, questions are raised about the functioning of a musical work in society, its cultural context, which activates the search for domestic musicologists in the field of general theory and methodology (B.V. Asafyeva, R.I. Gruber, B.L. Yavorsky, etc.). For the first time, domestic researchers expand the boundaries of the study of musical culture through the knowledge of its social aspects, and also lay the foundations for the study of musical culture as a system, which ultimately led to the emergence of interdisciplinary studies of musical culture.

The knowledge of a number of aspects and phenomena of musical culture was reflected in various studies of foreign authors (in the works of Polish researchers - Z. Liss, Y. Khominsky, German - T. Adorno, A. Webern, G. Knepler, E. Mayer, K. Fischer, Hungarian - J. Maroti, B. Sabolchi, Bulgarian - V. Krystev, S. Stoyanov, D. Khristov, Austrian - K. Blaukopf1, etc.).

At the present stage, musical culture as a complex and multifaceted phenomenon attracts more and more attention of domestic researchers. However, despite the fact that this term is quite widely used, theoretical works that substantiate the essence of musical culture are rare. M.M. Bukhman, O.P. Keerig, E.V. Skvortsova, A.N. Sohor and others speak about the insufficient development of the scientific apparatus of this phenomenon in their works. Even in encyclopedic dictionaries, the essence of musical culture as a specific phenomenon is not analyzed.

When developing the selected problem, we rely primarily on those works in which musical culture is studied as a holistic phenomenon. These are the studies of B.V. Asafiev, R.I. Gruber, ZLiss, M.E. Tarakanov, A.N. Sohor. Of particular interest are modern studies of musical culture by M.M. Bukhman, Yu.N. Bychkov, N.N. Gavryushenko, O.V. Guseva, A.P. .

Considering music as an expression of the "essential forces of man" (K. Marx), the author of the dissertation relies on the works on art by the classics of Marxism. Of undoubted interest are the studies of E. A. Zhelezov, V. V. Medushevsky, E. A. Mezentsev, V. D. Nikulshin, in which culture and art are considered as a manifestation of human essential forces.

In identifying and studying the structural elements of musical culture, studies on musical theory and musical criticism by N. Borev, R.I. Gruber, Yu.V. Keldysh, L.A. Mazel, T.V. Cherednichenko, V.P. Shestakov, N.A. Yuzhanin, as well as works on music education and music. education of Yu.B. Aliyev, L.A. Barenboim, M.I. Katunyan, G.V. Keldysh, V.P. Shestakov and others. musical culture of the second half of the 19th century, the works of L. Barenboim, E. Gordeeva, T. Kiselev, T. Livanova and others were used. Girshman, G.M. Kantor, A.L. Maklygin, T.E. Orlova, N.G. Shakhnazarova and others.

The object of research is musical culture as a multifaceted phenomenon.

The subject of research is musical culture as a system of elements.

The purpose of the dissertation research is the knowledge of musical culture as a system. The goal is achieved by solving the following tasks:

Identification and theoretical understanding of the structural elements of musical culture as a system;

Definition of the dominant, system-forming element of musical culture as an integrity;

Substantiation of music as an expression of the essential forces of man;

Consideration of structural relations between the elements of musical culture as a system;

Evaluation of the value of the structural elements of the system of musical culture on the example of the history of the development of the musical culture of society.

Theoretical and methodological foundations of the study. This study is based on a systematic approach as an expression of the dialectical method. This approach allows us to cognize such a complex phenomenon as musical culture in diversity and, at the same time, in the unity of its elements. The systematic approach is not limited to identifying the composition of the system under study, it, revealing the relationship of the structural elements of integrity, allows you to unravel the most complex tangle of cause-and-effect relationships and patterns of functioning of this system. The theoretical and methodological basis of the dissertation research was the work on the systematic approach of V.G. Afanasyev, L. Bertalanfi, I.V. Blauberg, K.T. Gizatov, M.S. .

In the dissertation, musical culture is studied not as a static, but as a dynamically developing phenomenon. Musical culture becomes the subject of philosophical discourse, during which such philosophical categories as the categories of "general" and "separate" are used.

Scientific novelty of the research.

