"Principles of developmental education in modern music pedagogy" educational and methodological material on the topic. Report on the topic "Intonation approach as a leading methodological landmark in modern pedagogy of general music education"

MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

State educational institution

Higher professional education

"KURSK STATE UNIVERSITY"

RUDZIK M.F.

THEORY AND METHODS

MUSIC EDUCATION

TUTORIAL

FOR ART STUDENTS

(specialty "music education")

Part I - Theory of Music Education

publishing house

Kursk State University

THEORY OF MUSIC EDUCATION (lecture course)

Lecture 1. Introduction to the course ……………………………………………………... 4

Lecture 2. The essence of the theory of music education ……….……………10

Lecture 3. The role of musical art in the formation of culture

personality and the process of socio-cultural adaptation of the student …..………… 16

Lecture 4. Functions of musical art

and music education ………………………………………………….. 24

Lecture 5. Artistic and pedagogical concept of D.B. Kabalevsky

in the theory and practice of musical education of schoolchildren ……………… 32

Lecture 6. Theoretical ideas about the goal

music education ……………………………………………………….. 40

Lecture 7. Theoretical ideas about tasks

music education …………………………………………………….. 47

Lecture 8. Principles of music education ……………………………….. 55

Lecture 9. The content of general music education ………………..... 65

INDEPENDENT WORK OF STUDENTS…………………………… 76

BASIC AND FURTHER READING…………………….. 87

APPENDIX…………………………………………………………………94

PART I

THEORY OF MUSIC EDUCATION

Lecture 1. Introduction to the course

Plan

1. Definition of the concept of "theory". The modern theory of music education as a set of initial phenomena, provisions and patterns that reflect the content, process and organization of music lessons with students.

2. Music education as a unity of education, upbringing and development.

3. The image of a music lesson in the history of general music education.

"theory"- a set of general principles, ideas underlying smth.

"spirituality)"- internal state of mind, moral strength of a person

"musical pedagogy" (pedagogy of music education, pedagogy of art, artistic and creative pedagogy)- terminological symbiosis, traditionally used in special literature and mass everyday life in relation to musical and pedagogical theory and practice.

Music, like other types of art, is meaningful, rich, concentrated and expresses the aesthetic essence of reality in an artistic form. Therefore, it is a sharp and effective tool for the formation of a person's aesthetic attitude to life. At the same time, the process of purposeful musical education of a person becomes important, especially during childhood, adolescence and youth.

Currently, few people deny starting position of the theory of music education, which consists in the recognition of the enduring significance and spiritual value for a person of musical art. Without being too didactic, it introduces the human soul into the vast world of universal values; through the development of fantasy, imagination, creativity affects the formation of the spiritual world of the individual.

The concept of "music education" is the most general in the theory of music teaching. It includes a number of concepts dependent on it, among which we should highlight "musical education", "musical education" and "musical development".

The system of mass musical education at school is the process of formation in the child of essential forces that ensure the activity of artistic and aesthetic perception of musical art, creative imagination, emotional experience, and the formation of spiritual needs. The named system is aimed at realizing the goal of general musical education - the formation of the musical culture of the student as part of his spiritual culture through the solution of a set of 3 complementary tasks:

1) the task of musical education- a purposeful process of forming in children the ability to feel, experience, understand, love and appreciate the art of music, enjoy and create artistic values ​​in the field of musical and creative activity;

2) the task of music education- a purposeful process of mastering the totality of ZUN by schoolchildren, the formation of worldview attitudes in the field of art, artistic creativity, life itself;

3) the task of musical and creative development- purposeful formation of children's talents in the field of musical art.

The theory of music education in Russian art pedagogy is based on a number of fundamental philosophical, aesthetic, psychological and pedagogical starting points. So to methodological premises of the theory Academician B.T. Likhachev, in particular, attributed:

The provision on the leading role of purposeful pedagogical influence in the aesthetic development of the child's personality, contributing to the involvement of children in a variety of artistic and creative activities, the development of their sensory sphere; providing a deep understanding of aesthetic phenomena; elevating to the understanding of genuine (highly artistic) art, the beauty of reality and beauty in the human person;

The provision on the recognition of the enduring significance and spiritual value for a person of the phenomena of beauty (artistic and aesthetic phenomena), which implies the formation of an aesthetic attitude to art and reality under aesthetic education.

An equally important conceptual position of TPM is the integrity and complexity of teaching art at school: all art programs, methodological systems, material support and training of teaching staff must meet the requirements of a triune pedagogical task.

TPM pays special attention to the problem of goals, objectives and principles of music education. At the level of the goals, objectives and principles of teaching music, formulated in a certain way in each period of our history (respectively, in each period of the development of domestic musical education), one can trace the logic of musical and pedagogical concepts, because each stage of development created its own stereotypes of thinking in school musical pedagogy, views and approaches to the musical and pedagogical process. However, one should pay tribute to those provisions and principles that are of enduring importance and deserve attention in the context of modern approaches to general music education.

So, in retrospect, three principles deserve attention, which formed the basis of materials on general music education at school in the 1920s:

- visibility principle(not illustrative, but direct perception);

- self-activity principle(the need to engage in improvisation and writing in music lessons at school), i.e. to move not only from the contemplation of musical works to their internal implementation in aesthetic experience, but also to move back from experience to its external manifestation;

- vitality principle(“the task of cultural humanity is to raise the level of aesthetic culture through the mutual penetration of one another: life and art”).

Thus, in the theoretical positions of that time (the era of terrifying devastation and civil war!) What is attractive is that they were formed on the basis of a deep understanding of the specifics of art, its functions and role in society. The "connection of times" can be traced in these provisions and modern principles of music education.

However, over time, a contradiction developed between the theory put forward and the practice of music education that existed for many decades. It revealed the essence of the formed stereotype of pedagogical thinking: the mastery of ZUN replaced the knowledge of art. D.B. Kabalevsky noted that in this system, technical training completely replaced art. Only in the 70s of the twentieth century. a notable breakthrough was made in the development and correlation of the theory and practice of music education. So, for example, in the Concept of musical education of schoolchildren was formulated the principle of unity of artistic and technical aimed at strengthening the position of "artistic".

Until this stage, the content of music education largely copied professional music education, although theoretical thought in the field of music pedagogy spoke about the inadmissibility of this in the early 1920s. (A. Shenshin introduced the term "general musical education"). The image of a music lesson as an art lesson in the theory of music education also began to take shape in the 20s. with its inherent special atmosphere of relationships between all participants in the pedagogical process. The position put forward also by A. Shenshin sounds very modern, about creating an atmosphere of humanistic relations arising from the ability of music to organize a special human communication: "The atmosphere of the classes should contribute to a lively and relaxed conversation: any formality, any line separating the teacher and student, performer and listener, should be erased so that only people living a common musical life remain."

The attitude towards music as a means of education, which has existed in school music education for many years, should be considered unacceptable for the pedagogy of art. Only in recent decades has advanced to the center of pedagogical consciousness the principle of recognition of the inherent value of art: it should not be alienated from a person, but rather be lived in the process of living perception.

For a music lesson - an art lesson is no less important emotional richness principle(for the first time we read about the emotional structure of a music lesson in the Project of the Secondary School Program (- M.: Prosveshchenie, 1965. APN RSFSR): "musical taste, love for music, active and creative attitude to it. The school provides musical education, development and training of students, the unity and interconnection of which is crucial for the full formation of the child's personality. For a music lesson, an art lesson, the emotional mood of the classes is very important."

This principle is not the only achievement in the development of the domestic theory of mass musical education in the second half of the 20th century. During the years of the so-called “thaw”, the theoretical thought of the compilers of music education programs in mass schools developed in the following main areas:

1) concretization of the content of music education(The 1943 elementary school program addressed this concept from the point of view of concretizing ZUN; only in the 1960 8-year school program was an attempt made to specify an important personality quality, which was later defined as “musical culture”: the formation of personality qualities with higher moral and aesthetic positions);

2) systematization of the content of music education as a consequence of its gradual development in breadth and depth, the need to bring its components into a certain system.

Many of these provisions for half a century remained just a declaration. The decisive breakthrough in this direction, as noted above, occurred in the mid-70s, when D. Kabalevsky's concept of musical education appeared. He based the concept on the scientific ideas of his teacher, Academician B. Asafiev, who wrote: “If you look at music as a subject of school education, then, first of all, you must ... say: some phenomenon in the world, created by man, and not a scientific discipline that is taught and studied. It is these words that allow us to say now that with the appearance in the 70s. the concept of musical education, a music lesson at school has acquired a new essence - art lesson image.

In the concept of D.B. Kabalevsky, proceeding from the nature and laws of musical art, as well as from the nature and laws of the development of the child, new principles of teaching music were put forward, including the principle of interest and enthusiasm for the art of music, a wide and deep disclosure of the links between music and life, the thematic principle of building a system of music lessons, the principles of "similarities and differences", the variability of building music lessons, "running ahead" and "returning to the past", the unity of the emotional and conscious, artistic and technical and a number of others.

Thus, the essence of the system of musical education was crystallized, which lies in the fact that in the center is the personality and individuality of the child, making a long journey of internal meaningful artistic and aesthetic development. These ideas, which formed the basis for the formation of modern pedagogical thinking in the field of musical education of schoolchildren, were further developed in science in the 80s.

During this period, the theory of aesthetic education of schoolchildren considered the following principles of building an educational system:

Universality of aesthetic upbringing and education;

An integrated approach to the implementation of the system;

Organic connection of all artistic and aesthetic activities of children with life;

Combinations of classroom, extra-curricular and extracurricular activities and organized exposure to art through the media;

Unity of artistic and general mental development of children;

Artistic and creative activities and amateur performances of children;

Aesthetics of all children's life.

In the context of these principles, new content, a new process, a new organization of music lessons began to take shape; develop new methods and technologies of education; define the new essence of the lesson. Fundamentally changed music pedagogy (pedagogy of personality development) today overcomes the stereotypes of traditional ZUN pedagogy. Under these conditions, the efforts of school musician teachers should be aimed at changing the attitude towards art as a means of education, the approach to teaching music as a school subject - towards the implementation a relevant and meaningful idea of ​​teaching music as a living figurative art.

Literature

1. Unified labor school and exemplary plans for classes in it. - Vyatka, 1918.

2. Likhachev B.T. The theory of aesthetic education of schoolchildren. - M., 1985.

3. Materials on general educational work at school. Aesthetic development of children. - Issue. 4. - M., 1919.

4. Music at school. Materials on general musical education at school / Ed. ed. Muses. section of the ETSH Department. - M., 1921.

5. Program "Music". 1-3, 5-8 cells. / Ed. D.B. Kabalevsky. - M., 1980.

6. The program of the 8-year school. - M., 1960.

7. Primary school program. - M., 1943.

8. Programs for the 1st and 2nd stages of the seven-year unified labor school. - M., 1921.

Lecture 2. The essence of the theory of music education

Plan

1. The theory of music education (TME) as a system of scientific knowledge and concepts about the laws governing the development of the child, the education of his aesthetic feelings in the process of familiarization with music and the formation of aesthetic consciousness.

2. Methodological foundations of TMT.

4. The purpose of the subject "Theory of Music Education".

Basic concepts and categories:

"personality culture"- a multifaceted phenomenon that has a significant impact on the economic, political, social and spiritual processes of public life. Important criteria for the culture of personality are:

1) its compliance with universal ideas about the values ​​of life, man and society;

2) the attitude of the individual to the cultural experience of all generations of mankind;

3) human participation in creativity, in the creation of new material and spiritual values;

4) the stability of a person's positions, his orientation towards certain values.

