Musical culture is a specific kind of culture. Coursework: The influence of modern musical culture on personality Russian classical music

It should be noted that the values ​​of musical art can also serve in the choice of axiological landmarks within the framework of universal human values. In the implementation of this approach, an important place is given to the formation of the musical culture of the individual.

In this study, musical culture is understood as a complex integrative educational and educational activity, which includes the ability to navigate in various musical genres, styles and directions, knowledge of a musical-theoretical and aesthetic nature, high musical taste, the ability to emotionally respond to the content of certain musical works. .

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.

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 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.

In a broad sense, the formation of musical culture is the formation of a person's spiritual needs, his moral ideas, intellect, and aesthetic assessment of life phenomena.

In a narrower sense, musical education is the development of the ability to perceive music. It is carried out in various forms of musical activity, which aim at developing the musical abilities of a person, educating emotional responsiveness to music, understanding and deeply experiencing its content. In this sense, musical education is the formation of a person's musical culture.

Initiation to music introduces the child to the world of exciting, joyful experiences, opens the way for the aesthetic development of life within the framework accessible to his age.

In order to open the door to this world for a child, it is necessary to develop in him the abilities that allow him to successfully express himself in musical activity. It is necessary, first of all, to educate the child's ear for music and emotional responsiveness - the two most important components of musicality. musical culture personality child

The most important indicator of musicality is emotional responsiveness to music. Musicality also implies the presence of requests, interests associated with diverse artistic works, different types of musical practice.

The formation of musical culture involves the correlation of the objective, social, public musical environment with the subjective experience of a child introduced to music.

It is musical talents that manifest themselves earlier than others, in a bright and supposedly independent form in some children, while in others these manifestations are very modest, timid and imperfect. Therefore, there are sometimes doubts about the appropriateness of the musical education of all children. By removing a less capable child from active communication with music, they deprive him of the source of one of the most vivid experiences that enrich life.

The formation of musical culture is understood as a process of transferring the socio-political experience of musical activity to a new generation in order to prepare it for work not only in this area, but also in other areas. This is explained by the fact that the assimilation of the methods of musical and aesthetic activity comprehensively enriches the personality of the child.

In the process of transferring musical experience, a system of purposeful and organized influences is used. Their purpose is two-sided: teaching knowledge, methods of action and influence on the formation of the child's personality, his musical abilities.

An outstanding teacher V.A. Sukhomlinsky called music a powerful means of aesthetic education. The ability to listen and understand music is one of the elementary signs of aesthetic culture, without which it is impossible to imagine a full-fledged education.

Music reflects reality in motion, in the dynamics of development. As in other types of arts, the center of this movement is a person with his thinking, subjective perception of an objectively existing reality.

“Musical culture,” wrote V.A. Sukhomlinsky, - needs a listener who is able to critically understand artistic musical phenomena, and not a passive contemplator"[i] .

Nowadays, characterized by the development of various types of technical means capable of reproducing music, the flow of musical information is practically unlimited. The more important is the problem of organizing purposeful listening to music, which helps to form the selectivity of the consumption of musical impressions in accordance with the level of cultivated artistic taste.

Listening to music is closely connected with musical and cognitive activity.

In the process of diverse forms of musical perception, children learn, comprehend, assimilate the laws of the musical language, learn to recognize and reproduce music, and become familiar with the values ​​of art. All this broadens the horizons of students, makes it possible to significantly develop the musical abilities of children.

Thus, the influence of music on the upbringing of a personality is manifested and carried out in various forms of musical activity:

• a) listening to music
• b) creative activity, performance;
• c) cognitive activity.

All forms of musical activity help to form the skills of active perception of music, enrich the musical experience of children, instill in them knowledge, which in general is an important prerequisite for enriching the musical culture of schoolchildren.

The formation of musical culture is not limited only to the development of individual abilities of children, it provides for both the integrated development of general musicality and the formation of the child's personality as a whole.

The widest nutrient medium is necessary for the formation of a child's musical culture. First of all, the acquisition of the musical experience itself is essential, because a meeting with music is always a meeting with new feelings, emotions, thoughts born of life. At the same time, acquaintance with other types of art, with life itself in its various manifestations, enriches the emotional and musical experience of the child.

Musical development also occurs in the process of assimilation by the child of socially developed methods and actions. This testifies to the close connection that is established between upbringing, training and development.

In the process of acquiring social musical experience by a child, his abilities are revealed and developed on the basis of natural inclinations; interests, inclinations to music are formed; there is an emotional responsiveness, a desire for active creative activity, an evaluative attitude to musical works.

Musical images, in the totality of their melodic, harmonic, modal means, have an aesthetic impact on the child. However, it is quite obvious that, given their versatile influence on the child's body, it is possible to help strengthen his nervous system, cause joyful experiences and thereby contribute to physical development. It is also known that various phenomena of life can be the subject of aesthetic feelings caused by music. Hence, there is more opportunity for the formation of the child's moral image by means of music. In the process of musical perception, the child makes the first generalizations, he has comparisons, associations.

Beautiful music awakens in the child the desire for beauty, educates him as an artist, makes him an accomplice in the creative process.

The formation of musical culture is also understood as a process of transferring the socio-historical experience of musical activity to a new generation in order to prepare it for the upcoming work not only in this area, but also in other areas. This is explained by the fact that the assimilation of the methods of musical and aesthetic activity comprehensively enriches the personality of the child.

In the process of transferring musical experience, a system of purposeful and organized influences is used.

Musical development is a complex, multi-component phenomenon. Various interrelations are established between its components: between natural inclinations and musical abilities formed on their basis; internal development processes and experiences that are transmitted to the child from outside; the assimilation of experience and, at the same time, development, etc. Thus, there is a combination of various internal processes and external influences on them.

The formation of a student's musical culture is also understood as a transition from the manifestation of simple, lower forms of aesthetic attitudes and abilities to more complex and higher ones. If new qualities are obtained in these relationships and abilities, then we can talk about the musical development that has taken place.