Formulation of own operational definition of musical culture as a phenomenon;

Substantiation of the provision on the multifunctionality of musical culture through the analysis of the objective functions of musical culture;

Disclosure of the position that the value of music lies in the fact that music is one of the manifestations of the essential forces of man. In the study of this subject, we give our own detailed definition of the "essential forces of man", based on the general characteristics of K. Marx;

Musical culture is considered as an integral system, its constituent elements, their structural relationships within this system are determined, the dominant, system-forming element of integrity is revealed; regularities of the functioning of this system are substantiated;

In scientific research in the field of music, music, music theory and music criticism, music education and musical education are considered only as independent phenomena of musical culture. In this paper, all these phenomena are considered for the first time as elements of integrity using a systematic approach;

On the basis of the identified system of musical culture, the structural relationships of integrity are determined on the examples of the history of the development of Russian musical culture in the second half of the 19th century and the formation of Tatar professional music.

The following provisions are put forward for defense:

1. Based on the definition of the essence of music, as well as the essence of culture, its own scientific definition of musical culture is given, according to which musical culture is a set of spiritual values ​​in the field of music in their diverse manifestation, as well as the activities of people in the creation and consumption of musical values.

2. Based on the fact that musical culture is a multifunctional phenomenon, the dissertation as a result of the study identifies the following functions of musical culture: axiological, hedonistic, cognitive, educational, educational, transformative, communicative, semiotic, relaxation functions.

3. Musical culture as an integral system consists of the following structural elements: 1) music as a carrier of spiritual values; 2) musical theory and musical criticism; 3) musical education; 4) musical education. The above structural elements do not exist in isolation from each other, but in close dialectical connection, interpenetrating and conditioning each other. The dominant element in this system is music as a carrier of spiritual values, which, penetrating into all elements of integrity, cements this system. This dominant element, having a backbone property, serves as a means of synthesizing other elements into a single holistic organism. Music is the bearer of values, while music theory and music criticism, music education, musical upbringing act as elements responsible for the production and consumption of these values.

4. The study of the system of musical culture in the context of Russian musical culture of the second half of the 19th century and in the framework of the formation of the Tatar musical culture of the Soviet period shows that the developed concept allows us to consider musical culture as a dynamically developing whole, enriched through intercultural exchange of values.

The theoretical and practical significance of the work lies in an in-depth understanding of the essence of musical culture as an integrity, with its diverse manifestations. Scientific knowledge of the system of musical culture, its structural elements makes it possible to identify the mechanism and levers of control of this system. Identification of certain trends and patterns of functioning of the system of musical culture allows us to determine the prospects for the development and improvement of the musical culture of society. The application of this system in the near future can significantly influence the course and development of the musical culture of modern society.

The results of the study, its conclusions and provisions can be used in training courses in cultural studies, philosophy, aesthetics, as well as in art history and musicology disciplines.

Approbation of work. The main conclusions and provisions are reflected in a number of publications, as well as in the author's presentations at scientific and practical conferences, congresses of international, all-Russian and republican levels.

1. Shafeev, R.N. A systematic approach to the study of musical culture. The structure of musical culture / R.N. Shafeev // Bulletin of SamSU: humanitarian series. - 2007. - No. 3 (53). - P.223-231.

Publications in other publications:

2. Shafeev, R.N. European and Eastern traditions in the Tatar musical culture / R.N. Shafeev // East and West: globalization and cultural identity: materials of the international congress. - Bulletin of KGUKI. - Kazan, 2005. - No. 3 (Special issue. Part III). - P.163-165.

3. Shafeev, R.N. Music as an expression of the essential forces of man / R.N.Shafeev // Science and education: materials of the VI international scientific conference. - Belovo, 2006. - 4.4. - S.609-613.

4. Shafeev, R.N. Music as a manifestation of the essential forces of man / R.N. Shafeev // Youth, science, culture: research and innovation: materials of interuniversity postgraduate readings. Bulletin of KGUKI. - Kazan, 2006.-№4.-S.14-17.

5. Shafeev, R.N. The concept of musical culture / R.N. Shafeev // Cultural sciences - a step into the XXI century: a collection of materials from the annual conference-seminar of young scientists (Moscow). - M.: RIK, 2006. - V.6. -p.259-263.

6. Shafeev, R.N. The problem of compatibility of music and Islam in the context of the Tatar musical culture / R.N. Shafeev // Concept and culture: materials of the II international scientific conference (Kemerovo). - Prokopievsk, 2006. - S. 154-163.

7. Shafeev, R.N. Man in the paradigm of the musical culture of his time / R.N. Shafeev // Science and education: materials of the VI international scientific conference. - Belovo, 2006. - Ch.Z. - S.468-472.