"musical education"- the process and result of the assimilation of systematic knowledge, skills and abilities necessary for musical activity. Music education is also understood as the system of organizing musical education in music educational institutions. Self-education can also play an important role.

"thesaurus"- terminological dictionary related to the given science, the subject of study.

As a system of scientific knowledge, TMT is included in the general system of pedagogical sciences and occupies a certain place in it. TMT of schoolchildren is directly included in school pedagogy, as it considers the issues of musical education of a child from 6 to 15 years old. This is the area of ​​aesthetic education, the laws of which apply to all artistic, and in particular musical, human activity. The educational value of art today is more relevant than ever: according to sociological studies, the displacement of aesthetic needs, spiritual values ​​from the youth consciousness leads to one-sided rationality, pragmatism and soullessness, inattention to one's neighbor and to a person in general, and disregard for moral values. Therefore, it is important to understand the role of the music lesson in the education of the artistic culture of students as part of the educational process, which most significantly affects the sphere of aesthetic, spiritual experiences. Music has always possessed subtle means of attracting the listener to goodness, beauty and humanity.

The already well-established experience of domestic music pedagogy reveals two functions of music education. The first - the classical function is aimed at the formation of the musical culture of the individual, reaching the level of spiritual and moral values ​​and universal humanistic beliefs, which determines the development of imaginative thinking and creative principles of a person. The second function is pragmatic, which determines the need for a creative specialist: today the development of abilities for creativity and figurative-constructive thinking is activated, the role of human abilities for synthesis and generalization is increasing. In this process, the development of imagination, the ability to correlate heterogeneous material, the ability to perceive the picture of the world harmoniously and holistically become important factors. And these abilities develop in a person, first of all, in classes in the subjects of the aesthetic cycle, including music lessons.

At the moment, it is difficult to consider the professional skills of a teacher-musician without such a component as mastery of the theory of music education. TMO considers such important aspects as:

* provisions and patterns that reveal the possibilities of art and pedagogy in musical education, training and development of students;

* the idea of ​​a child as a subject of musical education;

* priority professional qualities of the teacher's personality;

* a holistic model of the components of music education;

* the essence, types and features of the professional activity of a music teacher.

TMT assumes mutual consistency with pedagogy, sociology, general, developmental and musical psychology, physiology of school-age children; with aesthetics and musicology on the basis of unified conceptual provisions on the aesthetic essence of musical art and its significance in the musical and aesthetic development of schoolchildren. The named sciences are methodological basis of the theory of music education.

In particular, aesthetics reveals the specific features of musical art, reflecting life phenomena in musical images, and musical education is based on several principles of musical aesthetics:

Consideration of a musical work in the historical, cultural and social context;

Attention to the psychological characteristics of the perception of music. B.L. Yavorsky emphasized the unity of creativity, performance and perception.

The problems of musical psychology as a methodological basis for musical upbringing and education were developed in the works of B.M. Teplova, E.V. Nazaikinsky, V.V. Medushevsky, G.S. Tarasova. The most developed area of ​​musical education and upbringing is the psychology of musical perception, which considers music as a language and means of communication.

A significant contribution to the theory and methodology of musical perception is developed by academician, composer B.V. Asafiev, the musical-theoretical concept, which today constitutes an essential part of the theoretical substantiation of the modern theory and methodology of music education: his theory of intonation, interpretation of the relationship between the processes of perception and the logical organization of a musical work, and the dynamic study of musical form are of methodological significance for the musical education of schoolchildren.

It is also impossible to overestimate the activities of the composer, teacher, public figure D.B. Kabalevsky on the development of the conceptual foundations of the general musical education of children and adolescents: he revealed the essential properties of music, genre features of musical thematics, intonation and principles of musical development, the importance of musical means in creating the figurative structure of a work - all this today is the methodological basis of musical education and education of children , and also develops their scientific foundations - musicology and didactics.

For TMO, sociological research in the field of musical art is also important, which is associated with identifying the musical tastes of listeners; research in the field of philosophy, cultural studies, art history, pedagogy and musicology, which are aimed at studying the phenomenon of the musical culture of the individual (the works of L.N. Kogan, E.V. Sokolov, G. Gontarev, etc.). The fundamental guidelines for TMT are such provisions of developmental psychology as the recognition of the leading role of activity and communication in the development of the student's personality, the dominance of sensory cognition among elementary school students. TMT is based on general pedagogical research methods, which are ways to solve research problems: observation, survey methods, pedagogical experiment.

The study of the theory of music education is impossible without the disclosure and assimilation of the most important concepts and provisions included in the obligatory thesaurus of a music teacher. Music teachers' mastery of the professional thesaurus of pedagogy related to the field of music education is one of the indicators of professionalism, because ensures the correctness of the use of special terminology, helps to analyze special literature from a professional standpoint and actively participate in the discussion of the problems of music education.

One of the key concepts of TMT is the term "musical education", which is considered as integrative, uniting education, training and development. In turn, they have their own meanings:

Musical education is used in two senses. In a narrow sense, musical education means, first of all, the education of certain qualities of the personality of students (the psychological meaning of the concept). In a broad sense, this is moral, aesthetic, artistic education.

Music training also has two meanings. In a narrow sense, it refers to the development by students of musical knowledge, skills and abilities. In a broad sense, this term also includes the experience of students' emotional and value attitude to music and their musical and creative activities.

Musical development is the focus of the teacher in teaching and educating the child. Musical development covers a wide range of aspects: the development of musical interests, tastes, needs of students; development of all aspects of his musical ear, musical memory, thinking, imagination; development of musical and creative abilities, performing, listening and even composing skills and abilities.

The theory of music education, as already noted, studies the activities associated with music education, aimed at familiarizing students with musical culture in general, and not just with the art of music. It is with this that the name of the school subject "Music" is connected.

The content of the discipline "Theory of Music Education" deals primarily with general music education. General musical education is understood as education aimed at each student, because general secondary education in our country is compulsory. It is carried out in schools, gymnasiums, lyceums within the framework of the subject "Music" under the guidance of a music teacher who has a secondary or higher musical and pedagogical education and works according to one of the curricula, in accordance with the state standard of general education.

The system of music education also includes additional music education, which is not compulsory. Children, if they wish, can study music in studios, circles, music schools, art schools (the official name is institutions of additional education for children). The main purpose of such institutions is to implement additional educational programs in the interests of the individual, society, and the state. This takes into account that music, as A.B. Goldenweiser, "it is necessary to teach everyone in one form or another and degree, and not only not everyone, but only very few should be educated as professional musicians."

This teaching style continues to this day. Therefore, work with children in the context of the system of additional music education is carried out in two main areas:

General musical and aesthetic development;

Preparation of the most gifted of them for admission to special educational institutions to receive their chosen musical specialty.

Modern society poses urgent problems for the school, which determine the development of an optimal model of general education. In modern conditions of the multivariance of music curricula for general educational institutions, each music teacher is required to create his own model of general music education, which meets not only his personal characteristics as a musician and teacher, but, above all, contributes to solving urgent problems. This requirement necessitates a deep knowledge of the methodological foundations of music education and the theory of music teaching itself.

The effectiveness of a music teacher's activity largely depends on the extent to which he has theoretical knowledge in the field of music education. Mastering the theory of music education contributes to:

· disclosure of the importance of TMT for a teacher-musician;

· acquisition of knowledge about the essence of TMT, its main categories, patterns, concepts;

formation of theoretical professional thinking;

· accumulation of experience in the creative application of theoretical knowledge in the field of music education in their practical activities;

· formation of a professional position in relation to topical issues of music education;

· development of the ability to independently enrich professional knowledge, skills, experience of creative musical and pedagogical activity.

Literature

1. Abdullin E.B., Nikolaeva E.V. The theory of music education. Textbook for students. university. - M: Academy, 2004.

2. Bezborodova L.A., Aliev Yu.B. Methods of teaching music in educational institutions: Proc. settlement for stud. music fak. pedagogical universities. – M.: Academy, 2002.

3. Goldenveizer A.B. Master's advice // Sov. Music. - 1965, No. 5.

4. Morozova S.N. Musical and creative development of children in the pedagogical heritage of B.L. Yavorsky. - M., 1981.

5. Musical education at school: Proc. allowance / Ed. L.V. Schoolboy. – M.: Academy, 2001.

6. Telcharova R.A. Musical and aesthetic culture and the concept of personality. - M., 1989.

So, the general musical, personal and professional development of student musicians takes place only in the process of learning. Is it possible to influence the sphere of consciousness of a musician, his will, emotions and feelings, the complex of his special abilities (hearing, sense of rhythm, memory), bypassing training in one form or another? Here, as in any of the private branches of pedagogy, "the unshakable truth remains the guide to action that the task of development is fulfilled ... with the assimilation of the foundations of science in the process of mastering knowledge and skills" (L.V. Zankov).

Thus, ways to solve the personal and professional development of a student-musician should be sought not bypassing the learning process, not outside it, but, on the contrary, within the latter, in such an organization, which would be provided with high results in development. Since it can be considered established that in any profession a person develops by learning and nothing else, the problem under consideration takes essentially the following form: How, in what way, should teaching music and, in particular, musical performance be built in order to become the most promising for the development of the student? Here the question arises about certain musical and pedagogical principles, designed to become the basis, the foundation of this kind of education. Practice shows: with one organization of the case, the coefficient of the developing action of music teaching can increase significantly, with another, it can decrease just as noticeably. It is customary in such cases - first of all, when it comes to pedagogy in the field of arts - to address mainly the personality of the teacher, her individual traits and characteristics, erudition, spiritual makeup, and so on. Meanwhile, behind the external, the internal is most often hidden, behind the personally characteristic signs of the appearance of this or that teacher - a system of principles and attitudes, implemented in educational activities.

The question of musical and pedagogical principles aimed at achieving maximum developmental effect in training, - essentially central, culminating in the issues under consideration.

Let us list the main musical and pedagogical principles, which, put together, systematically organized, are able to form a fairly solid foundation for developing education in music and performing classes, in teaching music in general.

1. Increasing the volume of material used in educational practice, expanding the repertoire of students in music and performing classes by turning to the largest possible number of works, a larger range of artistic and stylistic phenomena; mastering a lot in the course of musical performance classes, as opposed to the usual concentration on a little in a wide musical and pedagogical everyday life - this is the first of these principles, the first in its significance for the general musical, personal and professional development of the student, enriching his professional consciousness, musical and intellectual experience. For the amount of material mastered, assimilated by the student (musical works, theoretical and musicological information) is transformed in most cases into the quality of artistic and intellectual activity; here one of the fundamental laws of dialectics makes itself felt in full measure.

And vice versa: the deficit in the amount of material covered in the classes in the music and performing classes significantly affects the quality level of the student's artistic and mental (and other) operations.

2. Accelerating the pace of passing a certain part of the educational material, the rejection of excessively long periods of work in performing classes on musical works, the focus on mastering the necessary playing skills and abilities in short periods of time - this is the second principle, conditioned by the first and coexisting with it in inseparable unity. The implementation of this principle, providing a constant and rapid influx of various information into the musical educational process, also paves the way for solving the problem of the student's general musical development, expanding his professional horizons, and enriching the arsenal of knowledge.

3. The third principle directly concerns the content of the lesson in the music-performing class, as well as the forms and methods of its implementation. Increasing the measure of the theoretical capacity of musical performance classes, i.e. rejection of the "narrow shop", purely pragmatic interpretation of these activities; the use during the lesson of the widest possible range of information of a musical-theoretical and musical-historical nature, strengthening of the cognitive component and thus the general intellectualization of the lesson in the music-performing class; the enrichment of the consciousness of a person playing a musical instrument with expanded systems of ideas and concepts associated with specific material in the performing repertoire - all this reflects the essence of the mentioned principle.