Sometimes there is a gap between the first reactions to music and the timing of the start of organized education. So, sometimes these reactions appear very early, and the impact is delayed, and for some time the child is left to himself, which either delays development or gives it the wrong direction. But it happens that the external influence is very plentiful and premature and does not take into account the degree of readiness of the child. These contradictions indicate that it is necessary to conduct research on the level of musical education of children and, based on the results obtained, develop a program for the formation of the musical culture of schoolchildren.

Sometimes incorrect connections are established between the forms of musical activity and the needs of children. So, one and the same nature of activity, one and the same sequence of tasks are formed. The life of a child is richer in musical impressions. He has new requests and interests, he wants to prove himself in other situations.

Contradictions also arise between the personality of the child with its characteristic originality of musical manifestations and its participation in collective activities. There is a problem of the formation of the musical abilities of children with different data, and sometimes with different training in the conditions of collective musical events. In this situation, it is precisely the (concert) musical events of cultural institutions that are necessary, since here children find themselves in equal conditions.

A harmonious combination of mental and physical development, moral purity and aesthetic attitude to life and art is a condition for the formation of a holistic personality. Properly carried out musical development is always associated with the improvement of many qualities and properties of the child.

If children are brought up in a spirit of responsiveness to everything beautiful in life, if they receive a variety of impressions, come into contact with various types of musical activity, then the formation of a musical culture will be fruitful and successful.

Music always acts in the unity of its content and form. It appears in its immediate integrity. Changing the musical sound causes a new experience for the listener. It is created as a result of the perception of musical images expressed by peculiar combinations of expressive means. Some of them are more pronounced and dominate. But these expressive means, always being in various harmonic combinations, act precisely in their own complex. Thus, the perception of even the simplest works is a complex process for a child. Therefore, the formation of musical culture, the development of the aesthetic perception of music requires a certain system and sequence. With regard to school-age children, by selecting works, it is possible to evoke various emotions in children. In addition, they are instilled with the simplest skills, the first foundations of a listener's culture are laid: the ability to listen to the end of a piece, follow its location, memorize it, distinguish its main idea and character, the most striking means of musical expression.

Music is an art that is based primarily on the auditory experience of a person, uses musical sound to embody the ideological and aesthetic meaning of the work, spiritual development for the listener, society as a whole. It enhances the influence of the theater and other arts, coming into contact with them, and accompanies many areas of human activity.

The very experience of beauty in art acts as a measure of a broader attitude of a person to the world - and knowledge, and appreciation, and enjoyment, and communication. First of all, the sense of beauty stands out here, which intensely captures the imagination, mind and emotional sphere.

Features of the influence of music are manifested in intonation, and in rhythm, and in its other aspects; on the basis of a multitude of perceived musical works, types of intonations, genres, styles, etc. are comprehended.

A piece of music is directed towards the listener, designed for the possibilities of his perception, his abilities. In turn, the perception of music is not a passive process, it has a creative activity,

For a full-fledged perception of complex forms of musical art, a certain internal preparation is needed, at least a minimum listening experience is needed. However, in order to properly perceive the meaning of music, one should be clearly aware of what the specificity of this art is.

Music differs from other art forms in many ways - its expressive means and images are not so obvious. Music operates by means of a purely emotional impact, refers mainly to the feelings and moods of people. It tends to convey the moods of people in very generalized and specifically conditional sound images. Through associative comparisons, special artistic hints, music creates a vivid idea of ​​space and movement, of dark and light tones, of grandiosity or fantastic miniature. Musical images, intonations and combinations of sounds cannot be translated into the language of concepts; they always allow a certain freedom of perception and interpretation. That is why the same images often receive sound expression in music as in other arts.

Understanding musical works by children of primary school age will contribute to the formation of a worldview and moral ideals, the need for systematic communication with the art of music, and the development of artistic taste.

The culture of taste is built on a combination of cultural factors and acts as a condition for a broader, embracing the entire culture of the individual - the culture of thinking and activity, when such an important quality of the individual as integrity arises. Only then the meanings of the work are most fully revealed to the listener. Thus, we can say that the formation of a student's musical culture includes the development of taste.

Each stage of the formation of musical culture is marked by a desire for the unity of the artistic world, the integrity of the child. But this integrity can be achieved in full measure only on the basis of a harmoniously developed personality.

Each art has its own, special laws of reflection of the surrounding world, its own expressive language. It is also inherent in music. In order to learn to understand this language, it is necessary, first of all, to distinguish between the elements of which it consists, to feel their expressive properties.

The formation of musical culture begins with the acquisition of experience, the components of which are listening to music and the creativity of the children themselves.

Creativity disposes children to freedom and discovery, to adventure and original expression. Musical activity can then be creative if you actively participate in it. Children can either improvise songs, or compose on close and familiar subjects.

Children's activity is regarded as creative in the event that a new, previously unknown to the individual or the children's team is created. Children's creativity is evaluated not by its objective high qualities, but by virtue of its educational value for the "creators" themselves.

The second feature of children's musical creativity is reflected in the desire to emphasize the role of children's emotional desire to express their feelings.

The theoretical basis for interpreting the concept of children's creativity is based on the recognition that children have inborn inclinations that are independently and spontaneously revealed in the activities of children. In early childhood, the so-called free creativity is already taking shape, which later is destined to become an activity. At the same time, the importance of innate instincts is emphasized, the role of unconscious drives and aspirations is exaggerated. Children's creativity is understood as an independent artistic activity.

The sources of creativity in many cases are life phenomena, music itself, the musical experience that the child has mastered.

So, speaking about the essence of musical culture, it is important to emphasize that it helps to form the spiritual needs of the child, expands his moral ideas, develops the intellect, the ability to give an aesthetic assessment of life phenomena.

Based on the foregoing, we can conclude that the process of educating and shaping musical culture among younger students involves a broad acquaintance with musical phenomena, understanding their meaning, problems associated with introducing the individual to culture, the process of including the individual in the musical culture of society and assimilating the norms , values, ideals of society through the prism of musical art.

Thus, in the implementation of this approach, an important place is given to the formation of the musical culture of the individual.

