Song. Variety of songs

Tests

Are you a romantic soul who prefers soft and delicate music? Or a mysterious person who likes the samemusic? Let's find out which song suits you best!

And after the test, you can read some interesting facts about music.

1. Music can revive drooping plants. If you put speakers near a withering flower and turn on light music, the plant will begin to come to life before your eyes and may even lean towards the sound source. Thanks to music, plants also grow faster.

2. Music protects against hearing loss. As the experiment showed, people who have never been fond of and have not been involved in music hear worse than musicians.

3. Music can heal the heart, helping people recovering from heart surgery or after a heart attack. It has been proven that the vascular system begins to work better against the background of pleasant music.

4. Music + sports training = 20% more efficiency. The effect is comparable to the use of doping.

5. Music makes a person kinder and more responsive. The experiment showed that those who regularly listen to their favorite songs do good deeds and help 5 times more often.

6. Music activates sensory pathways that muffle pain. Thanks to music, a person can be distracted from troubles and reduce the level of anxiety.

7. Experts say that if you listen to pleasant music while eating, the taste of food is enhanced by 60 percent.

8. Favorite music helps to cope with unrequited love and set yourself up for a new relationship.

9. A person's heart beats to the beat of the music he is currently listening to.

10. None of the Beatles knew how to read music.

11. While listening to loud music, a person drinks more alcohol than without it.

12. Music turns on the part of the brain responsible for pleasure.

13. Music while playing sports adds endurance to a person.

14. Metallica, after a concert in Antarctica, was entered into the Guinness Book of Records as the first and only band that performed on all seven continents within one year.

15. The famous inventor of the Stratocaster and Telecaster electric guitars didn't know how to play the guitar at all.

16. A favorite song, as a rule, is associated in a person with some important moment in life.

17. The longest organ concert in the world will last 639 years. Starting in 2001, the concert will end at 2640.

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Folk art- artistic, folk art, folklore, artistic creative activity of the working people; poetry, music, theater, dance, architecture, fine arts and applied art created by the people and existing among the masses ... ... Great Soviet Encyclopedia

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FUTURES- a standard contract, the termination of rights and obligations under which occurs by offsetting counter homogeneous claims within a certain period or by execution at a future date (performance date) at a price that is set based on ... ... Law Encyclopedia

SIGN NOTATION- a sign system that fixes the melos of the main body of liturgical hymns, which has developed in Dr. Russia in the 11th century Famous singers. books are still used in the Old Believers and in individual churches of the Russian Orthodox Church. The earliest manuscripts containing Z. n., ... ... Orthodox Encyclopedia

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• Formation of the idea of ​​the song as the source and pinnacle of music.
• Formation of listener culture.
• The development of creative activity, rhythmic, modal feeling.
• Raising interest and love for folk and classical music that conveys the beauty of human feelings.

Equipment:

• teacher's workstation,
• piano,
• presentation.

Music material:

• V.Kalistratov, sl. Prikhodko “Mice walked on foot”
• D. Kabalevsky "Clowns".
• D.Kabalevsky "Our land".
• Rus.nar song “And I am in the meadow”.
• I. Dunaevsky "March".
• D.Kabalevsky "March".

Teacher: Guys, today we will continue our journey into an extraordinary imaginary world. It cannot be touched, seen with the eyes, smelled or tasted. But you can take it with all your heart and soul. Let's start exploring the route.

We are heading for the SEA OF MUSIC. Oh guys, one of the inhabitants of the sea of ​​music is already here! What “whale” “swam” when we entered the classroom?

Students: March.

Teacher: And what is the nature of the march.

Students: Marching, peppy, clear.

Teacher: who can march?

Students: Everyone - soldiers, children, toy soldiers.

Teacher: Guys, let's play the game “Guess who is walking?”

(The teacher performs various marches - military, children's, march of tin soldiers - and students depict the corresponding movements)

Well done! Can mice walk?

Students: Yes

Teacher: But before we start singing a funny song about mice, we need to tune our musical instrument - the voice.

Articulatory gymnastics and singing of “Swing” is performed. songs "Mice walked on foot"

Teacher: What are the marches?