To what has been said, it must be added that one should learn about various phenomena, patterns and facts in the course of music lessons not in isolation, not separately, as is often the case in practice, but holistically, in their internal interconnections and natural combinations ("alloys") with each other. In other words, knowledge should be integrative (ideally transdisciplinary) in nature; only in this case will it meet the requirement of fundamental learning. And the deeper, more voluminous the general “context” of the learning process becomes, the more capacious and meaningful generalizations the teacher (pianist, violinist, conductor, etc.) makes on the material of the works studied, the higher will ultimately be the developing effect of classes in musical performing classes.

4. The fourth principle requires moving away from passive-reproductive (imitative) modes of activity, which are widely used in the student environment, emphasizes the need for such work with musical material, in which activity, independence and creative initiative student performer. It is about giving the student a certain freedom and independence in the educational process - that freedom and independence that would correspond to his professional capabilities, would be commensurate with the level of development of his musical intellect, general and special abilities.

It is not a secret for experienced specialists that only the student who has the necessary and sufficient freedom of creative actions, has a certain right to choose in various educational situations - for example, the choice of an interpretive solution, etc. P. There can be no positive and sufficiently stable results in teaching creative professions in conditions of non-freedom; Nonetheless exactly the situationnon-freedom much more often than it should be found in real pedagogical everyday life - whether it is realized by the participants in the educational process themselves or not!

The following is fundamentally important in this case: the freedom of cognitive actions and the right of creative choice should not just be granted to young musicians; they should be specially encouraged to do this, placing them in conditions in which they would be forced to show creative initiative and independence. “Freedom,” wrote S.I. Gessen, “is not a fact, but a goal in practical pedagogy, it is not a given, but a very specific task for a teacher.” In order for the student to feel internally free, psychologically liberated, etc., one sometimes has to force - no matter how paradoxical it may seem - "freedom as a task does not exclude, but presupposes the fact of coercion" 1 .

The foregoing has a direct bearing on teaching in the music-performing classes of secondary and higher musical educational institutions.

5. The next, fifth, principle of developmental education is directly related to introduction of modern information technologies, in particular audio and video materials, into the musical and educational process. The reality is that, using exclusively traditional methods of teaching music, a student is not able to master today the entire set of knowledge he needs. Sound recordings imprinted on cassettes, as well as computer technologies, are now one of the best ways to quickly and comprehensively replenish the baggage of knowledge of a student-musician, expand his artistic and intellectual horizons, and expand professional erudition. Skillfully used modern TSS allow adapting, "adapting" the studied musical material in relation to the individual needs and requests of students.

The relevance of the considered principle of developmental education is due to the fact that many teachers working in music and performing classes today "do not own the appropriate methodology and" technique "of work, worse, they do not see the need to change anything in their practical activities at all. An obstacle in this In this case, the conservatism of pedagogical thinking appears, unpreparedness - both professional and psychological - for any changes and modernization of teaching work" 1 .

Specialists note the fact that the current teaching methodology for almost any subject is a closed and self-consistent, self-sufficient system of methods and methods of educational work, within which it is not easy to find reserves for a significant modification of the very structure of teaching 2 . In other words, a significant part of Russian music teachers, especially representatives of the older generation, was actually not ready to go beyond the usual, established methods of teaching.

Hence, we repeat, the relevance of the considered principle of developmental education in music and performing classes.

6. Finally, the sixth principle, which is related not only to the area of ​​musical pedagogy that is associated with the performance of various works (piano, violin, vocal, etc.), but also to the entire system of professional musical education and upbringing. The essence of this principle: a young musician must be taught to learn, putting it as a fundamental, strategic task, and the sooner the better. It largely depends on the teacher - whether his pupil will love this lesson, whether he will master his "technology", whether after graduation he will be able to move in his profession on his own, not looking back out of habit at the teacher, not counting on a hint from outside. Will he be able to initiate and regulate the processes of personal and professional development, improving the mental mechanisms of cognition and self-knowledge and thereby ensuring a high degree of readiness for all sorts of surprises and surprises that his future professional activity will inevitably face.

The problem facing the teacher today is not only and not so much in equipping the student with special knowledge, which one way or another will not be enough, and not in forming in him certain professional skills, which in any case will have to be expanded, updated, transformed, etc. The problem is to develop in a graduate of a musical educational institution a set of personal and professional qualities and properties that could help him adapt in non-standard situations, rise to the level necessary to perform "production" duties in a fairly wide range and at the required quality level.

And therefore, despite the importance of specific tasks, "here and now" solved in the music-performing classes, pedagogical attitudes, oriented towards higher educational priorities related to the "re-equipment" of the consciousness of students, getting rid of their habitual, dependency moods that have been created over the years.

To mint out in yesterday's student a comprehensively developed, modern-minded personality, mobile, ready to search, to take risks, to meet the new and unknown, a personality charged for self-movement, self-actualization, for achieving success on its own - such is the requirement put forward by life today, such is meaning of the sixth principle of developmental education.

Students of professional music educational institutions, reaching the finish line in their studies, should already quite consciously (although, of course, not without consultation with the teacher) choose an individually outlined educational trajectory, taking into account their capabilities, natural abilities, interests, needs, professional prospects, etc. .d. This, in fact, means "to be able to learn" in the practical implementation of this principle.

In accordance with the sixth principle of developing education, a prominent place in the course of music lessons should be given to modeling the creative-heuristic process in its essential, attributive features and characteristics. More V.P. Vakhterov strongly recommended at one time a method of teaching in which the student - of course, sufficiently prepared for this kind of activity - tries to approach, by solving a learning problem, the thought process characteristic of the creative practice of a scientist or inventor 1 .

Naturally, the Vakhterovs had in mind not the disciplines of the artistic and aesthetic cycle, and even less the field of teaching music. However, it is here, in this area, that the course to put the student in the position of a creator and discoverer, while using the mechanisms of his creative thinking, creative imagination, imagination, etc., to the maximum, can give an excellent effect. Moreover, it is important to emphasize that what matters in this case is not certain specific creative results that a student-musician will achieve, modeling the actions of a mature master and taking these actions (or at least trying to take them) as a model. In a creative-heuristic situation, the process itself is important, the development of its "technology" and internal structure, within the framework of which, being under a high load, the personal and professional qualities necessary for a future specialist are formed 2 .

These are the main principles, based on which the teaching of music and, above all, musical performance can become truly developing in nature. Their implementation in practice affects, as it is easy to see, the content of education, brings to the fore certain types and forms of educational work, and does not leave aside the methods (methods) of teaching. This is what we must now move on to.

1 Gessen S.I. Fundamentals of Pedagogy. Introduction to Applied Philosophy. - M. 1995. - S. 62.

1 Gorlinsky V.I. Modernization of the system of musical education and education in modern Russia: Actual problems of the transition period. - M., 1999. - S. 119.

2 See: Grebnev I.V. Methodical problems of computerization of teaching at school // Pedagogy. - 1994. - No. 5. - S. 47.

1 Abroad today they often talk about the special role of a teacher, who not only teaches and instructs, but advises, helps to learn.

§ 14. Developing potential of sight reading music and sketch learning of musical works

If we talk about professionally developing types and forms of work in music and performing classes, first of all, we should mention reading from a sheet. Music pedagogy has been aware of the benefits of this lesson for the student for a long time. Statements on this topic can be found in the treatises of F.E. Bach, X. Schubart and other prominent musicians-teachers of the 17th-18th centuries. The special advantages lurking in the reading of music for a professional of any rank, any category of sophistication, were also pointed out more than once by major performers and teachers of subsequent times.

What exactly is the benefit of sight reading? For what reasons is it able to stimulate the general musical development of the student?

Sight-reading is a form of activity that opens up the most favorable opportunities for a comprehensive and broad acquaintance with musical literature. Before the musician, an endless and motley string of works of various authors, artistic styles, historical eras pass. In other words, sight reading is a constant and rapid change of new musical perceptions, impressions, "discoveries", an intense influx of rich and diverse musical information. "How much we read - so much we know" - this old, repeatedly verified truth fully retains its significance in musical education.

The musical and intellectual qualities of a student crystallize, of course, not only when reading, but also in other types of professional activity. However, it is by reading music from the sight that the conditions of "maximum favored nation" are created for this. Why, under what circumstances?

First of all, because when reading music, the student deals with works that do not have to be learned in the future, mastered in the performing ("technical") plan. There is no need to specially study them, to improve them in a virtuoso-technical sense. These works, as they say, are not for memorization, not for memorization, but simply for the pleasure of learning, discovering something new. Hence the special psychological attitude. Special observations show that musical thinking during reading - naturally, with sufficiently skillful, qualified reading - noticeably tones up, perception becomes more vivid, lively, sharpened, tenacious. “There is one subtle psychological pattern here: it correlates with itself, is reflected in the spiritual life of a person with the greatest force that which is not necessary to remember, which does not need to be subjected to specific “anatomy” (V.A. Sukhomlinsky).

Favorable conditions for the activation of the musical and intellectual forces of the student, created with the help of sight reading, are also due to the fact that familiarization with new music is a process that always has a particularly bright, attractive emotional coloring. This circumstance has been repeatedly emphasized by many musicians. The first contact with a previously unknown work "first of all gives vent to an immediate feeling: the rest comes later" (K.N. Igumnov); reading a work from a sheet, "the performer completely surrenders to the power of music, he absorbs the very essence of music" (G.P. Prokofiev).

Emotional factors play a fundamentally important role in the structure of human mental activity in general and in artistic and figurative thinking in particular. On the crest of an emotional wave, there is a general rise in musical and intellectual

actions, they are saturated with more energy, flow with particular clarity and certainty, which means that sight reading, as soon as they evoke a direct and vivid emotional response from the player, is important not only as a way to expand the repertoire horizons or accumulate various musical theoretical and musical-historical information, ultimately these activities contribute to quality improvement of the processes of musical thinking.

In this way, sight reading is one of the shortest, most promising ways leading in the direction of a student's general musical development. Indeed, among the various forms of work that exist in the performing classes, there are many such that successfully teach the art of playing a musical instrument and solve the problems of developing professional and technical skills and abilities. However It is in the process of reading music that such principles of developmental learning as an increase in the amount of musical material used by the student and an acceleration of the pace of its passage reveal themselves with fullness and distinctness.

Indeed, what does sight-reading mean if not assimilation maximum information in minimum time? Hence the conclusion: if the general musical development of the student - his abilities, intellect, professional auditory consciousness - is intended to be a special goal of musical pedagogy, then reading music from a sight has, in principle, every reason to become one of the special means of practical achievement of this goal.

The same can be said about sketch learning musical works - one of the specific forms of activity in the arsenal of a musician (both a student and an established master). Mastery of the material in this case is not brought to a high degree of completeness. The final stage in this work is the stage at which the musician embraces the figurative and poetic idea of ​​the work, receives an artistically authentic, undistorted idea of ​​it, and, as a performer, is able to convincingly embody this idea on the instrument. “After the student has extracted the skills and knowledge necessary for him (pre-planned by the teacher), figured out the text, plays the musical material correctly and with meaning, work on the work stops,” wrote L.A. Barenboim, defining sketch learning as a special form of learning activity that can be characterized as intermediate between reading from a sheet and a thorough mastery of a piece of music.

Many outstanding performing musicians and teachers have long been adherents of the sketch mastering of the educational repertoire.

A. Boissier, for example, wrote under the impression of meetings with the young Liszt: "He does not approve of the petty re-learning of plays, believing that it is enough to catch the general nature of the work ..." Similar evidence, but chronologically closer to our days, can serve as a recollection of Neuhaus's student B.L. Kremenstein: "... After several lessons, Heinrich Gustavovich gave the young performer freedom of action ... he did not reach the "very last" stage. Heinrich Gustavovich deliberately did not want to finish the piece with his student, to polish every expressive stroke, every intended shade to a shine" . Such a method of work can be called, with more or less conventionality, a pedagogical "sketch".