Music is a significant part of world culture, without it our world would be much poorer. Musical culture is a means of personality formation, it brings up an aesthetic perception of the world in a person, helps to cognize the world through emotions and associations with sounds. It is believed that music develops hearing and abstract thinking. Acquisition of sound harmony is as useful for music as mathematics. Let's talk about how the formation and development of musical culture took place and why people need this art.

concept

Music plays a special role in human life, since ancient times, sounds have fascinated people, immersed them in a trance, helped to express emotions and develop imagination. Wise people call music a mirror of the soul, it is a form of emotional knowledge of the world around. Therefore, musical culture begins to form at the dawn of the formation of mankind. It accompanies our civilization from its very beginnings. Today, the term "musical culture" is understood as the totality of musical values, the system of their functioning in society and the ways of their reproduction.

In speech, this term is used on a par with such synonyms as music or musical art. For an individual, musical culture is an integral part of general aesthetic education. It forms the taste of a person, his inner, individual culture. The knowledge of this kind of art has a transformative effect on a person's personality. Therefore, it is so important to master music from childhood, to learn to understand and perceive it.

Theorists believe that musical culture is a complex complex whole, which includes the ability to navigate the styles, genres and directions of this type of art, knowledge of the theory and aesthetics of music, taste, emotional responsiveness to melody, the ability to extract semantic content from sound. Also, this complex may include both performing and writing skills. The well-known philosopher and art theorist M. S. Kagan believed that musical culture can be distinguished by an individual dimension, i.e. the level of an individual, his knowledge, skills in the field of this art, as well as a group level that is tied to certain subcultures and age segments of society. In the latter case, the scientist talks about the musical education and development of children.

Music features

Such a complex and important phenomenon of art as music is extremely necessary both for an individual and for society as a whole. This art performs a number of social and psychological functions:

1. Formative. Music is involved in the formation of the human personality. The formation of the musical culture of the individual affects his development, taste, socialization.

2. Cognitive. Through sounds, people convey sensations, images, emotions. Music is a kind of reflection of the surrounding world.

3. Educational. Like any art, music is able to form certain, purely human qualities in people. It is not in vain that there is a point of view that the ability to listen and create music distinguishes a person from an animal.

4. Mobilizing and invocative. Music can stimulate a person to action. It is not in vain that there are marching melodies, labor songs that improve the activity of people, decorate it.

5. Aesthetic. Still, the most important function of art is the ability to give pleasure to a person. Music gives emotions, fills people's lives with spiritual content and brings pure joy.

The structure of musical culture

As a social phenomenon and part of art, music is a complex entity. In a broad sense, its structure is divided into:

1. Musical values ​​produced and broadcast in society. This is the basis of musical culture, which ensures the continuity of historical eras. Values ​​allow us to comprehend the essence of the world and society, they are spiritual and material and are realized in the form of musical images.

2. Various types of activities for the production, storage, broadcasting, reproduction, perception of musical values ​​​​and works.

3. Social institutions and institutions involved in various types of musical activities.

4. Individuals involved in the creation, distribution, and performance of music.

In a narrower understanding of the composer D. Kabalevsky, musical culture is synonymous with the term "musical literacy". It manifests itself, according to the musician, in the ability to perceive musical images, decode its content, distinguish good melodies from bad ones.

In yet another interpretation, the phenomenon under study is understood as a certain general property of a person, expressed in musical education and musical development. A person must have a certain erudition, know a certain set of classical works that form his taste and aesthetic preferences.

Music of the Ancient World

The history of musical culture begins in ancient times. Unfortunately, there is no evidence of their music from the very first civilizations. Although it is obvious that the musical accompaniment of rites and rituals existed from the very first stages of the existence of human society. Scientists say that music has been around for at least 50,000 years. Documentary evidence of the existence of this art appears since the time of Ancient Egypt. Already at that time there was an extensive system of musical professions and instruments. Melodies and rhythms accompanied many kinds of human activity. At this time, a written form of fixing music appeared, which makes it possible to judge its sound. From previous eras, only images and remnants of musical instruments remained. In ancient Egypt, there was spiritual music that accompanied the performance of cults, as well as accompanying a person in work and rest. During this period, music first appears for listening with aesthetic purposes.

In the culture of ancient Greece, music reaches its highest development for this historical period. Various genres appear, instruments are improved, although vocal art prevails at this time, philosophical treatises are created that comprehend the essence and purpose of music. In Greece, musical theater appears for the first time as a special kind of synthetic art. The Greeks were well aware of the power of the impact of music, its educational function, so all the free citizens of the country were engaged in this art.

Music of the Middle Ages

The establishment of Christianity in Europe significantly influenced the features of musical culture. There is a huge layer of works that serve the institution of religion. This legacy is called spiritual music. Almost every Catholic cathedral has organs, every church has a choir, all of which make music a part of everyday service to God. But in contrast to sacred music, a folk-musical culture is being formed, it finds expression of the carnival principle, about which M. Bakhtin wrote. During the late Middle Ages, secular professional music was formed, it was created and distributed by troubadours. The aristocracy and knights become customers and consumers of music, while they were not satisfied with either church or folk art. This is how music appears that delights the ear and entertains people.

Music of the Renaissance

With the overcoming of church influence on all aspects of life, a new era begins. The ideals of this period are ancient samples, therefore the era is called the Renaissance. At this time, the history of musical culture begins to develop mainly in a secular direction. During the Renaissance, such new genres as madrigal, choral polyphony, chanson, chorale appeared. During this period, national musical cultures are formed. Researchers talk about the emergence of Italian, German, French and even Dutch music. The system of tools in this historical period is also undergoing changes. If earlier the organ was the main one, now the strings are ahead of it, several types of viols appear. The type of keyboards has also been significantly enriched with new instruments: clavichords, harpsichord, cembalos are beginning to win the love of composers and performers.

Baroque music

During this period, music acquires a philosophical sound, becomes a special form of metaphysics, and melody acquires special significance. This is the time of great composers, during this period A. Vivaldi, J. Bach, G. Handel, T. Albinoni worked. The Baroque era was marked by the emergence of such art as opera, also at this time oratorios, cantatas, toccatas, fugues, sonatas and suites were created for the first time. This is the time of discoveries, the complication of musical forms. However, in the same period there is an increasing division of art into high and low. Folk musical culture is separated and is not allowed in what in the next era will be called classical music.