Students: Various.

The music of D. Kabalevsky “Clowns” sounds

Students: dance.

Teacher: Why do you think so? How did you know?

Students: The nature of the work is dance, funny.

Teacher: Who do you think can dance so provocatively and funny?

Who gives us laughter and joy?

Students: Clowns!

Teacher: Of course clowns. And the work is called “Clowns”, and it was composed by a wonderful composer and friend of all the guys D. B. Kabalevsky.

Who can dance? How can you dance?

Students: in pairs, ensemble, soloist.

Teacher: the inhabitants of the fairy forest can also dance. We will now see this in the game “Who is dancing”

Teacher: What are the dances?

Students: Various.

Teacher: Guys, closed their eyes and turned into a “Big Ear”.

The teacher performs the song by D.B. Kabalevsky “Our land”

What “whale” has now “swimmed” in our class?

Students: SONG.

Teacher: Who can sing the song?

Students: ALL.

Teacher: Right. Who recognized this song? What is it called?

Students: "Our land."

Students: About the native land, about nature, about beauty.

Teacher: what is the nature of the song?

Students: Gentle, affectionate.

Teacher: Right. This means that we will perform affectionately, sound leading is smooth, at a calm pace.

The words of verses 1 and 2 are repeated and clearly pronounced. Then it is performed to musical accompaniment. Learning verse 3.

Teacher: (Spanish. Fragment of the song “And I am in the meadow”) Who recognized the work? What is the nature of the song?

Students: playful.

Performance of a round dance song. The song "Autumn" performed by the teacher sounds.

Teacher: Guys, what is this song about?

Students: about autumn.

Teacher: What is the nature of the song?

Students: Sad, sad.

Teacher: Yes, the melody is sad, but light. As well as the time of the year, which she painted for us. Guys, what colors does the music “draw” with?

Students: Musical.

Teacher: Listen, my dreamers! Do you hear? It makes a SEA OF SOUNDS! Further, our path will run along sound waves, and here we will also find many interesting discoveries. What sounds do we know in pitch?

Students: high, medium, low.

Teacher: Can pitch be represented by a line? (Student answers) It is possible. Musicians even have such a concept - “sound line”. Let's try to draw a line and voice it.

3.

4.

Teacher: But there are other sounds that are not musical. Name them.

Students: Noise (knocking, clapping, stomping, barking, creaking, etc.)

The game "Attention"

5. Fixing.

Teacher: What songs were played at the lesson today?

Students: “Mice walked on foot”, “Our land”, “Autumn”, “And I am in the meadow”

Teacher: Are they the same or different in nature:

Slide 8

Students: Various - funny, sad, tender, playful.

Teacher: Right guys.

SONGS ARE DIFFERENT, BUT ANY SONG CAN BE SING.

PROGRAM AND METHODOLOGY FOR STUDYING THE MUSICAL CULTURE OF CHILDREN

The problem of observing the development of children in their contact with music and the world around them is essentially equivalent to the problem of teaching children music and educating children with music. The importance of diagnostics is also determined by the fact that, proclaiming the focus of the educational process on the development of the personality of the child, we cannot refuse the questions: what is a modern child, what worries him, what does he hear around him? That is, it is necessary to try to understand the problem “what is a child in music and whether music lives in a child”, try to draw a musical and pedagogical portrait of a modern child.

When we talk about musical culture as part of the entire spiritual culture, we emphasize that the formation of a child, a schoolchild as creator as artist(and this is the development of spiritual culture) is impossible without the development fundamental abilities- the art of hearing, the art of seeing, the art of feeling, the art of thinking (out of harmony - I see, I hear, I feel, I think, I act).

A long-term study has convinced us that musical culture as a part of spiritual culture is understood by teachers mainly with an emphasis on the first part of the formulation - education. musical culture. The second part of it - as a part spiritual- is considered rather as a beautiful ending to the formulation of the goal, which has become a kind of "catch phrase". It is precisely the underestimation of the spiritual basis of musical education that does not allow the qualitative development of the musical culture of children (perhaps, including teachers). Often after a concert, we can hear, for example, such an assessment: “How Mozart’s performer played illiterately ...”, which least of all implies that the performer does not know musical literacy - after all, he graduated from the conservatory, but “claims” to spiritual trace left by his game. By analogy with this, the level of musical culture of any teacher-musician is also not directly proportional to the received musical education. It's not about professionalism, but about the spiritual layer of musical culture. This layer is not knowledgeable, but an inner, personal, inspiring experience of communication with art.