Questions are natural: what attracts the sketch form of the work of masters of pedagogy? What are its special, specific advantages? How exactly can this type of activity enrich the educational and pedagogical process, what prospects does it promise to a student-musician?

Reducing the time of work on the work, the sketch form of classes leads to a significant increase in the amount of musical material studied by the student, to a noticeable numerical increase in what is learned and mastered in the course of educational activities. Playing practice involves a much larger and diverse educational and pedagogical repertoire than could be the case when "pulling up" each musical and performing "sketch" to the level of a scrupulously "worked out" sound picture, complete in all details and particulars. Thus, the sketch form of work on a work, as well as sight reading, fully implements one of the central principles of developmental education, one that requires the use of a significant amount of musical material in educational and pedagogical practice. It is here, in the ability to refer to "many" and "different" that lies the reason for the attention to the sketch form of classes of outstanding masters of music teaching, who are convinced that the student should strive to expand the list of mastered works as much as possible, should learn and perform as much musical experience as possible. samples, since his primary task is to have a broad musical outlook.

The limitation of time limits for working on a work, which takes place in the sketch form of classes, means, in essence, the acceleration of the pace of passage of musical material. The educational and pedagogical process itself is accelerating: the student is faced with the need to assimilate certain information in a short, compressed time frame. The latter, as L.V. Zankov, leads to a continuous enrichment with more and more new knowledge, to the rejection of marking time, from the monotonous repetition of what was previously covered. Thus, the sketch form of classes contributes to the implementation of the principle of developmental education in music, which contains the requirement to increase the pace of work on the educational repertoire, intensive and unceasing advancement of the student.

It is not difficult to discover that, in a number of ways, sketch learning, as a form of classroom work, is noticeably close to reading music from a sheet. As part of each of these activities, the student comprehends a significant number of different musical phenomena, and does it quickly and efficiently. In both cases, the musical educational process is based on the same principles of developmental education. At the same time, there is a certain difference between mastering the repertoire sketchily and sight reading. In contrast to a one-time, episodic acquaintance with new music, which is what reading is, the outline study of a work opens up opportunities for much more serious study of it - of course, provided that the quality of the lessons meets the necessary requirements here. As in painting, so in music, a sketch can be more or less successful. We are talking about a good, skillfully executed, in its own way perfect educational and pedagogical "sketch". The student in this case is not limited to a single, cursory acquaintance with the artistic appearance of the work; playing it repeatedly, over a certain period of time, he comprehends much deeper the intonational and expressive essence of the music being performed, its constructive and compositional features, and ultimately its emotional and figurative content. Thus, the musical thinking of a student working in a sketchy manner is involved in a very complex structure, widely branched analytical and synthetic activity.

The foregoing allows us to conclude: lessons on a musical instrument, based on the principle of creating performing "sketches", have every reason to be ranked among the most effective ways of a student's general musical development (and, most importantly, musical and intellectual development). Along with sight reading, these classes can bring especially significant results in situations where expanding the artistic horizons, replenishing the musical and auditory experience, and forming the foundations of professional thinking in music students are put forward as priority pedagogical tasks.

Now a few words about the repertoire for sketch learning. In relation to it, one essentially decisive requirement can be put forward: to be as diverse as possible in composition, stylistically rich and multifaceted.

In principle, this repertoire can and should include a much wider range of composers' names and works than the one used by the teacher in compiling ordinary test and examination programs. This is a specific feature of the repertoire for sketch learning, its direct musical and pedagogical purpose, because only from the comprehension of many artistic and poetic phenomena the very process of forming a future musician is formed.

It is important that the works studied in sketch form should be liked by the student, awakening in him a lively emotional response. If in "mandatory" programs (such as examinations or competitions) sometimes there is something that should to play a young musician, here it is quite possible to refer to what he I want to work. Therefore, as practical experience shows, it is expedient and justified to meet the student's wishes when compiling a list of plays "for acquaintance"; the teacher's repertoire policy in this situation has reason to be much more flexible than, say, under other circumstances.

As for the difficulty of works mastered in sketch form, it may exceed, within certain limits, the real performing abilities of the student. Since the play from the category of intra-class, working "sketches" is not destined to appear in the future at public screenings and reviews, the teacher has the right to take a certain risk here. This risk is all the more justified, since it is the path of "greatest resistance" in performing activity that, as is known, leads to the intensification of the general musical and motor-technical development of the student. The best way to stimulate the progress of students, A. Cortot believes, is to provide in time in the plan of their work the study of some work, the degree of difficulty of which would be definitely higher than anything they knew so far. One should not demand the flawless execution of these "too difficult" works, the frequent change of which is very expedient. Thus, A. Cortot had in mind precisely the sketch form of classes.

Should I learn a work by heart as part of a sketch form of work? According to a number of reputable educators, this is not necessary. Enough confident, "good" from a professional point of view of playing music by notes. Moreover, "learning by heart in this form of work would be superfluous," M. Feigin reasonably considered. And he argued his idea: “It is important for us to ensure that students know how to play well from notes ... After all, the future musical life will much more often require the ability to play from notes than concert performances from a pianist. In a word, the ability to play from notes must be systematically developed” 1 .

Under the conditions of sketch learning, the functions and responsibilities of the teacher who directs the educational process change markedly. First of all, the number of his encounters with the work that the student mastered sketchily decreases, and significantly. Experience shows that, in principle, two or three such meetings are enough, especially when working with student youth. Further, the problems associated with the interpretation of music and its technical implementation on the instrument are solved when the student himself creates the "sketch". The teacher here, as it were, moves away from the work, his task is to outline the final artistic goal of the work, give it a general direction, suggest to his pupil the most rational methods and methods of activity.

Despite the fact that the potential resources of the sketch form of work in relation to the general musical development of students are great and diverse, they can only be identified if they regularly and systematically refer to this activity. Only if the student devotes a certain part of his time to sketch learning every day can the desired effect be achieved.

Sketchy development of some works must constantly and without fail coexist in their practice with the completed learning of others; both forms of learning activity fully realize their potential only in close, harmonious combination with each other. Only under this condition, the student's focus on solving cognitive, musical and educational tasks will not damage the development of the necessary professional and performing qualities, the ability to carefully and accurately work on a musical instrument - a requirement that a qualified teacher will never give up.

1 Feigin M.E. Musical experience of students // Issues of piano pedagogy. - M., 1971. - Issue. 3. - S. 35.

§ 15. Formation of active, independent creative thinking of a student-musician

With all the amount of musical information received by a student of the performing class while reading from a sheet, with all the versatility of knowledge acquired by him in the course of sketching musical works, these factors alone, taken separately, are still not enough for the successful development of the personal and professional qualities of a young musician. This development gets really full scope only if, as noted above, it is based on the student's ability to actively, independently acquire the knowledge and skills he needs, to navigate the whole variety of phenomena of musical art on his own, without outside help and support.

In other words, in the process of forming a professional musical consciousness, it is equally important that what acquired by the student in the course of his studies, and that how these acquisitions were made, in what ways certain results were achieved.

In the requirement of initiative, independence and a certain freedom of mental actions of the student, one of the previously mentioned principles of developing music education is reflected, more broadly, one of the main didactic principles of developmental education in general.

The problem of the development of independence of creative thinking in our days has acquired a particularly vivid sound; its relevance is closely related to the task of intensifying learning, enhancing its developmental effect. Various aspects of this problem are now being developed and refined from scientific positions by many Russian and foreign specialists. Musical pedagogy does not remain aloof from the trends that characterize the progressive movement of general pedagogy. The topics of stimulating the creative initiative and independence of students are now being thoroughly considered, and are ranked among the most important in their importance.

The question is natural: how is the concept of "independence" deciphered in relation to musical studies? The answer to it is not as simple and unambiguous as it might seem at first glance. The concepts of "independent musical thinking", "independent work on a musical instrument" are interpreted in different ways and most often approximately and generally. For example, many practicing teachers sometimes do not make fundamental distinctions between such qualities of the educational activity of young musicians as activity, independence, and creativity. Meanwhile, these qualities are by no means identical in nature; likewise, the terms expressing them are far from being synonymous: the activity of a student of music may well be devoid of elements of independence and creativity, the independent fulfillment of any task (or instructions from the teacher) will not necessarily be creative, etc.

The concept of independence in teaching music in general and musical performance in particular is heterogeneous in its structure and inner essence. Being quite capacious and multifaceted, it reveals itself at various levels, synthesizing (when playing a musical instrument, for example) and the student's ability to navigate unfamiliar musical material without outside help, correctly decipher the author's text, and make a convincing interpretive "hypothesis"; and the readiness to find effective ways in work, to find the necessary techniques and means of embodying the artistic concept; and the ability to critically evaluate the results of their own musical and performing activities, as well as those of others

interpreter samples and much more. In the actual pedagogical aspect, the problem of educating the independence of a student-musician affects both teaching methods, methods (methods) of teaching, and forms of organizing educational activities in a music-performing class.

The development of independent, inquisitive, ultimately creative thinking of the student has always been a subject of tireless concern for great musicians. By way of illustration, reference may be made to the names and pedagogical concepts of some of them. So, according to the memoirs of L.A. Barenboim, F.M. Blumenfeld never demanded imitation from his students and did not resort to pedagogical "cosmetics". He very energetically expressed his dissatisfaction with those students who, showing creative timidity and passivity, tried to find out or guess his thoughts only in order to get rid of the need to think of something themselves. Similar pedagogical principles were followed by K.N. Igumnov, who constantly taught his pupils to find in communication with him "only starting points for their own quests." The tasks of the teacher are quite openly displayed here beyond the framework of teaching something; for prominent specialists, these tasks turn out to be much broader and more essential. To give the student the basic general provisions, based on which the latter will be able to follow his own artistic path on his own, without needing help - such is the point of view of Professor L.V. Nikolaev. The education of independence and initiative in a young musician sometimes dictates to the teacher the expediency of a temporary departure aside from the work carried out by the student, prescribes non-interference in the processes taking place in his artistic consciousness. Former pupils of Ya.V. Flier is told that, while working on a work, the professor sometimes adhered to the policy of "friendly neutrality" - in case his developed personal concept did not coincide with the ideas of the student. First of all, he tried to help the student understand himself ...

It would be wrong to believe, however, that the focus on the development of creatively independent, individually stable thinking in the student prevents the masters of musical performance pedagogy from demanding from the latter the so-called "actions according to the model." The same teachers who, if possible, deliberately weaken the "reins of government", giving scope to the student's personal initiative, in necessary cases, on the contrary, regulate his performance in a certain way, precisely and specifically indicate to him what and how to do in the work being studied, and do not leave for a young musician, there is nothing else but to obey the will of the teacher.

It should be said that such a method of teaching, of course, has its own reason: the communication by a highly erudite specialist, a master of his craft, of “ready-made” information to the student, whose share remains only to realize and assimilate it, work through the method of direct and clear “instruction” - all this carries in itself, under certain circumstances, a lot of useful things both in musical pedagogy and in pedagogy in general. There is no need to say that the assimilation of a certain amount of "ready-made" professional knowledge, information, etc. saves a lot of energy and time of the student.