Music of classicism

Lush and redundant baroque is replaced by strict and simple classicism. During this period, the art of musical culture is finally divided into high and low genres, canons are established for the main genres. Classical music has become the art of salons, aristocrats, it not only gives aesthetic pleasure, but also entertains the public. This music has its own, new capital - Vienna. This period is marked by the emergence of such geniuses as Wolfgang Amadeus Mozart, Ludwig van Beethoven, Joseph Haydn. In the era of classicism, the genre system of classical music was finally formed, such forms as the concerto, symphony appeared, and the sonata was completed.

At the end of the 18th century, the style of romanticism was formed in classical music. It is represented by such composers as F. Schubert, N. Paganini, later romanticism was enriched by the names of F. Chopin, F. Mendelssohn, F. Liszt, G. Mahler, R. Strauss. In music, lyricism, melody, and rhythm begin to be valued. During this period, national composer schools were formed.

The end of the 19th century was marked by anti-classical sentiments in art. Impressionism, expressionism, neoclassicism, dodecaphony appear. The world is on the threshold of a new era, and this is reflected in art.

Music of the 20th century

The new century begins with protest moods, music is also undergoing revolutionary changes. After the First World War, composers look to the past for inspiration, but they want to give old forms a new sound. The time of experiments begins, the music becomes very diverse. Classical art is associated with such great composers as Stravinsky, Shostakovich, Bernstein, Glass, Rachmaninoff. The concepts of atonality and aleatorics appear, which completely changes the idea of ​​​​harmony and melody. During this period, democratic processes in musical culture are growing. Variety appears and captures the attention of the general public, later there is such a protest musical movement as rock. This is how a modern musical culture is formed, characterized by a multitude of styles and trends, a mixture of genres.

The current state of musical culture

At the end of the 20th - beginning of the 21st century, music is going through a stage of commercialization, it becomes a widely replicated commodity, and this greatly reduces its quality. During this period, the possibilities of instruments significantly expand, electronic music appears, digital instruments with previously unseen expressive resources. Eclecticism and polystylism dominate in academic music. Modern musical culture is a huge patchwork quilt in which avant-garde, rock, jazz, neoclassical trends, and experimental art find their place.

History of Russian folk music

The origins of Russian national music must be sought in the times of Ancient Russia. It is possible to judge the trends of that period only by fragmentary information from written sources. In those days, ritual and everyday music was widespread. Since ancient times, professional musicians existed under the king, but the significance of folklore works was very great. The Russian people loved and knew how to sing, the genre of everyday song was the most popular. With the advent of Christianity, Russian musical culture was enriched with spiritual art. Church choral singing appears as a new vocal genre. However, traditional monophonic singing dominated in Russia for many centuries. Only in the 17th century did a national tradition of polyphony take shape. From the same time, European music came to Russia, with its own genres and instruments, and differentiation into folk and academic music began.

However, folk music never gave up its positions in Russia, it became a source of inspiration for Russian composers and was very popular among both ordinary people and the aristocracy. It can be seen that many classical composers turned to folk musical baggage. So, M. Glinka, N. Rimsky-Korsakov, A. Dargomyzhsky, I. Tchaikovsky widely used folklore motifs in their works. During the Soviet period, folklore music was in great demand at the state level. After the collapse of the USSR, folklore music ceased to serve the ideology, but did not disappear, but occupied its own segment in the general musical culture of the country.

Russian classical music

Due to the fact that Orthodoxy for a long time imposed a ban on the development of secular music, academic art develops in Russia rather late. Beginning with Ivan the Terrible, European musicians lived at the royal court, but there were no composers of their own yet. Only in the 18th century did the Russian school of composers begin to take shape. However, for a long time musicians were influenced by European art. A new era of musical culture in Russia begins with Mikhail Glinka, who is considered the first Russian composer. It was he who laid the foundations of Russian music, which drew themes and expressive means from folk art. This has become a national specific feature of Russian music. As in all spheres of life, Westerners and Slavophiles have developed in music. The first included N. Rubinstein, A. Glazunov, the second - the composers of the Mighty Handful. However, in the end, the national idea won, and all Russian composers, to varying degrees, have folklore motifs.

The pinnacle of the pre-revolutionary period of Russian music is the work of P. I. Tchaikovsky. At the beginning of the 20th century, revolutionary changes were reflected in musical culture. Composers experiment with forms and expressive means.

The third wave of Russian academic music is associated with the names of I. Stravinsky, D. Shostakovich, S. Prokofiev, A. Scriabin. The Soviet period became more of a time for performers than for composers. Although outstanding creators appeared at that time: A. Schnittke, S. Gubaidulina. After the collapse of the Soviet Union, academic music in Russia almost completely went into performance.

Popular music

However, musical culture does not consist only of folk and academic music. In the 20th century, a full-fledged place in art is occupied by popular music, in particular jazz, rock and roll, pop music. Traditionally, these directions are considered "low" compared to classical music. Popular music appears with the formation of mass culture, and it is designed to serve the aesthetic needs of the masses. Variety art today is closely connected with the concept of show business, it is no longer an art, but an industry. This type of musical production does not fulfill the educational and formative function inherent in art, and this is precisely what gives theorists reason not to take pop music into account when considering the history of musical culture.

Formation and development

According to experts in the field of pedagogy, the cultivation and upbringing of musical culture should begin from the very birth of a person, or even during intrauterine formation. This contributes to the development of the intonation hearing of the child, contributes to his emotional maturation, develops figurative and abstract thinking. But if up to 3 years old a child can mainly listen to music, then later he can be taught to perform and even compose. And from the age of 7, experts recommend starting music theory training. Thus, the formation of the foundations of musical culture allows the child to develop a versatile, full-fledged personality.

The formation of good taste must begin

In the earliest childhood. Only love and

the habit of genuine art can become

reliable immunity against vulgarity,

against bad taste!