Let's explain with an example. At the competitions "Teacher of the Year of Russia" in 1996 and 1997. out of 15 art teachers who are well versed in the professional techniques of choral singing, playing musical instruments, skillfully finding relationships with literature, fine arts, only one (!) teacher came close to the essence of a music lesson as an art lesson. He managed to stop a wonderful moment of communication with music, which made both children and adults feel ownership of the content of music and such a spiritual kinship with it that there was a pause that I wanted to keep in order not to destroy this moment.

But what, other lessons looked worse, there was no result? What is considered a result? Information obtained, choir skill acquired, melody recognized, song well sung? Or maybe just this moment when, from a spiritual shock, I wanted to be silent? ..

Here we need to talk about sincerity as the basis of the music lesson and in general any form of initiation to it. Then it is not enough for a music teacher to have a certain level of musical proficiency, he must have precisely musical culture emanating from his spiritual world. And he should be able to reveal the educational potential of world musical culture, which lies, first of all, in spirituality. Without this, school music lessons turn into a "professional fuss" about music. Perhaps this last phrase can to a large extent reflect trend modern teaching of music at school on the wave of "updating the content of music education".

In this regard, a separate question: what is required from a music teacher in the framework of "integrative art courses", lessons based on interdisciplinary connections (as they were called in the recent past)? He is required to read poetry, and show slides, pictures, and illustrate music with choreographic movements, and draw parallels with literature, architecture, etc. - and all this is also in line with a certain educational task. But let's think: if a music teacher still doesn't show a picture at a music lesson, doesn't read poetry, doesn't compare music with architecture - "frozen music", then other teachers can do it for him.

But if the teacher does not sharpen the actual musical problem, he will not reach the essence of music with the children. musical phenomenon as an artistic reflection, an "artistic model" of a life phenomenon in its moral and aesthetic human assessment, if he does not have time to feel the music and listen with schoolchildren to its fabric, then no one at school will do this for him! Comprehensive school urgently requires a teacher -musician, able to pave the way for children essence music, to give them something that no "integrative courses" of arts teaching can fill - the penetration actually into music.

For all this, and as a consequence of the use of new pedagogical technologies in mass music education, the problem of monitoring the development of children in contact with music and the world around them is equivalent in its significance to the problem of teaching music.

In its essence, it is twofold: what is “a child in music and does music live in a child” and what is the musical and pedagogical portrait of a modern child. It is clear that it does not focus on “monitoring” the knowledge, skills and abilities acquired in music lessons (the importance of which is not denied), but the identification of those changes that occur in the spiritual world of the child under the influence of music.

The structure of the concept of "musical culture" is very diverse, it can be divided into many components that have content content of different degrees of significance. The task is not to single out as many components as possible, but to find such cores, such components that would reflect the most essential thing in musical culture, in the dynamics of its development. In research practice, a sufficient number of different methods, measurements of various parameters of musical development have been accumulated: the level of singing development, the skills of perceiving modern, folk, classical music; the level of children's creative activity in various types of musical activity, etc. But the development, advancement of children in different aspects of comprehending music still does not in total constitute musical culture (especially as part of the spiritual one). Therefore, we emphasize: the components of musical culture should be generalized, they should meaningfully express the most essential in it, become general in relation to the particular - special knowledge - and determine both the strategy of work on the formation of musical culture, and the strategy of research search to identify the level of its formation. The components of musical culture cannot be independent, but only interconnected, i.e. proceed from a common basis, express some genetic relation of musical art, the musical culture of the student and the very process of its formation.

Such a basis, in our opinion, can and should be those neoplasms in the spiritual world of the child, which develop due to refraction in his thoughts and feelings moral and aesthetic content of music and allow to reveal the degree of involvement of the individual in the spiritual culture of mankind. As for the components, there are three of them: musical experience, musical literacy, musical and creative development of schoolchildren. Let's consider each of them.