The point, however, is that teaching methods that stimulate the initiative and independence of the student ("look, think, try...") and the methods of "authoritarian" pedagogy ("remember this, do this...") in the practice of masters, as a rule, they turn out to be skillfully balanced. The ratio of these methods can vary depending on the situations that arise in teaching, causing a variety of forms of influence on the student - this is the tactical task of the teacher. As for the strategic task, it remains unchanged: "To do as soon as possible and thoroughly so as to be unnecessary to the student ... i.e. to instill in him independence of thinking, working methods, self-knowledge and the ability to achieve goals, which are called maturity ..." (G.G. Neuhaus).

In a different way, the picture often looks in a wide musical and teaching practice. The course towards the formation of the creative independence of the student, to provide him with a certain freedom in learning is seen here quite rarely. A number of reasons give rise to this phenomenon: the distrustful, skeptical attitude of teachers to the ability of students to find interesting interpretive solutions themselves; and the so-called "fear of mistakes", the unwillingness of the leaders of musical performance classes to take risks associated with independent, unregulated from the outside actions of young, insufficiently qualified musicians; and the desire to give student performance visual appeal, stage elegance (which is much easier to achieve with the support of a firm, guiding hand of the teacher); and pedagogical egocentrism; and much more. Naturally, the teacher it is easier to teach something to your ward than to educate in him an individually original, creatively independent artistic consciousness. This, first of all, explains the fact that the problem of independent thinking of a student-musician is solved in mass pedagogical everyday life much more difficult and less successfully than in the practice of certain great masters.

If the teaching activity of the latter, as was said, embraces the most diverse, sometimes contrasting forms and methods of influencing the student, then the ordinary musician has only one path in pedagogy - directive-setting ("do this and that"), leading in his extreme manifestations to the notorious "training". The teacher informs, instructs, shows, points out, explains, if necessary; the student takes note, remembers, performs. The German scientist F. Klein once compared a student with a cannon, which is stuffed with knowledge for some time, so that one fine day (meaning the day of the exam) it will be fired from it, leaving nothing in it. Something similar takes place as a result of the efforts of authoritarian musical pedagogy.

And a few more considerations in connection with the above. As already mentioned, the concepts of "activity", "independence", "creativity" are not identical in their inner essence. From the point of view of modern pedagogical psychology, the relationship between "active thinking", "independent thinking" and "creative thinking" can be represented as certain concentric circles. These are qualitatively different levels of thinking, of which each subsequent one is species in relation to the previous one - generic. The basis is the activity of human thinking. It follows from this that the initial, starting point for stimulating such qualities of musical intelligence as independence, creative initiative, can and should be the full activation of the latter. Here is the central link in the chain of relevant pedagogical tasks.

How is the musical consciousness activated in a student performing class? With all the variety of techniques and methods known to practice to achieve this goal, they can in principle be reduced to one thing: introducing the student-performer to close, inseparable listening to his game. A musician who listens to himself with unflagging attention cannot remain passive, internally indifferent, emotionally and intellectually inactive. In other words, it is required to activate the student - to teach him to listen to himself, to experience the processes taking place in music. Only by going in the indicated direction, i.e. deepening and differentiating the ability of the student-performer to listen to his own game, to experience and comprehend various sound modifications, the teacher gets the opportunity to transform the active thinking of his pupil into independent and, at subsequent stages, into creative thinking.

The problem of active, independent creative thinking in teaching music in general and musical performance in particular has two closely spaced, although not identical, aspects. One of them is associated with a specific result of the relevant activity, the other - with the methods of its implementation (for example, how the student worked, achieving the intended artistic and performing goals, to what extent his work efforts were creative and exploratory in nature). The fact that the first (results) directly depends on the second (methods of activity) is quite obvious. It can be said that the problem of the formation of independence in a student of the musical-performing class includes, as a main component, what is associated with the ability to be proactive, creative and constructive. study on a musical instrument. It has long been known, since the time of great thinkers and teachers of the past, that Creativity cannot be taught but you can teach it work creatively(or at least make the necessary effort to do so). Such a task, we repeat, belongs to the category of basic, fundamentally important in the activities of a teacher.

What are the possible ways to solve this problem? A number of prominent musical educators resort to the following method: the lesson in the classroom is constructed as a kind of "model" of the student's homework. Under the guidance of a teacher, there is something like a rehearsal, "debugging" the process of independent homework of a young musician. The latter is informed, brought up to date: how it is expedient to organize and conduct homework; in what sequence to arrange the material, alternating work with rest; explain how to identify difficulties, be aware of them, outline, respectively, professional goals and objectives, find the most correct ways to solve them, use productive techniques and methods of work, and so on.

Some of the most experienced teachers offer the student: "Work the way you will do it at home. Imagine that you are alone, that there is no one around. Please work out without me ..." - after which the teacher himself steps aside and observes behind the student, trying to figure out what his homework might actually look like.

Then the teacher comments on what he saw and heard, explains to the student what was good and what was not very good, which methods of work were successful and which were not. The conversation is not about how perform piece of music, how work above it, is a special, specific and almost always relevant topic.

This applies primarily to students of music schools and colleges. However, even in music universities, where student youth is already engaged in "aerobatics" (or, in any case, they should be doing it), - and there sometimes it is useful to touch on this side of the matter, to pay special attention to it. "There is no art without exercise, no exercise without art"- said the great ancient Greek thinker Protagoras. The sooner a young musician comes to understand this, the better.

And the last. One of the characteristic signs of a developed, truly independent professional thinking of a young musician is the ability to assess various artistic phenomena, and, above all, in one's own educational activity, the ability to make a more or less accurate professional self-diagnosis. The task of the teacher is to encourage and stimulate this kind of quality in every possible way.

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The article reveals the essence of the concept and the basic principles of a bifunctional approach to the musical development of a child in piano lessons in institutions of additional education. The bifunctional approach in music education is interpreted as a pedagogical strategy based on the dual foundation of the musical education of children and youth: the formation of a cultural layer of enlightened music lovers and highly qualified professional musicians in the society. The author characterizes two educational programs recently formulated in new legislative documents - pre-professional and general developmental - and makes their comparative analysis. The pre-professional educational program is aimed at training future specialists - musicians of various profiles. The general developmental educational program is designed to promote the formation of a musically educated listening and viewing audience in society. The article emphasizes the need to implement both programs on the basis of a single basic academic methodological complex. The idea of ​​fundamentalization is especially important for the implementation of a general developmental educational program, since at present its implementation is in line with easing, indulging, teaching music to most children is becoming an amateur music making.

amateur music making.

dual foundation

musical development

unified methodological complex

general developmental program

pre-professional program

musical development

bifunctional approach

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3.Barbitova A.D. Peculiarities of Formation of Modern Thinking of a Teacher: Psychological Aspect // Additional Professional Education: Achievements, Problems, Trends: Proceedings of the All-Russian Scientific and Practical. Conf., Kemerovo. November 23-24, 2005 / comp. L.N. Vavilov, under the total. ed. I.A. Zhigalova, T.S. Panina: in 2 hours - Kemerovo: GOU "KRIRPO", 2005. - 236 p.

4. Voskoboynikova E.G. Additional general education program in the field of musical art. Subject "Piano" for Children's art schools and Children's music schools. M., 2014 - 112s.

6. Kazakova A.G. Higher professional and postgraduate scientific education (Ph.D., Ph.D.) Monograph. M .: Ekon-Inform, 2010 - 547p.

The present time is the time of reforming the domestic system of music education. “The reform of the education system being carried out in the Russian Federation is based on the principles developed in the late 1980s. and developed in the early 90s, the principles of democratization", including: "the variability of the education system; .. humanization of education and the creation of the most favorable conditions for the disclosure and development of the abilities of each student; .. developmental education." . Now, in the context of the modernization of music education, such an approach is fully consistent with the implementation of additional general educational programs in the field of art, which are contained in the latest legal documents (Federal Law "On Education" dated June 16, 2011 No. 145-FZ, Federal Law dated December 29, 2012 No. 273-FZ). These programs are divided into pre-professional, designed to help identify artistically gifted children and youth, train creative and pedagogical personnel in the field of culture and art, and general developmental, ensuring the formation of a trained audience of listeners and viewers in society.

In this regard, the relevance of the problem of the bifunctional approach to the musical development of a child in the piano class considered in this article in the system of additional education is obvious.

Analyzing this problem, it is necessary first of all to clarify the essence of the concept of "bifunctional approach".

Approach - “... this is a certain position in relation to any problem or phenomenon, ... a theoretical or logical basis for considering or designing an object; a set of methods and techniques for carrying out activities on the basis of an idea or principle.

The approach to learning in pedagogy is interpreted as the implementation in practice of the leading dominant idea of ​​learning in the form of a certain strategy and with the help of certain teaching methods.

The definition of “functional” in the phrase “bifunctional approach” is an adjective from “function” (lat. functio performance), which means “circle of activity, purpose”. R.K. Merton characterizes functions (meaning explicit functions) as consequences that are planned and realized by the participants in the system, i.e. conscious subjective intentions and objective consequences coincide.

The concept of "functional approach" was formed in sociology on the basis of the ideas of O. Comte, G. Spencer and E. Durkheim. Its representatives consider society as a system, which is an integral complex of interrelated elements that are in functional relationships and connections with each other. Functionalists focus on individual subsystems of society, especially on its most important institutions - family, religion, economy, state, culture, education. They identify the structural characteristics of institutions in the same way that biologists describe the basic properties of an organism, and then define the functions of institutions. One of the features of the system is the striving for the balance of its components: a change in one institution has consequences both for other institutions and for society as a whole.

Children's music schools are a widespread socio-cultural institution that performs many public functions, two of which are the preservation and strengthening of the highest level of the national piano performing school and the formation of a cultural layer of competent music lovers in society and are the basis of a bifunctional approach to the musical development of children. The bifunctional approach in this case is interpreted as a pedagogical strategy based on the dual foundation of the musical education of children and youth: the formation of a cultural layer of enlightened music lovers and highly qualified professional musicians in the society.

The appearance of the pre-professional and general developmental educational programs described above is, in fact, the first legislatively fixed step towards creating optimal conditions for the musical education of children in children's art schools. This is the first example of a dual educational program, the first experience of program variability, aimed at an individual trajectory of personality development. In both of them, the tasks and goals of the educational process are correctly formulated, the emphasis is correctly placed on the specifics of each of its functions: general developmental educational programs are focused on educating an active educated listener, participant in amateur performances, pre-professional programs - on providing optimal conditions for the formation of children's motivation to continue vocational training in secondary vocational institutions.

To successfully complete the above tasks, it is necessary to answer a number of questions: what knowledge, skills and abilities should be formed in future amateur and professional musicians graduating from a music school and how this should be reflected in the content of pre-professional and general developmental educational programs and teaching methods in a music school; what personal and special musical qualities each of them should possess. Such an analysis is necessary because children's art schools to this day, in essence, remain a narrowly focused institution for teaching how to play musical instruments.

Amateur musicians can be divided into two categories. The first includes listeners, that is, consumers of sounding music. The second (quantitatively smaller) category includes amateurs who, along with this, realize themselves performing: they participate in various forms of collective music-making, accompany other amateurs (singers, instrumentalists, choir), and often even act as performers - soloists. Amateur musicians of the first, predominant category are characterized by a steady need for the activity of the listener's consumption of music - its perception and experience, obtaining the appropriate aesthetic pleasure as a source of spiritual energy. To fulfill this need, an amateur musician must at least: have the ability and skill to adequately perceive music; to experience emotionally and be able to aesthetically realize and evaluate the artistic level of musical works thanks to a developed ear, thinking and imagination; to know a large number of musical works of various eras, styles and genres; be able to analyze the features of the form and content of the heard work; -qualifiably determine the specifics of their performance by various artists or performing groups; show a keen interest in events in the world of music: new compositions and their interpretation by various performers, competitions, tours, interesting debuts.

This type of music lover, as can be seen from the listed qualities, cannot be considered passive in any way - he is active in realizing his need to communicate with music, evaluate it, memorize it, experience it, and the corresponding emotional reaction. It is clear that the narrowly focused teaching of playing the instrument cannot fully ensure the formation of the musical culture necessary for a competent listener.

Obviously, all these qualities that an educated listener of music should possess should also be inherent in a music lover. At the same time, for a competent amateur performance of musical works, it is necessary: ​​to know the intonation language of music and be able to express through it the various artistic content of the performed works; have a developed musical thinking; have a developed musical memory; have significant instrumental technical equipment, high quality of sound production, necessary for the competent performance of orchestral and ensemble parts, accompaniments that do not contain specific virtuoso difficulties of the solo repertoire; master the elementary skills of ensemble and orchestral music-making; master the skills of reading from a sheet.

From what has been said, it is clear that the performing activity of amateur musicians makes rather serious demands on them, which are close to professional ones in terms of their level. In support of this thesis, let us analyze what set of personal qualities, special knowledge and skills a music school graduate should have for successful further professional education.

The first is a comprehensively developed professional ear as a complex combination of its intonational and analytical components. The second is a heightened rhythmic feeling, developing from the very beginning of classes to the level of the basis of the future rhythmic culture in the totality of all its aspects - from metrical pulsation, rhythmic accuracy, a sense of time and tempo to logically correct accentuation, agogic nuance and proportionality of parts of the musical form. The third is the ability to adequately perceive the figurative and artistic content of the performed work, to interpret it creatively. Fourth, a potential musician-specialist as a performer must have a certain set of personal qualities: artistry, ability to work, increased ability to concentrate, overcome stressful conditions. Fifth - professional well-developed musical memory, in all its variety of types: figurative, motor, tactile, verbal-logical, emotional. Sixth - an extensive accumulation of repertoire, covering works of different historical eras, styles, genres. Seventh - a developed ability to read from a sheet. Eighth - the formation of the playing apparatus, which ensures the intensive development of all elements of virtuoso instrumental technique at a fairly early age. Ninth - the presence of certain skills in joint music-making (playing in an ensemble, accompaniment, understanding conductor's signs). Tenth - an active position in relation to the most important events in the world of music and other arts.

So, from all that has been said, we can draw the main conclusion: the pre-professional training of a future performing musician, in terms of its content and structure, should not fundamentally differ from the training of an amateur musician - in both cases, it should be formed as an integral system. , which includes all the necessary significant components of the academic methodological complex. The existing differences should manifest themselves not in the exclusion of any components from this system, but in a different level of mastering them, in the features of their fundamentalization, in particular, in a different scale of mastering the repertoire, special knowledge, and skills. These differences should be based on a deep understanding by teachers of the nature of the motivation of each child and his parents to receive a musical education, on respect for the choice of students in one direction or another in learning.

Reviewers:

Maykovskaya L.S., Ph.D., Professor, Head. Department of Music Education, Moscow State Institute of Culture, Moscow;

Chervatyuk P.A., Doctor of Pedagogical Sciences, Professor, Moscow State Pedagogical University, Moscow.

Bibliographic link

Voskoboynikova E.G. BIFUNCTIONAL APPROACH TO THE MUSICAL DEVELOPMENT OF A CHILD IN THE PIANO CLASS // Modern Problems of Science and Education. - 2015. - No. 6.;
URL: http://science-education.ru/ru/article/view?id=23891 (date of access: 01.02.2020). We bring to your attention the journals published by the publishing house "Academy of Natural History"

The consideration of activity as a process of transformation and change is the most important legacy of materialistic philosophy. Not in "adaptation" to the surrounding world, but in its transformation and change, the essential forces of a person are manifested, his affirmation and development takes place. The dialectics of the relationship of a person with the surrounding reality is such that a person, changing it, changes himself, improves his psyche and abilities. And only such a meaningful understanding of activity makes it possible to identify those ways that will solve the problems of modern pedagogy, including artistic pedagogy. The theory of activity makes it possible to fulfill the requirement of the time - the restructuring of school curricula in order to transfer them (and the entire education system) to a new level of thinking.

Activity is a complex dialectical system based on external, sensory-practical activity, and mental activity is derived from it. At the same time, socio-historical practice in the theory of activity appears in two forms: as a source, the starting point of activity, and as the ultimate goal, the "object" of the application of human essential forces. Activity, therefore, is entirely closed in practice, where it is realized both as a process of transforming reality and as a result, which immediately becomes the source of a new phase of this process. In essence, socio-historical practice acts as a real "criterion of truth", regulating activity, correcting it in all forms and forms, determining the qualitatively specific formation of the human psyche as a derivative of the "activity of individual consciousness". At the same time, we note that practice acts as a criterion for the adequacy and truth of the reflection of reality in the activity of consciousness, scientific accuracy and content of theoretical concepts that are formed in thinking, and emotional and evaluative figurative representations and concepts that arise in artistic consciousness.

Creativity is an integral quality of activity, without which it is simply unthinkable, cannot take place as an activity. This is its attribute, the absence of which turns the activity into a simple job. A number of philosophers, cultural scientists distinguish creativity in general as the leading category of human civilization. Indeed, speaking of civilization as the culture of mankind, we usually note the diversity of its material and spiritual manifestations, starting with the culture of thinking, the culture of behavior, the culture of the word, everyday life. And at the same time, we inevitably come to the conclusion that the whole variety of manifestations of culture as a product of human activity is linked with the concept of "creativity". Thanks to this, activity should be understood as a form of the procedural existence of culture in its constant development, transformation, enrichment, where creativity is the creation of a new, better, progressive.

Activity on the plane of representation that changes the ideal image of an object is also sensuous-objective activity that transforms the sensuously perceived image of the thing to which it is directed. This is exactly what happens in art, in musical perception. First of all, music itself and its perception became possible thanks to the ability of a person to “separate an ideal image from himself and act with it, as if it were an existing object” (which is a piece of music). The musical image is that "special thing", the "objectified representation" of the composer's activity. Musical perception as an artistic activity is from the very beginning an internal form of human activity, and the changes that musical thinking produces in the ideal image of an object are formally of the same nature as those that occur in a thought experiment at the level of scientific and theoretical thinking.

Even a brief review of the main provisions of the theory of activity necessarily requires the elucidation of its significance for modern education. First of all, it lies in the fact that on its basis a theory of educational activity as one of the types of human activity was developed, which should be considered an achievement of domestic psychological and pedagogical science.

An important point in the theory of learning activity is that scientists distinguish it as "leading for primary school age", linking this age with laying the foundations of theoretical thinking. The new status of the child - "I am a schoolboy" - is his formal readiness to go through the path in knowledge that all of humanity has passed in a short period of life. Unfortunately, educational activity in the modern school is present in its "escheated", "shrunken" form. The main reason is obvious: the low philosophical and psychological-pedagogical culture of practicing teachers, ignorance and misunderstanding of the theory of activity as the foundation of pedagogy.

In the scientific and methodological literature of recent years, the process of teaching musical art at school is increasingly being considered from the standpoint of developing education as an artistic and pedagogical process, and the requirement is put forward to develop artistic didactics; this is seen as a way of restructuring mass musical education.

In modern school music pedagogy, there are actually two historically established approaches to teaching music: as a school subject and as a living figurative art. The theoretical basis of the first of them was formed historically and follows from the status of music as a subject of study at school and from the attitude towards music as a “means” of education (“traditional” approach). Proponents of another (“new”) approach also rely on the history of music pedagogy and in their theoretical searches are guided by the idea of ​​D. B. Kabalevsky from his preface to the Music program that in attempts to update the teaching of music “there is a desire to rely on general pedagogy, psychology, physiology, aesthetics, sociology... but least of all is the desire to rely on the laws of music itself.

It is characteristic that the very idea of ​​addressing the nature of art is not rejected by the supporters of the opposite approach, however, they continue to defend the conviction that its implementation in the conditions of a general education school is possible only on the principles of general didactics (O. A. Apraksina, Yu. B. Aliev and other researchers). It is necessary to theoretically rethink the "watershed" between the two approaches - the very principles of general didactics in terms of their role and capabilities in organizing a music lesson as an art lesson from the standpoint of the harmony of their interaction with the principles of artistic didactics. This is the cardinal theoretical problem of mass musical pedagogy of our days.

For the successful organization of artistic activity in art lessons, it is necessary to understand the difference between the reproduction and decoding of the author's intention, which consists of answers to endless questions: how and why exactly this form has developed in this work, according to what laws of art, artistry does this happen in general. These "laws of art" are precisely reflected in the structural components of artistry. These components, as ways of artistic rethinking of life, organically follow from the tasks of art, which, according to S. X. Rappoport, are the systematization, objectification and concentration of the experience of relations - the three most important facets of the relationship of art to reality.

The concentration of the idea is a reflection of the unity of content and form in art. In relation to music, this unity was remarkably formulated by V. V. Medushevsky, the author of the theory of “artistic modeling of emotions”, who believed that the qualitative transformations of life emotions in music consist in an exaggerated expression of certain aspects of an emotion, in a combination of its incompatible features, or, conversely, in deliberately incomplete reproduction of the whole complex of aspects of any emotion. In fact, this is a meaningful characteristic of the musical and artistic thinking of students acting in artistic activities in different roles, including the role of a composer.

The "technological" component of artistry - symbolization - follows from the essence of the artistic as a rethinking of reality. Various systems of symbols (real, graphic) can become means of "standardization", and thus idealization of material objects, means of translating them into a mental plane. Even B. V. Asafiev, revealing the intonational nature of music, essentially presented it as a sign system, indicating that not only intonation, but the entire formation of a musical form proceeds as a “tool for the social discovery of music”. Following him, V. V. Medushevsky in his works showed how “a piece of music appears before us as a semiotic object.”

The musical sign is connected, first of all, with the “abstract doubling” of reality, excites an associative series in perception, providing an understanding of the meaning of sound. It is a constructive unit of music construction and, performing primarily a communicative function, may not have any spiritual content at all. A symbol in art is an order of magnitude higher concept, and it acts as a carrier of musical content. Under symbol we mean such intonations-themes that reflect the “philosophical general” in the public consciousness, that which “is in the air” and is cast in the work of outstanding composers as a “clot” of ideals, aspirations, assessments, as a concentrated meaning of the era. Such symbols include the "theme of fate" from Symphony No. 5 by L. van Beethoven, the "themes of fate" from Symphonies No. 4 and No. 5 by P. I. Tchaikovsky, and many other themes-symbols.

In intellectual human activity, different types of thinking, no matter how specific they may seem, are not opposed to each other, but on the contrary, being connected by the system-forming connection of human culture - creativity, they interact, “overflow” into each other. Therefore, artistic thinking acts as an ideal form of human activity, proceeding at the scientific and theoretical level with all its inherent attributes, which means that musical and artistic activity in art classes should be carried out in an organic synthesis with educational activity.

Artistic activity is a living self-developing system, where the richness and variability of the human psyche reflects all the diversity of the surrounding reality in the form of emotional and aesthetic assessments. It is characterized by a special plasticity and a plurality of ideal figurative representations of the external world. In the light of its unity with educational activity (penetration into the nature of the phenomenon), one of the central problems of comprehending art in a mass school is tracing how the ordinary, everyday of our life and the world around us becomes artistic.

The question of the relationship between artistic and educational activities is solved as follows: music education becomes developing when the activity of students proceeds as artistic in content and educational in form.

To date, the historical attitude to art as a means of education, approach to teaching music as a school subject displace from the theory and practice of music education the idea of ​​teaching music, which has not gained real practical strength, as a living figurative art.