Work structure. The dissertation consists of an introduction, two chapters, each of which consists of three paragraphs, as well as a conclusion and a list of references.

The concept of musical culture

The musical culture of any nation has its own content, character, and original face. The development of musical culture is of great importance for the development of the entire modern society. This is especially true of Russian society, which at the present stage is undergoing radical changes in all spheres of its life, including in the field of spiritual culture, which is associated with the destruction of those spiritual values ​​that were a priority during the Soviet system, recognized by the world community.

At the present stage, the concept of "musical culture" is increasingly attracting the attention of various researchers. However, despite the fact that this term is quite widely used, theoretical works that substantiate the essence of musical culture are rare. Some researchers, taking musical culture as a subject of study, often bypass the question of the essence of this phenomenon. M.M. Bukhman, O.P. Keerig, E.V. Skvortsova,3 A.N. Even in encyclopedic dictionaries, the essence of musical culture as a specific phenomenon is not analyzed.

The concept of "musical culture" is formed by using such terms as "music" and "culture". In this regard, in order to identify the essence of musical culture, it is necessary, first of all, to understand the content of these concepts. True, it should be noted that researchers from various disciplines have already done considerable work in this direction, which, it would seem, makes it easier for the dissertation student to solve the problem at hand. However, at this stage there are many definitions of "music", as well as "culture", which differ significantly from each other in their content. In this regard, the author of the dissertation considers it possible to take as a basis, at least, take into account those definitions that, in his opinion, most adequately express the essence of the phenomenon.

At the present stage, a lot of works have been created about music. Extensive historical material relating to the definitions of "music", the interpretation of its content, starting with ancient teachings and ending with modern research (including the works of G.V. Plekhanov, B.V. Asafiev, G. Knepler, etc.), is contained in the work of Z. Lissa "Introduction to Musicology". Considering several dozen definitions of music by various authors, Z. Lissa finally concludes that “today, creating a definition of music is extremely difficult,” because "each era defines music differently, depending on the prevailing views and current musical practice."

Undoubtedly, one should not conclude from the above statement that the phenomenon of "music" is unknowable. However, when determining the essence of music, we must take into account the fact that each era is characterized by a certain musical language, style, thinking and other features.

Taking into account that at this stage there are many different definitions of "music", as well as the fact that identifying the definition that most objectively expresses the essence of "music" is extremely difficult, we will turn to authoritative reference publications.

In one source, music is interpreted as “an art form in which artistic images are formed with the help of sounds, and which is characterized by a particularly active and direct impact on the inner world of a person”1.

In another, “music is one of the art forms, reflecting reality in all its diversity of a person’s attitude to what is happening in artistic images”2.

According to O.A. Shapovalova, music is “the art of combining pleasurable expressive and conceptual combinations of vocal and instrumental sounds”3.

T. Popova considers music as “the art of sound expression, reproduction of the life around us in sound images”4.

Functions of musical culture

The developed scientific definition of musical culture as a phenomenon requires concretization of this concept by analyzing the many functional manifestations of this essence. However, as theoretical studies show, the functional characteristics of musical culture are associated with many difficulties. Unlike musical culture, the functions of culture, as well as the functions of music, are being studied quite actively. At the present stage, functional analysis is applied mainly to culture and music, in isolation from each other. Meanwhile, the problems of the functional components of musical culture as a phenomenon that is not reducible to either culture or music, as a rule, are bypassed.

When reading works that raise the question of the functions of one or another phenomenon, one does not always find a clear interpretation of the latter. That is why, first of all, I wanted to start by clarifying the content of the very concept of function. To identify the essence of the "function" let's turn to the reference literature.

So, in one source, a function is understood as “1) activity, the role of an object within a certain system to which it belongs; 2) the type of connection between objects, when a change in one of them entails a change in the other, while the second object is also called a function of the first ".

In the other - as “the relationship of two objects, in which a change in one of them leads to a change in the other. A function can be considered from the point of view of the consequences (favorable, unfavorable - dysfunctional or neutral - afunctional) caused by a change in one parameter in other parameters of the object (functionality), or the relationship of individual parts within a certain whole (functioning) ".

In the following, “as a relation of two or more objects, which is characterized by a concomitant change in one of them when the other is changed”3.

According to the work of E.P. Nikitin, a function is “an external manifestation of the properties of an object in a given system of relations, for example, the function of the sense organs in the body. In mathematics and logic, a function is the operation of matching each element of a certain class (called the domain of this function) with a well-defined element of another class (the domain of this function).

M.S. Kagan understands a function as “the destination of a certain system for a certain action, as its ability to do a certain job”5. A.Sh. Nazarova interprets the function as - “the objective purpose of an object and phenomenon”1. Namely, the latter, in the opinion of the dissertator, is, firstly, concise, and secondly (which is most important) the most adequate.

The revealed definition of “function” allows us to identify the objective functions of musical culture, however, speaking about the functions of the main subject of research, this problem, in fact, remains undeveloped (as was mentioned earlier). At the present stage, researchers often completely bypass the question of the functionality of musical culture. In this regard, let us consider individual attempts by researchers to identify the objective functions of musical culture.

Music as an expression of the essential forces of a person and as a dominant element of musical culture

Man, his essence for many centuries has been the subject of research by representatives of various philosophical trends. The path to scientific knowledge of the essence of man himself was long. Conducting research, philosophers at all times discovered something new in it. Sometimes they saw this new as originally essential, truly human (however, the novelty of these researchers often turned out to be unjustified). Man was considered only as a natural phenomenon, then only as a social phenomenon, while ignoring his other incarnations.

For example, in the philosophy of ancient India, a person was thought of as part of the world soul. Representatives of the Milesian school, standing on the position of hylozoism, represented man as a part of the cosmos (microcosm), which is a reflection of the macrocosm.

In the concept of Aristotle, man was considered as a social being. And this social nature of man distinguishes him both from the animal and from the “superman”: “one who is not able to enter into communication or, considering himself a self-sufficient being, does not feel the need for anything, no longer constitutes an element of the state, becoming either an animal, or a deity."

R. Descartes is characterized by a mechanistic view of a person, considering him as a "machine". L. Feuerbach understands man as a part of nature, while he is isolated from social ties. N.A. Berdyaev presents a person as a microcosm and macrotheos:

“Man is a microcosm and microtheos. He was created in the image and likeness of God. But at the same time, man is a natural and limited being.

At present, the development and justification of more multidimensional and voluminous models of human nature, for example, such as “biosocial” (I.T. Frolov, V.V. Orlov, V.F. Serzhantov and etc.), “biocultural” (M.Scheller, A.Gelen, H.Plesner, L.P.Voronkova and others), “biosociocultural” (M.S.Kagan, Yu.V.Larin and others), guided by the fact that the results achieved in this area are considered not as alternative, but as mutually complementary principles that bring us closer to the knowledge of the very essence of man (note that the recognition of a social principle in a person a priori presupposes a cultural one, so there is no need , as some researchers do, to find in a person, in addition to the social, and the cultural beginning).

In this regard, the “biosocial” model of human nature, which consists in the interaction of its constituent principles, attracts attention. The biological principle is revealed in a person's self-determination of his being as a representative of homo sapiens, the social principle is revealed in a person's self-determination of his being as an individual, a representative of a human being as a rational being. Consequently, the assertion of a person in the world is due to the action of both biological and social principles.

The man did not immediately become what he is today. The humanization of our remote ape-like ancestors, an approximate description of which was given to us by Charles Darwin, is of great importance for our worldview. But if Darwinism studies how living organisms developed on earth under the influence of natural selection, then Marxism shows us how the purposeful activity of man further developed man and turned our ape-like ancestors into modern highly cultured people who, in the course of their life activity, manifest their "essential forces ". And this fact is the most important for our study.

Research in the field of "essential forces of man" is one of the attempts to know the essence of man himself. The study of this phenomenon for scientific knowledge is not new (many domestic researchers addressed this topic in different time periods). Nevertheless, it should be noted that despite the abundance of works in this area, there is still no single point of view on many aspects of the phenomenon under study. The definition of the content of the concept of "essential forces" of a person, as well as their classification, is still debatable.

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musical culture student lesson

Introduction

Conclusion

Bibliography

Introduction

In modern society, which is undergoing transformations in the political, economic, social and cultural spheres, the system of secondary education is undergoing a significant renewal. This process of reforming the school is primarily associated with the humanization and democratization of education, the content of which in the new paradigm is seen as the mastery of culture. At the same time, one of the urgent tasks in the school is the formation of the development of the student's musical culture, which is not only capable of fulfilling its aesthetic, cognitive and educational role, but will also be the key, the basis for the cultural self-improvement of the individual in subsequent life.

Thus, it seems possible to emphasize that the system of musical and aesthetic education of schoolchildren, like any other, meets a certain socially conditioned need, it has its own purpose in specific historical conditions.

Based on many years of experience in the activities of teachers, in terms of educating the musical culture of schoolchildren and taking into account the prospects for its development, I would like to note that today practitioners are interested in such issues as the concept and essence of school musical and educational work, its psychological aspects, as well as tasks and principles formation of musical culture of children. An analysis of scientific literature shows that the problem of the formation of musical culture is in the field of view of philosophers, culturologists, sociologists, psychologists and teachers.

The growing role of art, musical culture in the life of society and a particular person is an obvious and generally accepted fact. This is confirmed by the works of B.V. Asafiev, K.D. Ushinsky, V.N. and ST. Shatskikh, N.L. Grodzenskaya, M.S. Kagan and many others.

Psychological aspects of the development and formation of musical culture among schoolchildren were considered in the studies of L.S. Vygotsky, A.N. Leontiev, G.S. Tarasova and others. The attention of psychologists in the study of this problem is directed, first of all, to the study of the internal mechanisms of this process.

From the standpoint of a systematic approach, the process of development of musical culture in interaction with artistic culture is considered in their works by M.S. Kagan, K.I. Tiyashchenko, Yu.A. Lukin and others. Some researchers present musical culture as a "subsystem" of spiritual culture. Others are like a layer located in the activity structure between the material and spiritual layers.

Certain aspects of musical culture within the framework of music lessons and world art culture are outlined in the works of A.B. Abdulina, Yu.B. Alieva, O.A. Apraksina, L.V. Goryunova, D.B. Kabalevsky. ON THE. Terentyeva, L.M. Predtechenskaya and others.

The object of research is the process of studying educational literature on the theory of teaching musical culture.

The subject of the research is the development of the musical culture of schoolchildren in music lessons.

The purpose of the study: to determine the essence of the musical culture of schoolchildren, the scientific justification and development of technology for its development within the framework of a music lesson.

The specified object, subject and purpose of the study made it possible to determine the main hypothesis of the study. The development of the musical culture of schoolchildren will be effective if:

1) it is one of the priority areas of the learning process in primary school;

2) the specific nature of the musical culture of a schoolchild as an integral education that has personal and activity aspects is substantiated;

3) a methodology for diagnosing the levels of development of the musical culture of a schoolchild has been developed.

To achieve the goal of the study, the following tasks were put forward:

1. Reveal the essence and define the concept of "culture";

2. To study the features of the concept of "musical culture" and determine what it consists of;

3. Theoretically substantiate the technology of developing the musical culture of students in music lessons.

The practical significance of the work lies in the fact that methodological recommendations have been developed to help the music teacher in the formation of the musical culture of schoolchildren.

The control work is structured according to the logic of the goal and consists of: introduction, three chapters, conclusion, bibliography.

1. The concept of "culture" and its essence

Starting this work on the topic: "Musical culture of society and schoolchildren", first of all, it seems appropriate to define the very concept of "culture" as a general scientific category that has a long history and reflects a rather complex and ambiguous reality.

The term "culture" is first found in Cicero and comes from the Latin culture, derived from the word colere - to cultivate, cultivate the soil, to farm. And indeed, the first meaning of this term is “cultivation”, “processing”, “care”, primarily the cultivation of the land and the care of it and animals, i.e. farming. Later, the term "culture" began to include the meaning of "upbringing", "training", "education", i.e. cultivation, cultivation, care of a person, during which something is supplemented and corrected in human nature. A cultured person is a well-mannered and educated person.

Linguists note that until the 17th century the term "culture" had no independent use. It was used only in phrases, meaning improvement, improvement of what it was combined with: “cultura juries” - the development of rules of conduct, “cultura lingual” - improvement of the language, etc.

A clearer meaning to the term "culture" was first given by the German thinker S. Pufendorf. He used this term in relation to the "artificial man", brought up in society, as opposed to the "natural" man, uneducated. In the 18th century, the ideologists of the Enlightenment faced the acute problem of explaining the specifics of a person's way of life, the characteristics of human existence. For this purpose, the term culture began to be actively used, opposing it to the word naturate - nature.

Thus, continuing the ancient tradition, the ideologists of the Enlightenment, using the term "culture", expressed the ideas of culture as a sphere of development of "humanity", "human nature", "the human principle in man" as opposed to the natural, elemental, animal. In the ideology of the Enlightenment, culture was interpreted as a means of elevating a person, improving the spiritual life and morality of people, and correcting the vices of society. In addition, a very important circumstance is the fact that in the ideology of the Enlightenment the term "culture" acquired a moral and evaluative character. From the point of view of the ideologists of the Enlightenment, culture is the embodiment of "true humanity", "truly human being". It includes only that which expresses the dignity of a person and contributes to his development. Consequently, not every result of the activity of the human race deserves to be called a heritage of culture.

But on the other hand, culture was also considered as an existing, really existing and historically changing way of life of people, the specificity of which is due to the achieved level of human reason, science, art, upbringing, and education.

We have to admit that the development of culture has always been associated with the education and upbringing of the younger generation.

In the modern understanding of this concept, "... culture covers everything that distinguishes the life of human society from the life of nature, all aspects of human existence." [Parkhomenko I.T., Radugin A.A. Culturology in questions and answers. - M., 2001 - p. 21] It includes not only the result of spiritual activity, but also a change in the surrounding nature, the creation of an artificial habitat, technology, forms of social relations, social institutions, etc.

Thus, culture includes, in fact, everything that is created by man and characterizes his life in certain historical conditions. Such an expansive content of the concept of culture makes it an object of study for a whole complex of social sciences.

Thus, the content of the concept of culture is revealed through its numerous manifestations. The study of these manifestations allows you to get acquainted with the phenomena of culture, one of which is music. However, for a deeper knowledge of the world of culture, it is necessary to understand what constitutes the specificity or essence of culture. In modern cultural studies, a number of approaches to understanding the essence of culture have developed. There are more than twenty concepts, among which the subject-value, activity, value-semantic and information-sign approaches are accepted by the vast majority of researchers. It is worth noting that each of the concept of culture is interesting in its own way, each has the right to exist. However, culture, of course, is not limited to one, whatever aspect, it is a complex systemic formation. That is why the existence of different, sometimes contradictory concepts of culture, and the allocation of cultural aspects in various branches of knowledge is possible. This explains both the terminological confusion and the emergence of a special science of culture - cultural studies.

The original position was held by D.S. Likhachev. He considered man and nature as two different cultures that cannot exist without each other. Each of them is the fruit of historical development, and if nature has long and everywhere influenced man and culture, then man influences nature - only recently and not everywhere.

Thus, summarizing and summarizing the above, it can be noted that various cultural concepts converge in the following:

* culture distinguishes man from other living beings;

* through culture, social inheritance occurs, the connection of generations, the preservation and development of the ethnic group, humanity;

* culture allows different individuals to more or less equally understand the world, to perform actions that are understandable to others.

In this regard, the musical culture of the individual as one of the components of the concept of "artistic culture" is of particular interest.

2. Musical culture of personality

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. Dorogova. - 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 this 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 much 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;

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.

3. Development of the musical culture of the student

Music is the result of human activity. “Without music, the earth is an empty, unfinished house in which no one lives”, [Naumenko T.I., Alev V.V. Music. Textbook for general educational institutions. 6th grade. - M., 2001 - p. 9] - said the German poet L. Tieck. In addition, culture includes not only what is outside a person, but also the changes that he makes in himself, in his soul, i.e. in their own physical and spiritual form.

And in fact, music forms a whole world of human life, which is born together with a person, grows, becomes richer, more meaningful, influences his character, actions and appearance. Music, especially for a growing person, is a door to some new reality, a path to the unknown; it can be cheerful, comical, but sometimes magical, mysterious, as if opening the veil over the miracles of life, in which you so want to believe.

If we proceed from the fact that culture is a set of material and spiritual values ​​created by human society, then it is clear that musical culture is, on the one hand, a part of the general culture, on the other hand, an indicator of the level of this general culture. We are talking about the musical culture of this or that society, regardless of the degree of its civilization. Nationalities and even tribes have their own musical culture, which are very far from the general lifestyle of the modern world. If they have songs and dances, even the most primitive musical instruments, all this together will be their musical culture.

Musical culture is the same subtle organism as, for example, the economy. Everything is interconnected in it. If one of its links gets upset, the whole culture “sicks”. So, for example, if there is a philharmonic society, performers, listeners in the city, but there are no posters, the concert life will decline. The program for the formation of the musical culture of younger students is aimed at activating and developing the spiritual forces of the child while comprehending the richest experience of musical art. The methodological positions and principles outlined in the article are supported by concrete examples of working with children. The process of updating the strategy and tactics of musical education is aimed at activating and developing the spiritual forces of the child, who comprehends the richest experience of musical art. In this regard, the main criterion for the development of the musical culture of schoolchildren is not the accuracy of knowledge, but the depth of penetration into music, the content of which is “expressive and speaking being” in the unity of images of the world and sound. The process of forming the musical culture of younger schoolchildren can be characterized as the process of emergence, deepening and expression in music of a life meaning that is personally significant for the child. This meaning is defined by us as the main way of comprehending music and life in their unity. This path also allows us to combine a variety of approaches in the classroom and extracurricular forms of musical education of children on a single conceptual basis. Therefore, we put forward the development of the cultural heritage of mankind as the theoretical basis of the program. Comprehension of art and life in accordance with their personal significance for the child.

Programs for the study of musical culture provide for the planning and organization of the content of music classes with children in two directions. One of them considers the comprehension of the unity of the images of the world and sound as the comprehension of the unity of art and life. The implementation of this direction is based on the principles of variability of semantic interpretations in the embodiment of a life phenomenon in music and the plurality of emotional contexts of perception. In another direction, through the prism of mentality, the ritual musical culture of the native land and the national identity of the musical cultures of other peoples and countries are considered. The named direction corresponds to the principle of commonality of musical and cultural traditions.

Noteworthy is the introduction of the concept of culture of musical perception, which is defined as a special structural and functional organization of a complex of human musical abilities, which provides the ability to understand music adequately to the composer's intention. In this regard, the problem of the dependence of perception on various social and historical factors is posed. The author considers listening in the system of needs of society and a person, based on the position that the subjective image of a musical work in the unity of its content and form is determined not only by what it can give a person, but also by what he is looking for in him, his installation . Many new possibilities and paths of development for musical psychology as a whole and for the psychology of musical perception have opened up in connection with the enormous general successes of Soviet and foreign psychology in recent decades. The purpose of music lessons at school is to nurture the musical culture of students. The concept of "musical culture" is quite capacious, it includes:

1. moral and aesthetic feelings and beliefs, musical tastes and needs;

2. knowledge, skills and abilities, without which it is impossible to master the art of music (perception, performance);

3. musical creativity that determines the success of musical activity.

At music lessons, the teacher introduces the children to the best examples of folk music, works of Russian and foreign classics, including modern ones. It is the development of the classical heritage that is the basis for the education of the musical culture of students. A variety of musical activities is one of the conditions for the comprehensive development of children's musical abilities.

The most important task of musical education at school is the formation of the student's musical culture of students, because today's student in the future will certainly be a listener who shows his interests and tastes. It depends on the formation of the listener's musical culture whether a person himself will improve his inner world when communicating with art or not. Perceiving only purely entertaining music. Musical perception develops not only in the process of listening to music, but also in other types of musical activity. Therefore, it is very important that students acquire skills and abilities in the field of singing, rhythm, playing children's musical instruments, master the basics of musical literacy, which contribute to the conscious expressive performance of songs, dances, games.

In performing activities, musical creative abilities are intensively developed, expanding the possibilities of active perception of music. Thus, the formation of the musical culture of students depends on the solution of educational and developmental tasks. B.V. Asafiev, a scientist, in those years devoted a number of articles to the issues of musical education at school. He saw the main task of the subject of music in a comprehensive school in the development of musical perception, the education of the musical tastes of students. However, in his opinion, the lesson should not be limited only to listening to musical works, “practical assimilation of music” is also important for the development of perception. It is successfully carried out in choral activities, where the performance of songs contributes to the development of students' creative abilities. We are so accustomed in wide practice to pay attention to the methodology and forms of training - education, that is, first of all, to the organization of the process, that, as research and conversations with teachers show, we experience great difficulties in determining the development of the musical culture of students - the result.

Many teachers are not satisfied with the traditional level of "knowledge", the number of concepts learned by children from the field of elementary music theory "skills and skills" - the level of mastery of singing skills by children. And to put forward such a traditional indicator of the musical culture of schoolchildren as the development of basic musical abilities, the significance of which for musical development is indisputable, cannot be a sufficient criterion here. The program aims to contribute to the development of musical perception in a wide variety of musical "actions". Unfortunately, even now we still have to meet with the identification of two different concepts: “perception of music” and “listening to music”.

Many educators and scientists have experimentally established that the artistic and aesthetic development of schoolchildren begins in kindergarten or out-of-school centers of aesthetic education, where both kids and schoolchildren are trained - continuity in education and training is naturally carried out. They lay the foundation for systematic education, humanistic and holistic education, an aesthetic attitude towards the world and oneself. But this is profoundly wrong. The perception of music is the inner essence of any form of manifestation of musical activity. Let us recall the statement of G.M. Kagan: “At the heart of any culture is the culture of perception. Where it is not developed or lost, there can be no culture. Where they can't read, they can't write; where they can't listen, they can't play." That is why it is fundamentally important that in the concept of D.B. Kabalevsky, the formation of the musical culture of schoolchildren is determined by the consistent development of their musical perception.

Conclusion

In conclusion of the control work, it is necessary to draw some conclusions regarding the development of the musical culture of schoolchildren.

Revealing the essence of the musical culture of students, experts mean by this the social and artistic experience of the individual, which determines the satisfaction of high spiritual needs, and is formed, first of all, under the direct influence of music. “Music is not going anywhere. She is with us - old and new, childish and adult, she, like our memory, contains everything and remembers everything. Listening to it, we experience the miracle of genuine discoveries: we find out what the ancient castles were like and how the expanse of the seas of antiquity sparkled, the streets of old Vienna and the flowering apple trees of the Parisian suburbs appear before us. And our life begins to seem completely different - not that hurried, full of problems and hardships, but involved in the ever-moving stream of human destinies and aspirations. [Naumenko T.I., Aleev V.V. Music. 7th grade. - M., 2001 - p. 154]

At the same time, it is surprising that we are able not only to perceive or observe the wonderful images that music brings us, but to truly love them, to feel close to us, regardless of either historical or national boundaries.

And yet, discovering the world of music, the student simultaneously learns that it is full of secrets, which is not easy for her to discover her riches. This is the belief that music is a universal language, but how difficult it is sometimes to understand!

That is why understanding music requires work, because almost nothing in the world is given to a person simply, without effort. Maybe only the simplest music is perceived directly, but over the years there is a need for something more than simple melodies and rhythms. Therefore, it is necessary to learn more about the history of music, musical compositions, their content and genre diversity, and finally, about the means of musical expression. All these are the components of the musical and aesthetic culture, the way to which for the student lies through the emotional experiences caused by music.

A music teacher can and should take on the mission of a good mentor and friend of a schoolchild in the world of music, he may well make the world of a child more harmonious and beautiful. From this, an adult working with children usually becomes better himself, because like, as you know, affects like: evil multiplies evil, and beauty creates beauty.

This is the eternal wisdom of the world, in which music exists to affirm the bright, higher principles in a person. And she has been doing this to the best of her ability ever since she first appeared in our world.

In the secret of music, as in many other secrets contained in music, there is one wisdom. It consists in the simple truth that not all questions in life require an answer and that there is something before which a person must humble himself and bow. In the light of the idea of ​​spiritual, humanistic development of the personality of a modern child, the problem of the formation of musical and aesthetic culture looks extremely relevant. The multitude of troubles and unresolved problems that shake modern society should not deprive a growing person of the beauty of music, its magical influencing power.

Obviously, the problem of finding ways to develop the musical culture of the society and the schoolchild is still waiting for its researchers, who will make a worthy contribution to its solution.

Bibliography

1. Abdullin E.B. Theory and practice of musical education in secondary schools. M., 1983.

3. Bezborodova L.A., Aliev Yu.B. Methods of teaching music in general education institutions: Textbook for students of musical faculties of pedagogical universities. M.: Academy, 2002.

4. Vetlugina N.A. Musical development of the child. M., 1979. 451 p.

5. Lobova A.F. Theory and methodology of musical education in elementary school: Textbook / Ural. state. ped. university. Yekaterinburg, 2002.

6. Osenneva M.S., Bezborodova L.A. Methods of musical education of junior schoolchildren. M.: Academy, 2001.

7. Podurovsky V.M., Suslova N.V. Psychological correction of musical and pedagogical activity. M., 2001.

8. Companion of a music teacher / Compiled by Chelysheva T.V. M., 1993.

9. Shkolyar L.V., Krasilnikova M.S., Kritskaya E.D., Usacheva V.O., Medushevsky V.V. Shkolyar V.A. Theory and methods of musical education for children. M., FLINTA - SCIENCE, 1998.

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