Musical experience of schoolchildren. This is the most visible, the very first “layer” of musical culture, which gives a general idea of ​​the child’s musical interests, his passions, and the breadth of his musical (and life) horizons. It testifies to a certain orientation (or lack of it) both in the totality of the values ​​of the musical heritage of the past - classics, musical folklore - and in the contemporary surrounding musical life. It also reflects certain musical skills. The main criteria for experience in our study are:

The level of general awareness of music,

The presence of interest, certain predilections and preferences,

The motivation for a child to turn to this or that music is what the child is looking for in it, what he expects from it.

One part of the methods that make it possible to determine the musical experience of a child is aimed at clarifying his understanding of the place of music in people's lives, in his own life: what place does he assign in his experience to serious music, folk music, folklore, modern examples of musical art of all forms and genres; whether there are certain musical skills in his experience (in the broadest sense of the word), what kind of musical environment surrounds him, what is his musical life. Of course, the most important thing is to find out what the child expects from music, what he is looking for in it. The answer to this question must be sought in the sphere of spiritual accumulations (if he has them). The methodology aimed at identifying spiritual formations has three options: 1) meeting with music in the classroom, 2) music for the home music library, 3) music for friends.

In the methodology "Meeting Music in the Lesson" students are invited to draw up a program of the final lessons of the quarter, year of their own choice and at the same time explain why they prefer this or that music. This task can also be offered to schoolchildren outside school hours in an imaginary situation: “If you were a music teacher, what works would you choose for the final lesson of the quarter, year, what would you like to tell the children with it?”

When processing the data obtained, the highest marks are given to the answers of children who included music of various forms and genres in the lesson program, the one that they heard not only in the classroom, but also outside it. The main thing in this technique is meaningful motive referring to certain works. The vastness of children's information is also taken into account - information about the composer, the author of the poetic text, acquaintance with the history of the creation of the work, with its life content, the availability of options for one's own interpretation, the ability to sing or play melodies of works, etc.

Methodology "Music for home music library" associated with an imaginary situation, for example: “You had the opportunity to visit the Melodiya company, which records music. What kind of music will you choose to listen to with your family? The evaluation criteria are the same as in the previous method.

Methodology "Music program for friends" is also associated with identifying the preferred music among the children, but in such a situation when it is necessary to draw up a program for a musical evening-concert for peers and classmates. The results are processed in the same way.

The study of the musical experience of schoolchildren will be supplemented by a small conversation with each child, during which it becomes possible to clarify some details, to obtain additional information about the areas of modern musical life that excite the child. Here are some questions for children:

1. How do you feel about music?

2. Why is music needed 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 music at school outside of class? 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 listen to last time with your parents? Where?

10. What music programs have you liked lately? Why?

An important role in the study of the musical experience of the child is played by the clarification of the parents' understanding of the role of musical culture in his life. Parents are asked to answer the following questions, which they can answer in writing:

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's help in solving this problem?

As a result of this study, we expect to gain insights into the following:

a) do children divide music into music “for a lesson”, “for home”, “for spending leisure time with friends”;

b) what kind of music - classical, folk, entertaining - do children prefer in general and in various situations;

c) what is the breadth of the child's general outlook (both musical and life), associated with an understanding of the role of music, art in society;

d) what are the motives for turning children to this or that music.

Not the last role in the study of the child's musical experience will be played by data on the presence of certain skills in musical performance in children: whether he sings in a choir, plays musical instruments, gets an education in a special school or studies independently at home, in a circle, in a studio; whether he dances while practicing this kind of art somewhere, etc. It is not particularly difficult to obtain this information. The main thing, we repeat, is to identify motive - whether such activity arouses interest in the child; whether he does it of his own accord or because his parents force him; goes to the choir because he loves to sing, or because he gets satisfaction from collective activities with other guys, etc.