The most prominent representative of the traditional approach and, one might say, the ideologist of teaching music as a school subject, apparently, was

and remains O. A. Apraksina. It should immediately be noted that her works (especially of the late period) are characterized by the desire to achieve a certain “compromise” between both approaches. The compromise is expressed in the fact that music is considered, on the one hand, as a school subject and on the other -like art.

As for the practical methodology, the above provisions are concretized in it, naturally one-sidedly didactic. The methodological aids of this direction in musical education are literally permeated with advice and instructions of this nature: “it is expedient to consolidate ... "," to inform the children of knowledge about the simplest musical forms...”, “suggest rhythmic accompaniment for students ... ", etc.

In fact, musical art turns into a kind of “educational and didactic bargaining chip”, and therefore what happens is what we have already talked about and written about: there is a teaching of simplified art or a simplified teaching of art, but both are equally inconsistent with the image of the lesson. music as an art lesson.

The educational impact of music lies in the very experience of music as an inherently valuable phenomenon, “born by life and turned to life” (D. B. Kabalevsky): without this understanding, the very idea of ​​turning a music lesson into an art lesson remains a slogan devoid of meaning. Overcoming this negative lies in the development of such a methodology that could organize intellectual activity in the perception of schoolchildren as comprehension of the process and result of the interaction of moral and aesthetic assessments in the logic of following musical meanings, where processuality is provided by intonational-thematic, figurative-semantic contradictions, and the result is a situation of internal spiritual and moral choice.

This causes "going beyond the limits of music", the formation of artistic pedagogy (pedagogy of art). Its principles were developed by L. V. Goryunova: integrity, figurativeness, associativity and variability, unity of different and original, intonation. Each of these principles not only reflects in our minds the “basis of a phenomenon, process”, but at the same time (which is extremely important for the practice of teaching art!) is also a condition for the existence of the phenomenon or process itself. And a condition for the existence of art itself, and a condition for organizing a music lesson as an art lesson (in a high sense). Teaching music at school as an art - this idea runs like a red thread through the work of outstanding representatives of the national theory and practice of mass music education. However, on the way to the implementation of this idea, a “brake” often arose, consisting in the fact that in wide practice the methods of teaching music did not correspond to the main methodological position: they were not adequate to the the nature of music as an art form. The solution to this problem lies in an appeal to the theory of educational activity, the fundamental and most significant difference of which from educational "work" is that it proceeds primarily in the field of theoretical (comprehending) thinking, and is characterized by

such a transformation of the material, which reveals in it the internal essential connections and relationships. Their identification and consideration allows schoolchildren to trace the origin of knowledge itself, to carry out "self-discovery of truth."

A great contribution to the pedagogy of art was made by B.P. Yusov, who substantiated and developed the fundamental concept of the polyartistic development of schoolchildren, a new approach to understanding culture as the highest way of organizing the elements of being and its systemic and hierarchical classification, the concept of spirituality, which is based on the loftiness of thoughts, poetry , selflessness, creative activity and freedom, the realization of one's own internal resources, etc. In turn, N. A. Terentyeva developed meaningful principles for constructing music lessons as creative lessons: creating in children a holistic understanding of art, the integrity of theoretical and practical activities, as well as building a lesson based on the associative comparison of artistic material. The philosophical and psychological foundations of the pedagogy of art, the idea of ​​a "higher self" and the rationale for the role of human spiritual experience were developed by A. A. Melik-Pashaev, and V. G. Razhnikov - the idea of ​​an objective task of children's musical and artistic creativity, its productive nature.

The above considerations, the analysis of philosophical, scientific and pedagogical (and certain artistic!) Literature of different times, the theoretical generalization of the work experience of outstanding professionals in musical art (and not only musical art) allow us to assert that universal, integrative, backbone principle, and therefore fundamental for artistic pedagogy, is the principle of modeling the artistic and creative process. Its effectiveness covers almost all aspects and all links of artistic pedagogy, which is where its universality is manifested.

The principle of modeling the artistic and creative process is universal in the sense that it forces one to reproduce the nature of the origin of art, and hence to trace the very nature of knowledge about art. Of course, it is necessary to speak very carefully about the universality of something in science, however, concluding the theoretical and practical significance of this universal principle, it must be emphasized that in it music pedagogy acquires the necessary single foundation and, at the same time, that productive way, which allow the teaching of music in a mass school based on the ideas of developmental education.

The principle of modeling the artistic and creative process does not reflect one, albeit an essential, aspect of children's activity in comprehending art, but ideally, their practical immersion in historical process"movement from the natural to the human." On this path, children, exploring nature and man in their dialectical unity (as it happened “at the dawn of mankind”), trace how “human feelings became theoreticians” (K. Marx), how objectively given everyday becomes artistic, and thus Thus, in their own creative activity, they realize the human ability to master the world aesthetically, reproduce (model in themselves) the process of the formation of art as a form of social consciousness. In this way, the child asserts himself in the surrounding reality as extensions of the body of nature, the formation and realization of his family relationship to the world. This reveals the broadest methodological content of the principle, its universality.

Comprehension of musical art on the basis of this principle allows us to practically reproduce human activity as system with its "mutually transforming units, or components" - need, motive, goal, conditions - and activities, actions, operations correlated with them. At the same time, the processes of internalization of the external form of activity and the exteriorization of its internal form (objectification of ideal images in “sounding matter”) proceed both in accordance with the unique quality of activity - “universal plasticity, likeness to relations and connections of the objective-objective world”, - and thanks to it. Exactly thanks to this latter)" - likening to the relations and connections of the objectively objective world - the artistic activity of children in art lessons receives that scientific and theoretical meaning, which is absolutely necessary for the harmonious unity of artistic activity with educational activity.

In theoretical terms, the principle of modeling the artistic and creative process, as it were, “absorbs” all other principles and, being an integrating and, at the same time, defining principle for all of them and each individually, really transforms the sum of principles into a full-blooded system of principles of musical pedagogy.

The principle of modeling the artistic and creative process makes it possible to radically change the understanding of methodology as a whole as a set of ways, methods and techniques introduced "from outside", mainly from related areas - for example, from professional music education and from general didactics. The process itself tracing the formation of music as a whole and in individual facets turns into a universal technique of its kind, directly arising from the laws of musical art. To a large extent, there is no need for "special" methods designed to give the educational process a developing character.

It should be emphasized that in a certain pedagogical context, he himself turns into method, because it is so broad multifunctional and internally plastic. At the same time, the creative transformation of the material proceeds as a process real mental experimentation with the aim of penetrating into the essence of any musical phenomenon, event, fact, tracing the relationship between the general and the particular. Only by plunging into the origins of the musical art itself and into the origins of knowledge about it, it is possible to achieve the formation in schoolchildren of a holistic view of music as art.

This is the significance of the principle of modeling the artistic and creative process for organizing the teaching of musical art on the basis of the ideas of developing education. This principle is especially important when mastering large classical compositions by children, which have always been intended only “for listening”: here it is implemented as a method of “composing a composition”. Manifested in the concept of D. B. Kabalevsky and given its name in the work of V. O. Usacheva, this method allows you to really trace the formation of an instrumental work as a unity of content and form, and at the same time provides and requires:

• - independence in the acquisition and appropriation of knowledge (when passing the path of a composer, in the process of living the "technology" of writing, they are not alienated from the child);
• - creativity (when a student, relying on musical experience and on imagination, fantasy, intuition, compares, compares, transforms, chooses, creates, etc.);
• - the development of perception as the ability for individual hearing and, most importantly, creative interpretation of music.

The following author's position is connected with the attitude to children's musical creativity. In our opinion, the criterion of creativity is not necessarily something complete (for example, the final phrase of a song, which is “completed”, but does not require anything other than the search for “melodic stamps” in one’s experience), but that readiness for creativity, when the student wants to and ready to experience the meaning of their activities when he has a feeling of the need to compare, correlate, choose and find something that can best express his hearing and vision of a particular phenomenon, event, fact, his own artistic attitude as a whole. The result can sometimes be expressed in just one intonation, in one poetic phrase, movement, line, or at first it may not even appear at all. The meaning of unpreparedness for creativity is that music can sound inside the student, that he can have a clear idea of ​​what kind of music it should be, but his musical thoughts may not yet materialize in a clear form, in a specific melody. It is this inner work of the student, the process of mental experimentation with expressive means is much more important for us than the finished result, especially at the initial stages of entering music.

Hence the main objectives of the school course “Music. Grades 1-4”, in the solution of which the spiritual and musical development of children is seen on the basis of teaching music as a living figurative art, the formation of the educational process as an artistic and pedagogical process.

• 1. Disclosure to schoolchildren of the content of musical art as a manifestation spiritual activity man-Creator, man-Artist; the formation on this basis of the idea of ​​art as a concentrated moral experience of mankind.
• 2. The formation of students' aesthetic, emotional and value attitude to art and life.
• 3. Development of musical perception, instilling the skills of a deep personal and creative comprehension of the moral and aesthetic essence of musical art.
• 4. Mastering the intonational-figurative language of art on the basis of the emerging experience of creative activity and the relationship between different types of art.
• 5. Creation of prerequisites for the formation of the foundations of theoretical thinking among schoolchildren, the result of which should be the initial idea of ​​music as an artistic reproduction of the dialectics of life.

The key problem of mass music education concerns its methodological support. It is necessary to start with the traditional interpretation of the very concept of " methodology". Usually it is understood by teachers as a "set" of certain rules, methods, methods and techniques that are intended for certain pedagogical circumstances: solving "educational, educational and developmental" tasks, to maintain student interest in the material, to form certain skills and abilities in various "types of musical activity", etc.

All the "mental creativity" of children at the same time proceeds at the level of manipulation of already known musical means, terms, concepts and is in no way a creative transformation of musical material, because there is no artistic tasks in its teaching-developing sense.

It is the formulation of the problem, the solution of which requires mental experimentation with the material, an independent search for yet unknown connections within phenomena, penetration into its nature, - this is what corresponds to the true meaning educational creative task. For example, it is not easy to consider the march as a certain well-established genre in music, not just to find its common (for all marches) features, to state its use in musical works in one role or another (for various purposes), but to identify universal basis, universal relation - organization of collective human activity. The emotions of the march are overcoming, it is the merged energy of the action of many, and all this in a “compressed” form is contained in one or two intonations. The creative experiment consists in growing this intonation, and then the march as a musical work of a certain life purpose, from a “placer” of sounds. Then, abstracting from the specific content of the march, trace its transformation into “march” and transfer this meaningful meaning to other phenomena of the surrounding world - marching in nature, marching as a state of the human soul, marching as an order of organization of things and phenomena, marching as a phenomenon of other types of art (the rhythm of a verse, a film, the compositional rhythm of a picture), marching as a destructive and creative principle, and finally, marching as one of the reflections of the "rhythmic (temporal) harmony of the world." To trace the origin of musical knowledge itself means to actually carry out real artistic activity in its developing sense.

The fundamental ideas of this course may turn out to be fruitless if they do not find their development in the wide deployment of a program of extracurricular and extracurricular activities, the creation of which should be based on taking into account the specific conditions of the surrounding socio-cultural environment, the characteristics of the region, the type of school, etc. The way out is seen in the creation of a wide musical and aesthetic field, covering a school, a kindergarten, a family, a microdistrict, where at the same time there are various forms of existence of music, old and new traditions of musical communication develop, and where "complex" educational institutions operate (such as " music school - kindergarten - general education school, etc.).

So, the concept of developing musical education allows you to create a holistic system for educating the musical culture of children, starting from preschool age, based on the unity of the principles of studying music as an art, taking into account the specifics and intrinsic value of each age period of childhood and implementing a new type of continuity in the logic of movement from creative imagination to comprehending thinking and cultural activity.

The methodological idea of ​​considering music as an integral sphere of a child’s life, implemented in an adequate pedagogical technology, allows creating conditions for a growing person when he creates his own spiritual world, his life according to the laws of art, emotionally relates to the environment as a perceived whole. Art as the life-creation of a child is the essence of Childhood, predetermined by the very nature of man.

Achieving a harmonious unity of the principles of general didactics and pedagogy of art when organizing the educational process as an artistic and creative process that calls for a child's predisposition to art contributes to the formation of a music lesson as a lesson in living figurative art.

The universal principle of modeling the artistic and creative process, reflecting the nature of art and the nature of cognition in their unity and allowing in the logical and historical terms to reproduce the very path of the formation of musical art, takes the teaching of music beyond the narrow objectivity into a broad problematic field of culture.

Musical knowledge, as theoretical, meaningful knowledge, is a process of mastering the general way of comprehending art by entering the nature of musical creativity from the standpoint of a composer, performer, listener.

Thus, the concept of developing music education:

• 1) is based on the unity of the principles of studying music as an art;
• 2) takes into account the specifics of childhood;
• 3) represents a theoretical and practical strategy for updating the content of music education in general and ensures that the entire musical and pedagogical process is directed towards the development of the spiritual, creative essence of a growing person.

The unified pedagogical foundations of the concept are:

• - penetration into the nature of musical and artistic creativity;
• - formation of musical thinking as theoretical (comprehending) thinking;
• - iteration of musical knowledge.

The concept is aimed at overcoming:

• - mismatch of the goal, objectives, content and methods of music education with the nature of art and the nature of the child;
• - the gap between the declared high purpose of art, its philosophically lofty content (the spiritual experience of mankind) and a simplified, unprofessional approach to its implementation;
• - Alienation of the child from music, and the music itself - from human culture, from life in general.

The main provisions of the concept are:

• - the inherent value of musical art, the development of which should be free from ideological clichés, from the transformation of music from a means of "serving" educational activities into a full-fledged musical art that helps the child to know the world and himself in this world;
• - reliance on the laws of music itself and pedagogical technology based on the unity of artistic and educational activities, which is characterized by the reproduction of the very process of the birth of musical art, the disclosure of its essential internal connections and relationships;
• - immersion in the nature of musical art in the process of deploying its philosophical content in space and time, which requires a transition from the empirical-classifying type of thinking to theoretical (comprehension) thinking, formed in full-fledged musical and artistic activity;

when considering the problems of life and art, reaching the level of meaningful generalizations that reveal the universal essence of phenomena, allowing you to see the whole before its parts and consider any phenomenon in its internal contradictions and universal interconnections, which makes it possible to go beyond narrow objectivity into a broad problematic field of culture (according to definition of V. T. Kudryavtsev, “problematization of various components of human experience”);

• - promotion as types of musical activity of the composer, performer, listener in their inseparable trinity; united perception music (as a backbone connection), these types of activity become a condition for the existence of music in general, they reflect the logic of the deployment of musical and artistic activity as an integral phenomenon in the unity of the process and result;
• - orientation to the system of principles of pedagogy of art, where the fundamental is the principle of modeling the artistic and creative process, allowing in the logical and historical terms to reproduce the very path of the formation of musical art;
• - putting forward a fundamental methodological idea of ​​considering musical art as an integral sphere of a child's life in preschool and primary school age, when musical art becomes for a child life creation, the continuation of its life meanings and is carried out as the development of fundamental human abilities in harmony - the art of hearing, seeing, feeling, thinking;

attitude to creative activity in preschool childhood and primary school as a single basis for the entire life of the child and proceeding in different periods of childhood mainly as creative imagination(preschool stage) and as the beginning of the formation comprehending thinking(primary school age); creative activity acts as a universal substantive basis for the continuity of all stages of entry into musical art, as well as the core of all forms and methods of studying it.

The result of developing musical education should be the idea of ​​the Musician's activity as a high manifestation of human creative potential, as a great intellectual and emotional work of the soul, as the highest need for the transformation of man and the world from the standpoint of high spirituality.

• Based on materials: Shkolyar L. V. Music in the system of developmental education: at 2 hours // International almanac "Humanitarian Space". T. 1. M. : Publishing House of the Federal State Scientific Institution of the Russian Academy of Education "Institute of Art Education", 2012.

musical ensemble teaching piano

The restructuring taking place on the pedagogical front cannot leave indifferent teachers and musicians. Directly influencing the emotional and moral sphere, musical art plays a huge role in the formation of a creatively thinking spiritually rich personality. The very content of art requires a special relationship between teacher and student based on empathic (compassionate) understanding. “The most important trend of advanced music pedagogy of our time largely determines its methods. can be characterized as a desire to achieve - together with general pedagogy - the harmonious development of the human personality by achieving a balance of reason and soul (0 p. 0).

But the negative phenomena observed in the system of general education have not bypassed music education. Many teachers-musicians see their task in developing a limited fund of performing knowledge and skills in students. The authoritarian style of teaching does not stimulate the development of the senses of the intellect and the cognitive interests of students. It's no secret that the majority of pupils of children's music and educational institutions quit music lessons immediately after graduation. They do not know the methods of independent music-making and lose their love for the art of music.

Along with this, pedagogy has accumulated the richest experience of outstanding music teachers. The ideas established over the past two decades in the methodology of instrumental learning are, in essence, the practical embodiment of the pedagogical concept of cooperation. Brilliant examples of developing pedagogy are the works of the masters of the Russian and Soviet piano schools: A.G. and N.G. Rubinsteinov V.I. Safonova A.N. Esipova N.S. Zvereva F.M. Blumenfeld K.N. Igumny G.G. Neuhausa L.V. Nikolaeva A.B. Gondelweiser and others.

How is the idea of ​​developmental education refracted in relation to the theory and practice of teaching piano playing? Tsypin believes that, firstly, the methods and methods of teaching in the system of mass musical upbringing and education should be directly related to the student's mastery of the works assigned to him, and secondly, it is necessary that the same methods and methods of educational activity contribute to the overall musical development of students.

The problem of the relationship between training and development is also relevant in music pedagogy. Unfortunately, even today many practitioners are convinced that training and development in musical performance are synonymous concepts. Hence the disproportion between training and development. There is learning instead of according to the didactic concept of L.S. Vygotsky's "running ahead of development" far "runs away" from it, and then the formation of professional-playing skills and abilities almost completely exhausts the content of the educational process. The task of a teacher working in the system of mass music education is to achieve the highest possible developmental effect. The relationship between the assimilation of musical knowledge and performing skills, on the one hand, and musical development, on the other ... is not at all as straightforward and simple as it sometimes seems to some teachers. Mass piano education often “may be tangential to development and not have a significant impact on it; dogmatic training leading to the assimilation and memorization of certain musical patterns can slow down the development and distort the student's thinking (0 p. 000).

The impoverishment and limited scope of the studied musical repertoire, the craft-narrow focus of individual lessons in the piano class, the authoritarian style of teaching - all this is a manifestation of the concept according to which the development of students is an inevitable consequence of teaching those who do not require special care.

Work on a piece of music turns into an end in itself dictated by the desire to earn high marks for a performance. Hence - "training" when the student dutifully fulfills the numerous instructions of the teacher, polishing the external sound contours of the composition. In essence, the teacher performs the work with the hands of the student.

The multi-day polishing of works sharply limits the range of works studied. Meanwhile, it is the musical experience accumulated in the work on a variety of musical material that is the basis for the intensive development of the student. Learning that advances development and thus stimulates the need for cooperation requires a fast pace of learning the material with a high level of difficulty. The foundation of developing education in music and performing classes is formed by a system of principles declaring an increase in the volume and acceleration of the pace of passing musical and educational material, the rejection of a purely pragmatic interpretation of the lessons and the transition from authoritarian teaching to maximum independence and creative initiative of the student.

Education in performing classes usually leads to the formation of highly developed but at the same time narrow local skills and abilities. In this case, the interests of the development of the student-musician are infringed. General musical development is a multifaceted process. One of its important aspects is associated with the development of a complex of special abilities (ear of music, a sense of musical rhythm, musical memory). Also significant in terms of general musical development are internal shifts that are being improved in the field of professional thinking of the student's artistic consciousness.

The formation and development of musical intelligence was carried out in the course of enriching the personal experience of the individual. In the process of learning to play the piano, optimal conditions are created for replenishing the knowledge of the student. Great in this regard are the possibilities of piano pedagogy, which allows students to get in touch with a rich and versatile repertoire. Here lies the potential value of the cognitive side of the piano lesson: the student can meet with a greater number and variety of sound phenomena than in a lesson in any other performing class.

Learning to play the piano occupies one of the most prominent places in the broad musical upbringing and education. It is in the center of the circles and studios of the Children's Music School and the VMSh of Music Laboratories, etc. The piano is an instrument of the widest range of action, playing an exceptionally important role in mass musical education and education, no one who has anything to do with learning music can avoid meeting with it. To find the optimal solution to the problem of developmental teaching in the piano class means to contribute to the solution of this problem on the scale of the entire musical and pedagogical practice.

It is piano performance that has a particularly rich potential in relation to the musical development of the student. The educational resources of piano music-making are not limited to work on the pianistic repertoire alone. With the help of the piano, any music is recognized and mastered in educational practice - operatic-symphonic chamber-instrumental vocal-choir, etc. Literature for the piano itself has wide developing possibilities, the systematic mastery of which is a demonstration of a multitude of the most diverse artistic and stylistic phenomena.

The general musical development of students is improved in the learning process. In music, as elsewhere, development outside of teaching, in principle, cannot be. Ways to solve the problem of general musical development of students should be sought within the learning process in such an organization that would ensure high results in development.

The question of musical and didactic principles aimed at achieving the maximum developmental effect in teaching is, in essence, the central culminating point in the issues under consideration. There are four main musical and didactic principles that, taken together, can form a fairly solid foundation for developing education in performing classes.

• 1. Increasing the volume of material used in educational and pedagogical work; expanding the repertoire framework by turning to more musical works. This principle is of great importance for the general musical development of the student, enriching his professional consciousness with musical and intellectual experience.
• 2. Acceleration of the pace of passing a certain part of the educational material; rejection of long periods of work on musical works; installation on mastering the necessary performing exercises and skills in short periods of time. This principle provides a constant and rapid influx of various information into the musical and pedagogical process and contributes to the expansion of professional horizons.
• 3. An increase in the measure of the theoretical capacity of musical performance lessons, the use of a wider range of information of a musical and historical nature during the lesson. This principle enriches the consciousness with deployed systems.
• 4. The need to work with material in which the independence of the creative initiative of the student-performer would be manifested with maximum completeness.

These are the main principles based on which the teaching of music for musical performance can become truly developing in nature. Their implementation in practice affects the content of training, brings certain types and forms of work to the fore in the educational process, does not leave aside teaching methods. “... the teacher is called upon not only to keep up with the times, but also to be ahead of them. He must be a passionate propagandist and a deep connoisseur of the science of the basis of which he teaches, well aware of the latest data in it. He needs to correctly understand and take into account in his work the phenomena and processes of social life. He is obliged to constantly test his pedagogical skills by the extent to which the solution of professional problems is subject to him, to look for the best ways to the children's mind and heart ”(00 p. 00).

How the field of musical performance - ensemble music-making helps to implement the principles of developmental education will be discussed further.

So let's summarize what has been said:

• 0. Development is carried out in the course of training. The developmental function of learning is influenced by the construction of the educational process, the content of the form and teaching methods.
• 0. The implementation of the principles of pedagogy of cooperation is the most important condition for achieving a developmental effect in education.
• 0. Ensemble music making is the best form of cooperation between teachers and students, which gives a developing effect.