D.B.Kabalevsky

MUSICAL CULTURE OF PRESCHOOL CHILDREN

Musical art and musical culture enrich the spiritual world of a person, reveal the concepts of beauty, harmony, the meaning of life and its moral guidelines. In modern society, the child is under the influence of the musical information flow, and the boundaries of its positive and negative impact are not always defined.

Listening to musical works of a low artistic level and seeing a positive attitude towards them from an adult (with an insufficiently developed musical and general culture of teachers), the child is disoriented in ideas about the beauty of music, about the value standards of musical art.

The orientation of a preschool child on the values ​​of musical culture as part of a general spiritual culture is important not only for the musical, but also for the general development of the child, the moral and aesthetic development of the personality.

The core of the concept of "musical culture of a preschooler" isemotional responsiveness to highly artistic works of musical art,which plays the role of an initial positive assessment for the child and contributes to the formation of interest in music, the beginnings of taste, ideas about beauty. The development in children of emotional responsiveness and awareness of perception (emotional and evaluative attitude to music) leads to manifestations of preferences, a desire to listen to musical masterpieces, and gives rise to creative activity.

The musical culture of a preschooler is formed in all types of musical activities (perception, performance, creativity, musical and educational activities, musical and gaming activities), based on the development of aesthetic emotions, interest, taste, ideas about beauty.

Preschool age is extremely important for further mastery of musical culture. It is in childhood that the standards of beauty are formed, the experience of activity is accumulated, on which the subsequent musical and general development of a person largely depends. The earlier a child gets the opportunity to accumulate the experience of perceiving folk music and masterpieces of world musical classics of different eras and styles, the richer his thesaurus, the more successful his development and spiritual development is achieved.

Musical masterpieces form a child's ideas about beauty, standards of beauty, the foundations of aesthetic taste.

As a result of the development of the foundations of musical culture, the child develops initial value orientations: the ability to appreciate beauty in life and art. The creative perception of music by children contributes to their overall intellectual and emotional development.

Therefore, the formation of the foundations of musical culture, and through it the artistic and aesthetic culture of the child, is the most important task of today, which makes it possible to realize the possibilities of musical art in the process of becoming a person.

At the same time, it is very important that the value orientations of a person can be brought up only on the perception of true values ​​and their constant assessments by the child.

Receiving artistically full-fledged musical impressions from childhood, the child gets used to the intonation language of folk, classical music, comprehends the “intonation dictionary” of music from different eras and styles.

Musical culture is understood as a vital and spiritual environment within which only music itself can meaningfully exist. The life and spiritual environment, which is called musical culture, and in which most people are involved in one way or another, is far from homogeneous. In some cases, the boundaries of musical and cultural areas are very rigidly defined and difficult to penetrate. In other cases, these boundaries may not be as visible at first glance, but they are there. In different texts, there are attempts to isolate various musical spheres within the musical culture: serious music and entertainment, folk and professional music, music of oral tradition and written, mass and elite music, music of primary genres, which is directly included in the flow of life, and music of secondary genres. existing in special non-domestic forms.

Each of these and other similar differences are based on different criteria, dictated by the need for research or journalistic task. At the same time, music is most often considered in its sociological projection, i.e. either from the point of view of those social tasks to which it is adjacent, or from the point of view of the interests of those social groups within which it is predominantly distributed (rural or urban population, youth, etc.). But when the goal is to understand the intrinsic nature of musical culture as the spiritual interaction of people about music, regardless of their professional, social, age or any other sociological definition, then it is necessary to choose the criteria that are essential for the flow of the actual musical process.

There are at least two criteria that characterize the quality of the internal organization of the musical and cultural environment. One of them is the status of a musical work adopted in it. It can be different: from the idea of ​​a musical work as a creation of an individual composer's creativity, completed within its boundaries and thought out in all details, to the idea of ​​music as a dependent component of a holistic ritual action. It is clear that these two polar approaches within each culture to the degree of authenticity and stability of the musical text also reflect all the dissimilarity of the corresponding musical and cultural systems as a whole.

Another criterion for distinguishing musical cultures is based on how differently they comprehend and independently develop the main types of musical activities of people: composing, performing and listening. In the musical culture of the folklore type, where there is no "specialization" of authors, performers and listeners, the differences between them are minimal, and in the musical culture of the concert type they are maximal. But the most interesting thing is that there is an unambiguous relationship between these two variables: in a strictly rationalized culture of the concert type, a musical work is a thing that is stable in all its details, and in a folklore culture, the diffuseness of its internal structure corresponds to the diffuseness of the structures and boundaries of its musical manifestations.

The main trend of historical changes in the world musical culture was the consistent autonomization of the structural elements of the musical environment and the corresponding complication of the connection between them.

Review questions

1. Similarities and differences in musical cultures.

2. The main trends in the development of world musical culture.

Lecture #1

concepts how: " art", «

"art" and "culture".

Yes, the word art art

Staro-Slav. iskous

In the most.

culture

Music(from Greek - the art of muses) -

the temporal nature of music,

In addition, by means of music, portraits of various characters (real and fantastic) can be created, relationships between them are reflected, the most precise psychological details of their characters are conveyed: N. Rimsky-Korsakov, the symphonic suite "Scheherazade" - images of the formidable king Shakhriyar and the princess Scheherazade; M. Mussorgsky "Pictures at an Exhibition" - the plays "Gnome", "2 Jews" and many others. others;

Sometimes the artistic intent of a musical work is associated with some literary work or (more rarely) with a work of fine art. This kind of music is called software. The main idea can be embodied either in a generalized non-plot composition, where the name only indicates the general direction of development of musical images, or in a composition that conveys events more consistently (as a rule, these are works with a clearly conflicting plot).

Musical sounds, organized in a certain way, serve as means of embodying musical images. The main elements of music (its expressive means or its musical language) are melody, harmony, meter, rhythm, mode, dynamics, timbre) etc.

Music is formed in musical notation and realized in the process of performance. Distinguish between monophonic music (monody) and polyphonic (polyphony, homophony). The division of music into genera and types is also used, i.e. genres.

Musical genre – a polysemantic concept associated with the origin, conditions of performance and perception of music. The genre reflects the relationship between the extra-musical factors of musical creativity (life purpose, connection with the word, dance, other arts) and its intra-musical characteristics (type of musical form, style).

At the first stages of the history of music, the genre acted as a traditional artistic canon, within which the composer's individuality did not manifest itself. The canonization of music-making norms was entirely dictated by certain social functions of music (for example, cult, ceremonial). AT applied music primary genres formed: song, dance, march, the features of which depended on the functions performed by music in various everyday, labor, ritual situations.

Over time, the concept of "genre" began to be applied more widely and generally, denoting one or another type of artistic creativity on various grounds. This is due the existence of multiple genre classifications : by the nature of the subject (comic, tragic, etc.), by the origins of the plot (historical, fairy tale, etc.), by the composition of the performers (vocal, instrumental, etc.), by purpose (etude, dance and etc.).

The most common is the classification according to the composition of the performers:

The musical culture of each nation has specific features that are manifested primarily in folk music. On the basis of folk art, in accordance with the laws of the evolution of society, professional music develops, various schools, artistic directions arise and replace each other. styles in which the reflection of the spiritual life of people is carried out in different ways.

Music(Greek Μουσική from Greek μούσα - muse) - a type of art, the artistic material of which is sound, organized according to altitude, time and volume sound. In addition, musical sound has a certain "color" - timbre (the timbre of a violin, trumpet, piano). Music is a specific kind of sound activity of people. With other varieties (speech, instrumental-sound signaling, etc.), it is united by the ability to express thoughts, emotions, and volitional processes of a person in an audible form and serve as a means of communicating people and controlling their behavior. To the greatest extent The music is getting closer With speech, more precisely, with speech intonation, which reveals the internal state of a person and his emotional attitude to the world by changing the pitch and other characteristics of the sound of the voice. This relationship allows us to speak of intonation nature of music. At the same time, Music is essentially different from all other varieties of human sound activity.

musical sounds or tones form various historically formed musical systems, selected by the artistic practice of the society in which they exist (for example, musical modes).

We are surrounded not only by musical sounds. Sounds of natural origin are not musical art. As mentioned above, the sounds, which, like atoms make up a musical composition, must have such properties as a certain pitch (the sound of nature may not have one fundamental tone), duration, loudness and timbre.

Musical art- specific art, since works of art are created using sound material. Musical art can be defined as the skill of composers, performers, the results of whose activities (the creation and performance of musical works) are capable of delivering aesthetic pleasure.

musical culture - a set of musical values, their production, storage and distribution and reproduction.

Origin of music.

There are a number of hypotheses about the origin of music − mythical, philosophical and scientific character. The process of music formation was reflected in ancient mythology. Myths tell about the Greek gods who created the Musikian arts, the nine Muses, the assistants of the god of beauty and the patron of music, Apollo, who had no equal in playing the lyre. In ancient Greece, there was a legend about Pan and the beautiful nymph Syringa. It explains the birth of the multi-barreled whistle flute (Pan flute), found among many peoples of the world. The god Pan, who had the appearance of a goat, chasing a beautiful nymph, lost her at the river bank and carved a mellifluous pipe from the riverside reed, which sounded amazingly. The beautiful Syringa, frightened of him, was turned into this same reed by the gods. Another ancient Greek myth tells of Orpheus, a beautiful singer who subdued the evil furies, who let him into the realm of the shadows of Hades. It is known that Orpheus could revive stones and trees with his singing and playing the lyre (cithara). The festive retinues of the god Dionysus were also distinguished by music and dance. There are many Dionysian scenes in the musical iconography, where, along with wine and dishes, people playing musical instruments are depicted in its environment.

The first pra-scientific, philosophical and musical-theoretical attempts to substantiate the origin of music also originate in antiquity.

Pythagoras, who studied in the East for a long time and brought many of his knowledge from the secret sanctuaries of the ancient Egyptian temples, created the foundations of the sciences of Numbers, Cosmos, Music of the heavenly spheres, was the author cosmological theory origin of music. The cosmogonic process is inseparable from first sound, accompanying the formation of heaven and earth, the emergence of the cosmos from chaos. At the same time, the sound, or sounds, born at the very moment of cosmogenesis (the formation of cosmic bodies), and then accompanying each new cycle of cosmic time, are immediately harmonious, this is “world music”.

Pythagoras believed that the musical law is, first of all, a material law, and it manifests itself in the form of a certain physical order, embodied in a hierarchy of musical tones that form a musical scale. The essence of this law comes down to the realization of the connection between the pitch, the length of the sounding string and a certain number, which implies the possibility of mathematical calculation of the sound interval through its expression by dividing the string, for example: an octave with divisions 2:1, a fifth - 3:2, a quart - 4:3 etc. These proportions are equally inherent in both the sounding string and the structure of the cosmos, which is why the musical order, being identical to the cosmic world order, is manifested in a special "world music" - Musica mundana.

World music arises due to the fact that the moving planets make sounds when they rub against the ether, and since the orbits of individual planets correspond to the length of the strings that form a consonant consonance, the rotation of the celestial bodies also generates the harmony of the spheres. However, this celestial spherical harmony, or music, is initially inaccessible to the human ear and physical perception, for it can only be perceived spiritually through intellectual contemplation.

Musica mundana, according to the teachings of the Pythagoreans, is followed by Musica humana, or human music, in the cosmic hierarchy, for the human being also has inherent harmony, reflecting the balance of opposing vital forces. Harmony is health, disease is disharmony, lack of consonance. Hence the unprecedented significance of music for human life in the teachings of Pythagoras. So, Iamblichus (a follower of Pythagoras and Plato) reports: “Pythagoras established education with the help of music, from where the healing of human morals and passions comes from and the harmony of spiritual abilities is restored. He prescribed and established for his acquaintances the so-called musical arrangement or compulsion, inventing in a miraculous way a mixture of certain melodies, with the help of which he easily turned and turned to the opposite state of the passion of the soul. And when his students went to sleep in the evening, he freed them from daytime confusion and hum in their ears, cleansed their agitated mental state and prepared silence in them by one or another special singing and melodic devices received from the lyre or voice. To himself, this man composed and delivered such things no longer in this way, through an instrument or voice, but, using some ineffable and inconceivable deity, plunged his mind into the air symphonies of the world, listened to and understood the universal harmony and consonance of the spheres, which created a more complete than mortal , and a richer song through movement and rotation. Irrigated as it were by this and made perfect, he conceived to transmit to his disciples images of this, imitating as far as possible with instruments and a simple voice. Thus, the third type of music - instrumental music, or Musica instrumentalis, is only an image and likeness of the highest music Musica mundana. And although the divine purity of number in earthly audible music cannot receive a full bodily embodiment, nevertheless, the sounds of an instrument are capable of bringing the soul into a state of harmony, ready in turn to perceive heavenly harmony, for like affects like and can be influenced by like.

In the 19-20 centuries, based on the study of the music of various peoples of the world, information about the primary musical folklore of the Vedda, Kubu, Fuegians and others, several scientific hypotheses of the origin of music were put forward. One of them claims that music as an art form was born in connection with rhythm-based dance (K. Wallaszek). This theory is confirmed by the musical cultures of Africa, Asia and Latin America, in which the dominant role belongs to body movements, rhythm, percussion, and percussion musical instruments prevail.

Another hypothesis (K. Bucher) also gives primacy to the rhythm, which was the basis for the emergence of music. The latter was formed as a result of the labor activity of a person, in a team, during coordinated physical actions in the process of joint labor.

In passing, we note thatterm music , formed in European culture, is not always available in other cultures of the world. For example, among the majority of the peoples of Africa, Oceania, among the Indians of America, it traditionally does not stand out from other spheres of life. Musical action, as a rule, is inseparable here from ritual actions associated with hunting, initiation rites, weddings, military gatherings, worship of ancestors, etc. In some tribes, sometimes there are no ideas about music at all, there is neither the term "music" nor its analogues. What is music for us Europeans - drumming, the rhythmic sound of sticks, the sound of various primitive folk instruments, motifs sung in chorus or alone, etc. - the natives, for example, Oceania do not consider music. Aborigines, as a rule, tell myths and all sorts of fairy tales that explain the origins of certain musical phenomena that arise in some other world and came to the world of living people from supernatural forces (gods, spirits, totemic great-ancestors) or sound phenomena of nature (thunderstorms, sounds of the rainforest, birdsong, the cry of animals, etc.); often indicates the birth of musical instruments and human musical abilities in the world of spirits or genies (spirits of the forest, dead people, gods).

Charles Darwin's theory, based on natural selection and the survival of the most adapted organisms, made it possible to assume that music appeared as a special form of wildlife, as a sound-intonation rivalry in the love of males (which of them is louder, who is more beautiful).

The “linguistic” theory of the origin of music, which considers the intonational foundations of music and its connection with speech, has received wide recognition. One idea about the origins of music in emotional speech was expressed by J.-J. Rousseau and G. Spencer: the need to express triumph or sorrow brought speech into a state of excitement, affect, and speech began to sound; and later, in abstraction, the music of speech was transferred to the instruments. More modern authors (K. Stumpf, V. Goshovsky) argue that music could exist even earlier than speech - in an unformed speech articulation, consisting of gliding rises, howls. The need to give sound signals led a person to the fact that from dissonant, unstable sounds, the voice began to fix the tone at the same height, then fix certain intervals between different tones (distinguish more harmonious intervals, primarily the octave, which was perceived as a merger ) and repeat short motives. An important role in the comprehension and independent existence of musical phenomena was played by the ability of a person to transpose the same motive, singing. At the same time, both the voice and the musical instrument were the means for extracting sounds. Rhythm participated in the process of intonation (intonation rhythm) and helped to highlight the most significant tones for the chant, marked caesuras, and contributed to the formation of modes (M. Harlap).

Music has accompanied man since ancient times. We can find confirmation of this in archaeological excavations, ethnographic reference books and collections. Thanks to the abundant illustrative material depicting musicians or musical instruments, rock paintings, ceramics, figurines, coins and other artifacts, it became known that even in ancient times there were four types of instruments: idiophones (percussion instruments, the sound of which was extracted from the body of the instrument itself) , membraphones (percussion instruments with stretched skin, etc.), aerophones (winds) and chordophones (strings).

(For more information about the music of ancient eras, we will get acquainted

in the next lecture).

PERIODIZATION OF THE HISTORY OF MUSIC

Lecture #1

The history of musical art (history of music) is a branch of musicology, a humanitarian science that reflects a holistic picture of the development of musical culture and is divided into: 1) the general history of musical art, which covers the history of musical culture of all times and peoples; 2) on the history of music of individual peoples and countries; 3) the history of genres and forms of music, varieties of composing and performing arts, etc.

The course "History of Musical Art" is an integral part of the professional training of cultural studies students.

This course is closely related to other academic disciplines that reveal the specifics of the historical process of cultural development. These are such disciplines as "History of World Artistic Culture", "History of Foreign Culture", "History of Ukrainian Culture", "Culture of the 20th Century", "Culture of Regions", "Ethics. Aesthetics, History of New European Culture, History of Arts, History of Literature, History of European Countries, History of Religion, History of Philosophy, History of Theatre, History of Cinema, History of Choreographic Art , "History of Ukrainian artistic culture", "People's studies and folklore of Ukraine", "Ethnoculturology", "artistic culture of the south of Ukraine", "History of costume and fashion".

The course "History of Musical Art" is divided into the musical art of the Ancient World and consideration of the historical ways of development of Western European, Russian and Ukrainian musical culture.

The study of Western European, Russian and Ukrainian music is based on the historical monographic principle. The choice of musical works that are included in the program is due to their historical weight, the brightness of the artistic and figurative content and stylistic qualities.

Based on this, the history of Western European, Russian and Ukrainian music is considered in the aspect of the formation and functioning of such artistic trends and styles as: the Middle Ages, Renaissance humanism, baroque, classicism, etc.

The aim of the course is to deepen the understanding of students in the field of world musical culture. In this regard, it is planned to familiarize with the content of the concepts of "music", "musical culture", "musical art" with the main characteristics of musical cultures of different eras (from the era of primitive society to the present day).

During the course, students will improve their knowledge of music history, music theory, musical aesthetics (in particular, they will receive information about various genres, trends, trends in music, including modern music), get acquainted with many pieces of music.

The material of the proposed classes will contribute to the general cultural enrichment of students, the education of their artistic and aesthetic taste, will allow them to more easily, and most importantly, more accurately navigate modern cultural, and above all, musical life.

In the history of music, such concepts how: " art", « culture”, “music”, “musical art”, “musical culture”.

In the world there are many philosophical and scientific definitions of concepts

"art" and "culture".

Yes, the word art(translated from Church Slavonic art(lat. experimentum - experience, test); has many meanings In a narrower sense, for example, this:

Staro-Slav. iskous- experience, less often torture, torture;

figurative understanding of reality; the process or outcome of an expression

the inner or outer world of the creator in an (artistic) image;

Creativity directed in such a way that it reflects the interests of not only the author himself, but also other people;

One of the ways of knowing and perceiving the world around.

The concept of art is extremely broad, and in a broad sense it can manifest itself as:

Extremely developed skill in a particular area.

For a long time it was considered art - a kind of cultural activity that satisfies a person's love for beauty.

Along with the evolution of social aesthetic norms and assessments, any activity aimed at creating aesthetically expressive forms has gained the right to be called art.

On the scale of the whole society, art is a special way of knowing and reflecting reality, one of the forms of artistic activity of social consciousness and part of the spiritual culture of both man and all mankind, a diverse result of the creative activity of all generations.

In the most in a broad sense, art is called craftsmanship, the product of which gives aesthetic pleasure.

culture(lat. cultura - cultivation, farming, education, reverence) - the subject of study of cultural studies.

The word culture has many meanings:

1. the totality of material and spiritual values ​​created and being created by mankind and constituting its spiritual and social being.

2. a historically determined level of development of society and a person, expressed in the types and forms of organization of people's life and activities, as well as in the material and spiritual values ​​​​created by them.

3. Culture is the result of a human co-creation game aimed at evolution, where, on the one hand, there is a playground created by the Creator, its conditions, resources and potential, and on the other hand, human creativity aimed at improving this playground and oneself on it. territory, through the acquisition of experience and knowledge. Thus, culture is the cause and effect of the learning game. (Narek Bavikyan)

4. the total volume of human creativity (Daniil Andreev)

5. a complex, multi-level sign system that models a picture of the world in every society and determines the place of a person in it.

6. "the product of the playing person!" (J. Huizinga)

7. "the totality of genetically non-inherited information in the field of human behavior" (Yu. Lotman)

8. cultivation, processing, improvement, improvement;

9. upbringing, education, development of morality, ethics, morality;

10. development of the spiritual sphere of life, art - as creativity;

11. creative achievements in some private sphere, limited by time, place, or some other common property (the culture of Ancient Russia, modern culture, pop culture, Slavic culture, popular culture, the culture of ancient Egypt);

12. "the totality of extra-biological manifestations of a person."

Music(from Greek - the art of muses) - a kind of art that reflects reality in sound artistic images and actively influences the human psyche. Music is able to concretely and convincingly convey the emotional states of people. It also expresses ideas of a generalized plan connected with feelings. Music often draws on the means of other arts, such as the word (literature).

We perceive a piece of music in a completely different way than, for example, works of fine art. Music has a temporary nature, flows in time. A sculpture or a painting can be examined for a long time and in detail, but music does not wait for us, it constantly moves forward, “flows” in time. However, this property, called the temporal nature of music, gives musical art huge advantages over other types of creativity: in music, development processes can be depicted.

The sound nature of music gives it the opportunity to establish a connection with the sounds of the surrounding reality. Musical sounds and their combinations can resemble the sound phenomena of the outside world (singing birds, buzzing bumblebees, trampling horses, the sound of train wheels, the rustling of leaves, etc.) - this property is called "onomatopoeia" or "sound representation". Of course, the image in music is conditional, but it gives an impetus to the listener's imagination.

More than anything else, sound representation in music brings it closer to the natural world. This is the ability to imitate natural phenomena (imitate them), such as: birdsong P. I. Tchaikovsky "Song of the Lark" from the "Children's Album" new performing techniques of playing the piano - singing, cries, habits and gaits of the diverse world of birds - he kept them at home "Exotic Birds"); the splashing of waves, the murmur of a stream, the play of water, the splashes and splashes of a fountain (the musical “marinists” are, first of all, N. Rimsky-Korsakov’s symphonic suite “Scheherazade part 1 “The Sea and Sinbad’s Ship”, C. Debussy “The Sunken Cathedral”, M .Ravel "Water Play", B. Smetana symphonic poem "Vltava", F. Glass "Waters of the Amazon", pictures of nature, reflection of the seasons, Vivaldi "The Seasons", G. Sviridov "Troika", "Spring and Autumn"; time of day, E. Grieg "Morning", R. Strauss - "Sunrise" From the symphonic poem "Thus Spoke Zarathustra"), storm, thunder, gusts of wind (in Beethoven's Pastoral Symphony, in the symphonic poem Wind of Siberia by Boris Tchaikovsky ). Music can also imitate other manifestations of life, imitate, transmit with the help of musical instruments or by introducing specific sounding objects, the sound realities of the life around us. For example, pistol or machine-gun shots, war drum shot (Onegin's shot in Tchaikovsky's opera Eugene Onegin, machine-gun bursts in the part "Revolution" from S. Prokofiev's cantata To the 20th Anniversary of October), clockwork, bell ringing (in operas by Boris Godunov M. Mussorgsky, Piano Concerto No. 2 by S. Rachmaninov Part 1), the work of mechanisms, the movement of the train (the symphonic episode "The Plant" by A. Mosolov, the symphonic poem Pacific 231 by A. Honegger).