The second component of musical culture is musical literacy, which D. B. Kabalevsky called "essentially musical culture" and which is really its core, its meaningful expression. It is characteristic that all the parameters of this component, as formulated by the author of the concept of general musical education himself, are connected only with the spiritual comprehension of musical art, with the upbringing special qualities of his perception. It:

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

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

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

The developed methods, which make it possible to obtain a certain idea of ​​the level of musical literacy that is being formed in children, are precisely aimed at identifying the above parameters by obtaining characteristics mediated by expression in verbal, plastic and pictorial images. Of course, certain skills and abilities are added to this special “sense of music”. In general, the evaluation criteria here are:

The degree of internal openness of schoolchildren to comprehend unfamiliar music;

The child's ability to "discover himself" through music;

The degree of the child's involvement in the content of music, in the life phenomena behind this content, which, in his opinion, gave rise to just such a musical and semantic content;

The degree of orientation of children in musical and dramatic processes, in expressive means, understanding their organization in a particular work based on the laws of musical art.

Of course, these are criteria of a general order - generalized criteria. They, being revealed in research methods through more specific, “technological” criteria, will make it possible to judge the formation of one or another parameter (component, element) of musical literacy and musical culture as a whole. Let us consider in detail such methods as "Musical and life associations", "Choose music", "Discover yourself through music", "Identify the composer of unfamiliar music".

The first method can be called Musical Life Associations. It reveals the level of schoolchildren's perception of music: it makes it possible to judge the direction of musical life associations, the degree of their correspondence to the musical life content, emotional responsiveness to the music heard, and the perception's reliance on musical patterns. The music chosen for this purpose contains several images, the degree of contrast of which may be different, but the contrast must be “read” in relief. At the same time, the following condition is observed: the music must be unfamiliar children. We can recommend, for example, Mozart's Fantasy d- mall, but without the introduction - the first three fragments.

The sound of music is preceded by a confidential conversation between the experimenter and the children (their number usually does not exceed 2-3 people) in order to adjust their perception. This is a conversation about the fact that music accompanies a person’s whole life, it can recall events that happened before, evoke feelings that we already experienced, help a person in a life situation - calm, support, encourage. Then listen to the music and answer the following questions:

1. What memories did this music evoke in you, with what events in your life could it be connected?

2. Under what life circumstances 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)?

In order for the study to be fruitful, it is necessary to offer the same music to children of different ages. This will additionally reveal what children of a certain age are looking for in music, what they rely on in their associations. Depending on how music is taught at school (program, systematic, etc.), the third question may have a different degree of complexity, professional content, for example: how many images did you hear in music? what genre does the music belong to? in what form is the music written? how the principle of unity of visual and expressive means is implemented in music, etc. After listening to music, each child has an individual conversation. If the child finds it difficult to answer the question, then you can remind him of musical fragments. The answers are recorded in writing (for "history" - it is interesting to compare the answers of children in a few years in order to trace the dynamics of musical development).

The processing of the results is carried out according to the following parameters: the accuracy of the musical characteristics, the development and artistry of associations, the emotional coloring of the answers. Particular attention is paid to the direction of children's thinking: from the general to the particular - from the figurative content of music to expressive means, elements of language, genre, style, etc. If the children's answers show that they understand the form of a work as a secondary phenomenon, determined by the content, then we can talk about their developing holistic perception of the musical image, and hence the emerging "algorithms" of comprehending thinking.

Second technique "Choose Music" is devoted to the definition of music related in content: how reasonably children can, when comparing three or four fragments, find consonant in content. The proposed music should be similar in appearance: the similarity of texture, sound dynamics, elements of musical speech, composition of performers, instruments, etc. The difficulty of the technique lies in the fact that works with non-contrasting music are offered. For example:

7option A. Lyadov. "Prelude" d minor,

P. I. Tchaikovsky. "Barcarolle"

D. B. Kabalevsky. "Sad story".

Option 2 E. Grieg. "Lone Wanderer",

P. I. Tchaikovsky. "Morning reflection", E. Grieg. "The Death of Oze".

After listening, schoolchildren should determine which of these works are related in terms of the "spirit" of music, in terms of musical-figurative structure, and tell on what grounds they determined this community.

The technique allows to reveal a special “sense of music”. The main thing in it is what children evaluate: their own emotions caused by music, or simply expressive means, divorced from life's content. If they rely only on means, this indicates a low level of perception; only on their emotions - the average level. Establishing a relationship between one's emotions and the sounding music should be considered a high level, when the child can tell in sufficient detail why these particular emotions arise in him, and not other emotions.

normal Ability,holisticgeneral intonation.

The third technique Discover yourself through musicto ourselves

Exercise 1.

Task 2.

Task 3.myself child, his spiritual world

Now let's turn to the last parameter of musical literacy: the ability to identify the author of unfamiliar music by ear, if it is characteristic of him. The presence of such an ability indicates a sufficiently high level of development indicates a low level of perception; only on their emotions - the average level. Establishing a relationship between one's emotions and the sounding music should be considered a high level, when the child can tell in sufficient detail why these particular emotions arise in him, and not other emotions.

This is not some special ability peculiar only to professionals or the elite, but normal Ability, given to man by nature. What is it? Probably in some special "grasping" holistic nature of the sounding music, in an intuitive sense general intonation. And, note, the younger the child, the more pronounced this ability is in him.

The third technique Discover yourself through music aims to penetrate into the depths of the personal relationship and perception of music by children. To some extent, it allows us to reveal a very important thing: to what extent schoolchildren “discover themselves” to ourselves through music, as far as they are aware of their feelings and experiences, feel their involvement in the content of music, its images, events.

For this, children are offered one piece or part of it, for example, a fragment from P.I. Tchaikovsky’s “Dumka”, F. Chopin’s “Nocturne”, D. B. Kabalevsky’s “Prelude”, and others, and are given three tasks.

Exercise 1. Children are placed in the position of "interlocutor of music." She tells them about something, and they must then tell about their feelings.

Task 2. Children must reveal the musical content in plastic, in motion (this can be a plastic miniature pantomime-improvisation, or, in extreme cases, you can simply “breathe” with your hands).

Task 3. Children are invited to embody "themselves" in the picture. We emphasize in particular: the student does not draw the music that he hears, namely myself while playing this music. This condition applies to all three tasks of the methodology, since in it we are not interested in music, but child, his spiritual world in his own assessment. Music, on the other hand, acts as a source, a meaningful reason for self-esteem.

The first and third tasks can provide very interesting material for the "psychological fantasies" of the teacher: practice shows (and we will show this below) that one way or another, but the "hidden" breaks out in children, which reflects their general state of mind, general psychological tone , especially if the music sounds in unison with their mood.

Now let's turn to the last parameter of musical literacy: the ability to identify the author of unfamiliar music by ear, if it is characteristic of him. The presence of such an ability indicates a sufficiently high level of development

musical culture, for such an ability is possible only with a sharp "musical flair", with a sense of the stylistic features of music. Of course, it develops only when music lessons are conducted systematically and fully for many years. By the way, some music teachers still use this technique in their lessons, which was used by D. B. Kabalevsky. Therefore, it entered our diagnostic system as the fourth technique. "Identify the composer of unfamiliar music." Its difference from a simple lesson task is that it is carried out as research methodology during extracurricular time, with a small number of children, and the experimental teacher, talking with each child individually, carefully ascertains the reasoning behind the student's choice of one or another author.

In general, in the musical literacy of children, we are interested, on the one hand, in how much the child open to unfamiliar music, whether he can find the essential in it after a single listening; on the other hand, does he have a favorite highly artistic music and is there a need to constantly return to his favorite works in order to delve deeper into their content. If we check the first side with the help of special methods, then the second can be found out in the process of regular music lessons in a way known to all: during the school year, the teacher fixes the music that becomes the most beloved and preferred among children, notices how schoolchildren turn to the same music all the time. To this end, you can always ask the children at the lesson what kind of music they would like to listen to at the end of the lesson. But this should be done not just to ascertain children's musical preferences, but it is important to find out how the attitude of children to this music changes over time: do they discover new facets and qualities in it. Therefore, it will not be superfluous to analyze it again each time with the children, carefully recording the appearance of a new attitude in their answers. At an older age, with the accumulation of musical experience, children can traditionally express their thoughts in an essay, where they will tell how often they listen to their favorite music and why they love it so much. Comparing the compositions of one student over a number of years, one can follow in dynamics how one of the main indicators of the formation of the musical culture of schoolchildren is developing.

Musical and creative development of schoolchildren -Third component musical culture. The ability to create (creativity) should be considered as a special personality quality, characterized by the ability to self-development. In the broad sense of the word, creativity 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. Creativity is an indicator of human development, it is necessary in any kind of activity. In music, this is the highest indicator of a person's mastery of the musical art.

Musical creativity manifests itself as self-knowledge, self-expression, self-affirmation in their unity. At the same time, creativity is not an outwardly active expression of "activity" (even a mediocre lesson can outwardly proceed as "creative activity" when children are "busy" all the time), but the deep desire of a person for spiritual self-determination - through art. From this comes the need for self-expression, when the child expresses his attitude to the moral and aesthetic ideals contained in art; in self-knowledge - when he "explores" his spiritual world through music; in self-affirmation - when through the art of music he declares himself, about the richness of his sensuality, about his creative energy. The level of musical and creative development is checked, first of all, by observing children in the process of their communication with music. The most favorable for this are extracurricular forms of communication in conditions of free choice of activities. Here you need to pay attention to the following points:

What role did the child choose in a particular situation;

How he acts in accordance with the chosen role: he himself comes up with the content and development of the image, diligently looks for its characteristic features, carefully selects the forms of embodiment, experiments with musical material, etc.;

How original and expressive it is in its conception and forms of its implementation;

How expressed is his need to show his understanding of the musical and artistic task in various activities;

Is his creative search independent?

After classes, individual conversations are held, during which it is possible to reveal the underlying causes of these, and not other actions of the child, to find out the attitude of children to their activities - is it successful or not, how would they act next time, etc. Questions can be as follows:

Are you satisfied with the role you played this time, if not, why not?

What are your impressions of the lesson: was it interesting, fun, boring, indifferent, why?

How did you feel yourself: kind, cheerful, big, brave, forgotten, etc.?

Which role will you choose next and why?

This method of observation in the structure of the program for the study of musical culture can be called "Choose a role." This, of course, is not about the theater, not about role-playing games as such, not about dramatization (although elements of all this are not excluded), but about the fundamental roles in musical and creative activity - the composer, performer, listener.

The second method is "I compose music"- is carried out with each child 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 procedure for conducting the technique resembles a creative process. The initial creative task is given, which serves as the first impetus for the organization of independent artistic activity by the child. You can offer several situations, from which students choose the ones they like the most. It can be, for example, such situations: “Spring Voices”, “Summer Day”, “Sounds of a Big City”, “Winter Road”, “Fairytale Events”, etc.

After choosing a situation, the student, together with the teacher (his participation, if possible, should be as limited as possible) reflect on the logic and originality of the development of the figurative content of the future work of art. For example, how life awakens in spring: snow melts, the sun bakes, drops ring, icicles melt, streams murmur. How hear and express all this, and attitude to this? .. Or - “Winter Road”: quietly, gloomy, rare snowflakes are falling, “the transparent forest only turns black” ... You can embody your idea on the piano, on other instruments (children's and folk), voice, plasticity. The first landscape sketch becomes a “background”, against which gradually appearing characters (as a rule, children choose fairy-tale characters and animals) act out subsequent invented actions. The researcher, on the other hand, traditionally monitors the character of the characters, what their relationships are, how they appear, what habits they have, etc. Organizing creative activity as independent as possible, the teacher observes the process of translating the artistic conception: how children look for means of expression, pick up instruments, use voice, plasticity. Behind all these actions, the child's thinking is easily "deciphered" when creating artistic images, the content of which he tells himself (or with the help of the teacher's careful leading questions).

It is very difficult to analyze the creativity of children, because, as a rule, the “technical skill” of the incarnation is of a low level, and the creativity itself often remains only at the level of an idea and sketches for it. However, the following parameters can be distinguished as evaluation parameters:

The degree of awareness of the intention. Here, the independence of the idea, its logic, the feeling of time and space in it (which we judge by the content side of creativity) are revealed;

Ingenuity, originality, individuality in the choice of means of embodiment. Here an important role is played by non-standard, non-traditional, but it is desirable that it be reasoned;

The artistry of the embodiment of the idea, first of all, from the point of view of the concentrated expression of the main idea (symbolism, hyperbolization, metaphor, etc.);

The extent to which the child is attracted by the musical experience he already has: whether he instructs the characters to perform songs known to him, whether he relies on knowledge and ideas about musical phenomena and facts.

The main attention in the analysis of children's creativity should be directed to the study of how the child plans their activities, starting with the motive of creativity and ending with the real embodiment of the idea. The main criterion here is, as already noted, the degree harmony attributes of musical and creative activity - harmony between "I hear - I see - I think - I feel - I act".

So, each selected component of musical culture corresponds to certain methods. Some of them - questionnaires, questions, observations - are of a traditional nature, others were created specifically for the program of studying musical culture and are copyrighted (but they are also close to traditional). Therefore, naturally, the question arises: what, in fact, is their novelty?

The novelty of the approach to the study of the process of formation of musical culture lies mainly in the interpretation of the data obtained. It is not individual indicators of the relevant methods that come to the fore (although they give a certain idea of ​​the state and level of development of musical culture along the lines of these components), but the understanding of one or another particular result as a form of expression of certain aspects of the child’s spiritual development, as a form of spiritual development. -emotional response to the high spiritual values ​​of art. The idea of ​​such an interpretation of the data becomes the “key” to all methods where the spiritual is necessarily present and must be “read” by the teacher-researcher (and the music teacher, exploring the process of developing the musical culture of children, as if automatically acquires this status) in all individual components of the formation of musical culture . Therefore, the study includes a special technique designed to figuratively express the child's assessment of his relationship with the spiritual essence of music.

Methodology " child and music". The experimenter asks the children to imagine that music is a living being. And he gives the task: to draw this creature, this personality the way they feel it, understand it when they listen to it or perform it. In addition, he asks everyone to depict himself in his drawing.

The peculiarity of this technique is that children do not draw specific music (impressions of the work) - their drawing is not connected with live sound at all. The purpose of the methodology is to find out how much the child identifies with music as a huge and important phenomenon in the world. He's drawing music in general. From the drawing you can find out if he feels small in front of her or a part of her, whether he identifies himself with her; how holistically he perceives the image of Music (for example, expresses it in something unified - in color, movement, etc., or presents it as overly detailed). No more than 15 minutes are allotted for this procedure, after which, in an individual conversation with each child, you can clarify why he portrayed himself and Music as such. It is noted that through the emotional richness of the symbolism and the attempt to artistically express the image of Music, children manifest a true (sometimes unconscious) attitude towards it. This technique becomes the final chord of the program for diagnosing the musical culture of schoolchildren.

On the whole, the research program makes it possible to obtain a detailed and sufficiently detailed idea of ​​the level of the formed musical culture and the dynamics of its development.

Tasks

1. Choose the least time-consuming methods and include them in the plan of specific lessons.

2. Conduct a mini-study of the development of the musical culture of children according to the above program and enter the data in a diagnostic diary.

Literature

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What is the nature of music? There is hardly a single answer to this question. The grandfather of Soviet musical pedagogy, Dmitry Borisovich Kabalevsky, believed that music rests on “three pillars” - this is song, march and dance.

In principle, Dmitry Borisovich was right, any melody can fall under such a classification. But the world of music is so diverse, filled with the finest emotional nuances, that the nature of music is not something static. In the same work, themes that are absolutely opposite in nature very often intertwine and collide. The structure of all sonatas and symphonies, and most other musical works, is based on this opposition.

Let's take, for example, the well-known Funeral from Chopin's B flat sonata. This music, which has become part of the funeral ritual of many countries, in our minds has become inextricably linked with bereavement. The main theme is full of hopeless grief and longing, but in the middle part a melody of a completely different nature suddenly appears - light, as if comforting.

I would like to finish with the words of Tolstoy from the Kreutzer Sonata: