1. Essence, specificity and classification of methods of musical training

Existing in modern The musical and pedagogical literature of determining the method of musical education (learning, education) is quite diverse, but in general, not contradictory.

Methods of musical training - these are ways to organize the assimilation of schoolchildren to the content of the object that meet the goals and objectives educational process. The conditionality of the methods and content is implemented in the process of student under the guidance of the teacher (E.B. Abdullin).

Methods of musical training There are various ways of joint activities of the teacher and students, where the leading role belongs to the teacher (L.G. Dmitriev, N.M. Chernoyvanhenko).

The term "method" is used in two senses: Wide and narrow.

In a broad sense Under the method of musical education means a combination of pedagogical methods aimed at solving problems and mastering the content of musical education.

In a narrow sense, the method - A specific technique aimed at mastering students of musical knowledge, skills, skills, creative activity experience and an emotionally moral attitude of a person to reality embodied in music.

Specificity Methods musical education consists in their focus on the development of creative abilities of students, their musical taste and needs to communicate with art, on modeling in music classes artistic and creative process, to achieve the unity of the teacher and students in the process of communicating with musical art.

Applying various methods, the teacher must remember that their choice should ensure the development of students' imagination, emotional responsiveness to music, musical thinking, create a sense of joy from communication with art, to form fascination with lessons and their main content - the most music.

Methods of musical education are very diverse. This is due to the specifics of musical art, its diversity, as well as species features musical activity Schoolchildren in the lessons. As a rule, methods are not used isolated, but in a variety of combinations.

Classification of musical training methods.

1. Even before the concept appears and programs in music D.B. Kabalevsky In musical and pedagogical practice, in special studies, a large arsenal of methods caused by certain types of educational music activities of schoolchildren, the very structure of the previously existing program (singing, musical grades, listening to music) was accumulated. These are methods:

Development of choirs of choir and solo singing (N. Dobrovolskaya, D. Lokshin, N. Orlov, T. Ovchinnikova, A. Sveshnikov, Vl. Sokolov, O. Sokolova, V. Tavlin, etc.);

Forming elementary skills solfed filling(P. Wece, I. Gainrichs, M. Rumemer, etc.);

Development of individual musical abilities: Rhythmic (K. Freedin, L. Surgautaite), Harmonic, Polyphonic (Y. Aliyev, I. Rinkevichus), timbre hearing (Rigina, V. Sudakov, etc.), etc.;

Learning to listen to music (B. Asafyev, V. Beloborodova, N. Bolsova, N. Grodzenskaya, V. Shatskaya, B. Yavorsky, etc.).

So, the greatest recognition was the classification of musical education methods in accordance with individual types of schoolchildren's educational music.

2. In post-war and especially in the 60-70s of the twentieth century The question of the cognitive opportunities of schoolchildren in various types of music became widely discussed. learning activities. Different methodical ways of expanding the musical outlook of students, their orientation in modern music, in the musical folklore, are being developed, methods of analyzing common and especially in various national cultures are being developed.

So, referring to pedagogical ideas B. Asafieva, V. Shatsk, N. Grodzenskaya et al., M. Korsunskaya and in Sudakov, develop a method of similarities and contrast when familiarizing schoolchildren with the work of modern composers and establish communication between the musical art of the past and the present. Special attention It began to be given methods for the activation of musical perception. L. Goryunova for these purposes uses the method of intonational and thematic analysis. V. Beloborodova proposes to use the receptions of a multivariate perception of works, apply the reception of "destruction".

More and more attention is paid methods to enhance schoolchildren's activities, raising the role of creative principle in training (O. Apraksina, N. Vetlugin, L. Dmitriev, N. Chernivaenko, etc.), the methods of awakening and developing the interest of schoolchildren to music (V. Shatskaya, N. Grodzenskaya, L . Burthenev, etc.).

V. Shatskaya, N. Grodzenskaya, M. Rumemer, et al. Stretched Set the unity of the methods on a deeper basis. V. Shatskaya for this elected topics dedicated to the work of composers and individual destinations in music (within the framework of optional classes). M. Rumemer highlights music literacy classes and the methodology of their organization. N. Grodzenskaya focuses on the development of music from schoolchildren. There is a largest approximation of musical education methods to solve the promising tasks of musical pedagogy, to the formation of the musical culture of schoolchildren in general.

Already in existed until the 70s of the twentieth century Music programs contained the requirement to achieve the integrity of the music lesson. And individual teachers, in particular, N. Grodzenskaya, sought good results here. However, this requirement could not be systematically implemented in practice due to objective reasons: integrity, unity was absent in the content of the training.

Program DB Kabalevsky In music with its thematic structure, the content combined all forms and types of musical activity in the lesson. All of them began to obey the topic. The task was to ensure that the teacher can provide in real practice in real practice to provide a holistic organization of the learning process itself using relevant methods.

Analysis of the principles and content of the program allowed to distinguish three methods of musical education, which in their totality are primarily aimed at solving the goal and the organization of the assimilation of the content. They contribute to the integrity of the process of musical education in the lesson of music, i.e. Perform regulatory, cognitive and communicative features.

IN musical pedagogy represented Various approaches to establishing links between learning methods. T. Berkman allocates specific types of classes as the basis of the combination. Singing on notes with accompaniment and without it, oral dictation, etc. They are both forms of organization of schoolchildren's activities, and as a form of intensifying, stimulating their development, and as a form of pedagogical control. Of course, these methods do not deny the actions of other methods and techniques of musical education and are in relationships with them.

So, allocation of leading methods musical education (musical generalization, "running" ahead and "return" to the passed, emotional dramaturgia) Allowed to group the methods of musical education in accordance with the content of musical training.

Principles of musical educationFormulated by DB Kabalevsky, allowed to group the methods around such an element of the content of musical training as key knowledge. Since their formedity is one of the main characteristics of the formation of a schoolboard musical culture, then all methods of musical education should contribute to the formation of key knowledge.

3. Methods of musical education Classified also on the basis of the main tasks of musical education. On the basis of communication of methods with the main tasks of musical education, three groups of methods are distinguished (E.B. Abdullin).

1. Methods aimed at development Pupils empathy , emotional and value attitude to music (creating an installation on emotionally spiritual communication with art, achievement of "resonance" in the perception of music; the method of emotional lesson drama as a lesson of art, the method of "like" (B. Nemensky) and others aimed at developing The ability of "residence" of music, her mood, feelings, relations to the world. Gaming methods and techniques (especially in primary school), aimed at organizing a fascinating process of musical training).

2. Development Methods Pupils of artistic and cognitive abilities, skills to hear music. This includes comparison methods, finding similarities and differences, analysis, generalizations, "running" ahead and "return" to the new level. Methods of "Snego Coma" (assimilation of new material in support for updating and communications with already known and close in content), dating students with biographies of composers, performers, establishing links with other arts, creating vital and artistic associations, creating problematic search situations.

3. Methods aimed at development Pupils are self-expression in musical art. Among them, for example, the methods of organizing vocal choral work (shedding, showing songs, various methods of learning words and melodies, attracting a note record, combination of singing without accompaniment and accompanied by other.

Here are the methods of organizing the game On elementary musical instruments: Admission to the game, an essay by teacher of scores based on the capabilities of a particular class, etc.). Methods of organizing plastic intonation: a expressive show of movements by a teacher, training "free conducting" and others. Methods of organizing creative activities: an essay of children of motives, melodies, as well as improvisations to the specified "grain" -intonation, poetic text, a specific plot, rhythmic pattern, essay Podcomers to melodies, uncomplicated parties in the scores for the orchestra of elementary musical instruments, etc.

In this wayThe most common classifications of musical education methods are classifications, outgoing from: 1) species of educational music activity of schoolchildren in the lessons of music; 2) the content of musical education (its individual elements in their relationship); 3) the main tasks of musical education.

2. Characteristics of the main methods of modern musical training

Methods of pedagogy art. L.P. Maslova It highlights the methods that make up the basis of the art pedagogy. The author refers to them the following methods:

- method of destruction - helps to identify the importance of a particular means of artistic expressiveness;

- generalization method (as stimulating the conclusions made as a result of the use of all the above techniques). Generalization is the theoretical outcome of the lesson, and the conclusions should make students themselves, although with the help of a teacher.

State budgetary preschool educational institution kindergarten № 48

Kirov district of St. Petersburg

Modern methods of children's musical education

Sholokhov Nina Nikolaevna,
Music leader

St. Petersburg

Modern condition of the theory and techniques

Musical Education

In modern conditions, the intensive development of the theory of musical and aesthetic education is observed. This is due to indigenous shifts in the public, economic and cultural life of the country.

Currently developed and approved by the Federal State Educational Standard preschool educationwhere one of the educational areas is artistic and aesthetic, which in turn includes the musical development of preschool children.

In accordance with the main educational program Preschool education implemented in the Dow The main task of musical education preschoolers is to develop the musicality of children, the ability to emotionally perceive music.

The public experience of any field of human activity is operating in certain standards, references (in the music of the norms are expressed in a tint system). The child absorbs them in the form of certain knowledge, and in preschool age, children absorb the simplest ideas and are involved in acting in accordance with some norms. For example, they not only distinguish, but also reproduce musical sounds in accordance with their height, duration, etc.

But, of course, the sensory development does not exhaust the issue of the formation of the mental abilities necessary for successful musical activity. The artistic thinking of the child is closely related to the practical development of the surrounding, which is reflected in their consciousness, artistic ideas, concepts, judgments.

That is why already at the stage of preschool childhood, musical education and education should be carried out by a competent person in the field of musical activity, that is, having a musical and pedagogical education and owning modern methods and music teaching technologies.

In the definition of the "Theory and Methodology Methodology" methods, it relies on general pedagogy. In this case, the criterion for choosing work methods in the context of the specifics of musical education depends on the characteristics of the content of the educational material (its complexity and novelty), specific pedagogical purposes, the preparedness of children, as well as the personality of the teacher. Along with the common-goal methods, the "Theory and Methodology of Music Education" has its own methods caused by the aesthetic essence and intonational nature of musical art.

Classification of musical education methods

In musical pedagogy, the methods of musical education are considered as methods of organizing the assimilation of the content of the subject that the goals and the leading tasks of the pedagogical process (E. B. Abdullin).

Methods of musical education can be defined as a system of interrelated actions of the teacher and a child aimed at mastering the spiritual and moral potential of music and achieving the goals of musical education.

As well as in general pedagogy, in musical education before school age The methods are widely used that are classified by the source of transmission and receipt of knowledge (visual, verbal and practical), by the nature of cognitive activity (explanatory-illustrative, reproductive, gaming), according to didactic purposes (methods that contribute to the assimilation, consolidation and improving knowledge). However, it should be noted that the general methods in musical education have their own specifics due to the peculiarities of music. At the same time, the process of figuratively-artistic experiences of music acts as the most important characteristics of the target function of general-dactical methods, having an impact on the specificization of their wording: visual hearing, visual, artistic and practical, musical and game.

Vividly auditory the method is associated with the impact of the music itself on the aesthetic sense of the child in the process of perceiving musical works. The object of visibility can be musical works performed by a teacher or reproduced with musical and technical means. The understanding of the nature of the development of musical intonation is the most important condition for the realization of a clear-auditory method. According to its content, it is close to the "Music Monitoring Method" (B. V. Asafyev), who formulates the ability to intelligently perceive the content of the music, following the change in its intonation.

Vividly visual the method is based on concretizing the presence of a child about the artistic image of a musical work. Visual visibility (the use of paintings, drawings, objects, etc.) sends the perception of the child into a certain direction, so its use before listening to the musical work is not always justified. The use of this method is directly dependent on the level of development of the child's musical thinking.

Comparison method it is responsible for the most important principle of artistic didactics, a substantiated outstanding teacher-musician D. B. Kabalevsky, is the principle of "similarities and differences". Methodical principle Similarities and differences are adequate to the principle of identity and contrast - the principle of organizing the most musical form. The use of the comparison method in the musical pedagogy allows you to clarify the presentation of the child about the nature of the development musical Image In one or several musical works, close or contrasting software-emotional build, compare various types of art, etc. Creating problem situations in the process of using the comparison method allows you to develop a child's imagination, its shaped and associative thinking, which ultimately affects Not only on the process of forming his musical culture, but also the entire culture of the perception of life and the awareness of their life impressions.

Sensual method in musical education is used not so much to transfer the necessary information, how much to create a figurative psychological attitude in the situation of perception or performance of music.

The main varieties of the verbal method in the musical pedagogy are for the child as landmarks in perceiving and music execution. These include: conversation, story, explanation.

Conversation - A variety of verbal method in a musical pedagogy, aimed at identifying the emotional response of the child to a listened musical product or concretization of the content of the musical work before listening to it. The conversation with children is usually built in the form of questions and answers. When conducting a conversation, it is recommended to maintain the following sequence of questions:

1) What feelings give music? (Characteristic of emotional-shaped music content);

2) What does music tell? (Program of the musical work, its visual moments);

3) How does music tell? (Analysis of expressive music and their role in creating a musical image).

Story used, as a rule, in working with children of junior and middle preschool age before the perception of software music and holding plot musical games. This type of verbal method actualizes the associative and creative thinking of children, develops their imagination, deepens the presentation of the child about the musical image.

Explanation as a variety of verbal method, it is used in the process of acquaintance with a new musical work. The explanation should be brief, clear and clear, which contributes to an understanding of the task facing the child in the process of its communication with music, and good quality His execution. An explanation may be accompanied by a particular actions.

Artistic and practical the method is associated with motor reactions and active actions of the child in the process of communicating with music (playing music and the transfer of experiences caused by music in different shapesah performing activities, such as vocalization, plastic intonation of music, rhythmic movements to the music; The expression of music experiences with the help of creative ways of action in various types of musical activity, etc.).

The peculiarity of the methods of musical education is due to the specifics of music as a type of art. Defending the dialectical principle of compliance of the method of studying the object of the nature of the Object itself, JL S. Vygotsky wrote: "... Art has a special way of thinking, which in the end leads to the same thing, what does scientific knowledge and other way leads to . Art differs from science only by their method ... "

The peculiarity of methods in the field of musical education is determined by their reference to the development and assignment of the spiritual values \u200b\u200bof the musical culture in the unity of the composer's activity - the artist - the listener.

An analysis of modern methodical literature allows you to distinguish a number of musical education methods that reflect the specifics of music as a type of art. Let us dwell on their characterization.

Method for creating an art context aims to develop a child's musical culture through "outputs" beyond music. The mechanism of creating-artistic context is a variety of music links with other types of art, life situations and images. The musical culture of the child is enriched at the expense of the identification of the general and special in the specifics of both the musical and picturesque or literary image, concentrating the object of art - music, painting, poetry, etc.

Method of creating compositions it provides for the combination of different forms of child communication with music in the performance of one work. The basis of the method is syncretic (Greek. "Connection, association") The nature of art, as well as the whole culture as a whole. As forms of communication, a child with music can be:

Vocalization of music;

Reflection of it in the figure;

The embodiment of music in plastic movements;

Reflection of the content of music in orchestral improvisation-theatricalization;

Orchestra musical work.

This method, introducing game element The process of mastering the musical work, significantly enriches the musical and performing experience of children.

Method Reflections on Music directed by development of a conscious child's relationship to music, formation of his musical thinking. The method actualizes the problems of personal, individual assignment by the child of spiritual values \u200b\u200bembodied in music. The use of this method is based on the assimilation of the ready-made knowledge of music recorded in various concepts and categories, and on the formation of a child's ability to individual hearing and creative interpretation of music, in the process of which a child, relying on their own musical and life experience, imagination, fantasy, Intuition, compares, compares, chooses, comes to the discovery of new truths that did not have aware of them earlier.

In the process of implementing this method, the teacher encourages the child to understand not only music, but also of its own "I" and the surrounding world. At the same time, such psychological processes are stimulated as co-experience, co-feeling, co-creativity. Target feature method Not to "assimilate", "consolidate", "repeat", but to "survive", "evaluate", "express".

Rating ahead and return to the traveled (D.B. Kabalevsky), or the prospects and retrospective method Orienses the teacher for the formation of a holistic idea of \u200b\u200bmusical art in children, the development of their ability to understand the material passed at the new level.

Method of emotional drama It activates the emotional attitude of the child to music, acknowledges the teacher to record the peculiarities of building and developing a musical work in the development of the structure of musical training (the creation of emotional contrasts, determining the climax of classes, choosing a sequence of forms and species of musical training in the context of this group of children, etc.).

Method of musical generalizations Used in the implementation of musical education programs having a thematic structure. The method is aimed at generalizing knowledge about music embodied in the subject matter.

Method of modeling the artistic and creative process aims to increase the active active development of works of art, on the development of the ability of the child to individually interpret the process of creating a musical work - from the birth of plan to the moment of its incarnation. The method of modeling the artistic and creative process detects communication with the problematic method, as it affects the level of thinking and the quality of knowledge of the child about music.

The implementation of this method in the field of musical education requires a child of independence in extracting and assigning knowledge about the musical and creative process, carrying out activities based on fantasy, intuition, imagination, ability to individual hearing and its own interpretation of music.

The practical implementation technology of the method includes the following children's sequence:

· Awareness of creative ideas and maintenance of a musical image;

· Development of logic development of the plot and musical image;

· Choosing means and techniques for the incarnation of musical image (voice, in plastic movements, on a musical instrument, etc.);

· Giving the completion of the product of creativity, registration of the result of the creative process.

"Life in the image" imposes an imprint on the nature of the child's activity, which in the process of creativity compares, relates, chooses and finds that in the best way, in his opinion, can express its hearing and vision of a phenomenon or artistic process.

Method of modeling the elements of the musical i z Different types of modeling of rhythmic, soundtitivities, dynamics, tempo, musical form, etc., used in the process of implementing the method, facilitate the perception and awareness of children of expressive music.

Plastic intonation method directed to the transfer of intonations of music in plastic movements. Effective reception of this method is "free conducting" in the process of perception of music.

Method of activating creative manifestations of r e b e n k a The method is based on an improvisational and creative game that combines music, speech and movement.

The awareness of the personal meaning of the musical work directed to the verbalization of not music, but the child's own experiences in the situation of the perception of music. The method can be used in working with children of senior preschool age, since its implementation requires a certain level of development of musical thinking of a child, having the ability to relate their musical and life psychological experience with a perceived musical work.

Method of musical reinstitution Farms of the teacher for a planned disclosure of the child's meaning of music through intonation in the process of its changes and development, comparing intonation inside the same image, in different parts of one work, in the musical works of various styles and genres.

The listed methods have a multifunctional nature and are aimed at comprehending the music of adequate nature of art with means (with the help of a language on which art itself).

The choice of methods of musical education of children depends on the skill of the teacher, the age and individual characteristics of children, the level of their musical development and life psychological experience.

LITERATURE:

1. Abdullin E.B., Nikolaev E.V. Method of musical education. - M., Music, 2006. 2. Abdullin E.B. Theory of musical education. - M., Academy, 2004.

3. Vygotsky L. S. Psychology of Art. - Rostov N / D.: Publishing House "Phoenix", 1998.

4. Kabalevsky D.B. Basic principles and methods of music program for secondary school. - M., 1980.

5. Methodological culture of the teacher-musician / ed. E.B. Abdulina. - M., Academy, 2002.

- [Page 3] -

Melody is a single-haired sequence of sounds, organized in the lade and metro-rhythmic attitude. Melody movement. The pattern of the melodic movement is made up of its various directions: ascending, downward, wave-like (formed by consistently alternating ascending and downward directions); Horizontal (on repeating sound). The first three directions of movement can be enforced, jump-like or mixed. Register is a group of sounds close to the height of the sound. The registers are distinguished: high, very high, medium, low, very low. The structure of the melody. Melody, as well as it, does not flow continuously, but is divided into parts. Parts of the melody or musical work are called constructions that are different in duration. The period is a musical construction expressing the completed musical thought. He is divided into two parts - offers. The offer is divided into phrases. The motive is called the construction containing one main metric accent. Dynamic shades (dynamics) - a variety of volume of sounding of music. Dynamic changes are determined by the deployment of musical content. Allocate a constant volume of volume (loud-forte, very loud - Fortissimo, not too loud - mezzo forte, quietly - piano, not too quiet - mezzo-piano, very quietly - pianissimo) and gradually changing volume (gradually reinforcing the volume Reduced volume - Diminurendo).

Organization musical Education junior schoolchildren Section 2.1: Music programs for younger students Lecture 6 (Topic 2.1.1.): Musical Education Concept and Program
on music D.B. Kabalevsky: Past and present 1. The general characteristic of the 70th years of the twentieth century, a lot of experience in the field of musical education of schoolchildren was accumulated. At the same time, there is a need to create a single, generalizing its concept, which gives clear areas to the formation of schoolchildren's musical culture. The concept, according to the dictionary, is a system of views on the phenomenon, the main point of view with which this phenomenon is considered, leading the intention, etc. To develop such a concept was proposed to a group of young scientists under the leadership of the famous composer and public figure Dmitry Borisovich Kabalevsky. The concept and program were developed in the laboratory research institutes of the Ministry of Education of the RSFSR in the period from 1973 to 1979. The main ideas of the concept are embodied in the article that is a wearing music program "Basic Principles and Methods of Music Music for Commerce School". The program itself came out in small circulations with the note "Experimental". At the same time, tight advantages were produced for musical support of the program, as well as phochrestomatology with records of all works of the program. During the experimental testing of the program, Kabalevsky himself was led by Kabalevsky himself. These lessons were demonstrated on television. Widely spread throughout the country and a book for children "about three whales and about much more", which P.B. wrote Kabalevsky for children. For mass use, the music program for 1-3 classes (with ate methodological developments) was released in 1980, and for 4-7 classes - in 1982. The Kabalevsky program is still widely used in our country. It is a starting point for developing new music programs. However, in recent years, this program has increasingly becomes an object for criticism. At the same time, it has a lot of supporters. It seems that it is obsolete and unsuitable to be considered obsolete. This concept is a major achievement of our culture. She absorbed the best experience of domestic pedagogy, and also anticipated a number of qualitatively new processes, nascent both in art and in all parties of public life. Namely, the desire to preserve and upbringing spiritual culture, recognition of the priority of universal values. This concept has great potential for development. When preserving the essence, this development has such directions: - Development of artistic didactics and the theory of pedagogy of art; - justification of the musical material of the program; - expansion of the musical material of the program; - expansion of the role of improvisations, vocal and instrumental musication; - Enrichment of the lesson of folklore, spiritual music, samples of modern folk musical creativity, etc. One of the most important tasks of the teacher working under the program DB Kabalevsky - develop humanistic ideas concept. In their channel content educational process is a spiritual dialogue of different cultures. The content becomes the process of upbringing in children of moral and aesthetic attitudes to reality, the art itself, the artistic activity of the child as his "life" in art, creation of themselves as a person, a look in itself. Thus, understanding the concept of the formation of the child's spirituality through the music, after experience, feeling and impression can be argued that there is nothing to update in the program. If we talk about updating the content of the program as updating musical material, communication methods with music, etc., then this process is laid in the concept as a permanent, necessary and natural.

It focuses on the fact that the musical material can be replaced, on the fact that, when implementing the program, a creative approach of the teacher is needed in the choice of methods, forms of practical muscy. In 1994 A new version of the program was published, which Bader and Sergeyev made. The main tasks of the reissue are to eliminate the value of the content, to enable the teacher to show creative initiative in planning lessons. Thus, in this edition, the Music Material has been changed and the orientate methodological developments are eliminated. 2. Objective, tasks, principles and fundamental methods of music program developed under the direction of DB Kabalevsky goal of music lessons in secondary school - Education of the musical culture of schoolchildren as the necessary part of their common spiritual culture. Leading tasks: 1) Formation of an emotional attitude to music based on its perception; 2) the formation of a conscious attitude to music; 3) the formation of an active and practical attitude to music in the process of its execution, first of all choral singing, as the most affordable form of musitization. The basic principles of the program: - studying music as live art, support on the patterns of music itself; - communication of music and life; - interest and passion for musical training; - the unity of emotional and conscious; - unity of art and technical; - Thematic structure of the music program. According to the last principle, its topic is defined for each quarter. Gradually complicated and deepening, it reveals from the lesson to the lesson. Between the quarters and stages (classes) there is a continuency. All side, secondary topics are subordinated to the main and studied in connection with them. The theme of each quarter corresponds to one "key" knowledge. Fundamental program methods. The leading methods of the program in their aggregate are primarily aimed at achieving the goal and the organization of the assimilation of the content. They contribute to the establishment of the integrity of the process of musical training in the lesson of music as a lesson of art, that is, they perform regulatory, cognitive and communicative functions. These methods are in collaboration with all other methods. Method of musical generalization. Each topic is summarizing and combines all forms and types of classes. Since the topic is generalized, it is possible to assimilate it only by the method of generalization. The development of tendments of generalized knowledge occurs in a support for musical perception. This method is primarily aimed at developing children a conscious attitude towards music, on the formation of musical thinking. Method of musical generalization acts in the form of cumulative ways to organize students aimed at mastering key knowledge about music, the formation of leading skills. The method includes a number of consecutive actions: 1st action. The task is to activate that the musical and life experience of schoolchildren, which is necessary for the introduction of the topic or its deepening. The duration of the preparatory phase is predetermined by the nature of the generalized knowledge. The duration of preparation depends on the level of musical experience of schoolchildren. The main thing is to not allow the study of the topic formally, without support for a sufficient hearing experience. 2nd action. The goal is to introduce new knowledge. The main importance of the techniques of a productive nature - a variety of location situations. In the process of searching, three points are allocated: 1) the task is clearly defined by the teacher; 2) gradually, together with students, the solution of the task with the help of leading issues, the organization of one or another action; 3) the final conclusion to make which students themselves must say. The 3rd action is associated with the consolidation of knowledge in different types of training activities, with the formation of the ability to independently focus on music based on learned knowledge. The implementation of this action involves the use of a combination of various techniques of productive and reproductive nature. Method "Running" forward and "return" to the passage passed. The content of the program is the system of interrelated topics. It is important that the lesson in the consciousness of the teacher and students acted as a link of the general theme and the entire program. The teacher needs, on the one hand, to constantly prepare the ground for the upcoming topics, on the other, constantly return to the material passed to understand it at the new level. When implementing the method, the teacher's task is to choose the best for a particular class of "Races" and "Returns". There are three level connections here. 1. Communication between the training stages 2. Communication between themes of quarters. 3. Relations between specific musical works in the process of studying the program. Method of emotional drama. Lessons are built mainly on two emotional principles: emotional contrast and consistent enrichment and development of one or another emotional tone lesson. Based on this, the task is to relate one or another proposed in the program principle of building a lesson with specific conditions, level of musical and common development Pupils. The method of emotional drama is primarily aimed at the activation of the emotional attitude of schoolchildren to music. It contributes to the creation of an atmosphere of passionism, a living interest in musical classes. This method allows, if necessary, clarification of the sequence of works planned for a lesson (its beginning, continuation, culmination is a particularly important lesson, to end) in accordance with the specific conditions for holding the classes. It is important to determine the best in the conditions of this class a combination of forms and species of musical activity (classes). The identity of the teacher (his passionateness of the subject manifested in the performance of music, in judgments, objectivity of students' assessment, etc.) is a powerful incentive to activate schoolchildren's activities in the lesson. Section 2.2.: Methods and organizational forms of musical education Lecture 7 (Topic 2.2.1.): Methods of musical training 1. Essence, specificity and classification of methods of musical training existing in modern musical and pedagogical literature to determine the method of musical education (training, education) A varied, but generally not contradictory. Methods of musical training are ways to organize the assimilation of the Schoolchildren of the content of the subject that meet the goals and objectives of the educational process. The conditionality of the methods and content is implemented in the process of student under the guidance of the teacher (E.B. Abdullin). Methods of musical training are various ways of joint activities of the teacher and students, where the leading role belongs to Pedagogue (L.G. Dmitriev, N.M. Chernoyvanenko). The term "method" is used in two senses: wide and narrow. In a broad sense, under the method of musical education, a combination of pedagogical methods aimed at solving problems and mastering the content of musical education is understood. In a narrow sense, the method is a specific technique aimed at mastering students of musical knowledge, skills, skills, experience of creative activity and an emotional-moral human attitude to reality embodied in music. The specifics of the methods of musical education consists in their focus on the development of the creative abilities of students, their musical taste and the need for communication with art, on modeling in the musical classes of the artistic and creative process, to achieve the unity of the teacher and students in the process of communication with musical art. Applying various methods, the teacher must remember that their choice should ensure the development of students from the imagination, emotional responsiveness to music, musical thinking, to create a sense of joy from communication with art, to form passionate lessons and their main content - the most music. Methods of musical education are very diverse. This is due to the specifics of musical art, its diversity, as well as the features of the species of musical activity of schoolchildren in the lessons. As a rule, methods are not used isolated, but in a variety of combinations. Classification of musical training methods. 1. Even before the concept and program on the music of D.B. Kabalevsky in musical and pedagogical practice, in special studies, a large arsenal of methods caused by certain types of educational music activity of schoolchildren, the very structure of the previously existing program (singing, musical grades, listening to music) was accumulated. These are methods: - development of choirs of choral and solo singing (N. Dobrovolskaya, D. Lokshin, N. Orlov, T. Ovchinnikova, A. Sveshnikov, Vl. Sokolov, O. Sokolova, V. Tavlin, etc.); - formation of elementary solfure skills (P. Wece, I. Gainerichs, M. Rumemer, etc.); - Development of individual musical abilities: Rhythmic (K. Fradin, L. Surgautite), Harmonic, Polyphonic (Y. Aliyev, I. Rinkevichus), timbre hearing (Rigina, V. Sudakov, etc.), etc.; - Learning to listen to music (B. Asafiev, V. Beloborodova, N. Bolsova, N. Grodzenskaya, V. Shatskaya, B. Yavorsky, etc.). So, the greatest recognition was the classification of musical education methods in accordance with individual types of schoolchildren's educational music. 2. In post-war and especially in the 60s-70s of the twentieth century, the issue of cognitive opportunities for schoolchildren in various types of musical training activities has become widely discussed. Different methodical ways of expanding the musical outlook of students, their orientation in modern music, in the musical folklore, are being developed, methods of analyzing common and especially in various national cultures are being developed. So, referring to the pedagogical ideas of B. Asafieva, V. Shatsk, N. Grodzenskaya et al., M. Korsunskaya and in Sudakov, develop a method of similarities and contrast when meeting schoolchildren with the work of modern composers and establishing communication between the musical art of the past and present. Particular attention began to be given to the methods of activating musical perception. L. Goryunova for these purposes uses the method of intonational and thematic analysis. V. Beloborodova proposes to use the receptions of a multivariate perception of works, apply the reception of "destruction". More attention is paid to methods for enhancing the activities of schoolchildren, raising the role of creative principles in training (O. Apraksina, N. Vetlugin, L. Dmitriev, N. Chernoyvanhenko et al.), Methods of awakening and developing schoolchildren's interest in music (V. Shatskaya, N. Grodzenskaya, L. Bererteva, etc.). V. Shatskaya, N. Grodzenskaya, M. Rumemer, et al. I sought to establish the unity of methods on a deeper basis. V. Shatskaya for this elected topics dedicated to the work of composers and individual destinations in music (within the framework of optional classes). M. Rumemer highlights music literacy classes and the methodology of their organization. N. Grodzenskaya focuses on the development of music from schoolchildren. There is a largest approximation of musical education methods to solve the promising tasks of musical pedagogy, to the formation of the musical culture of schoolchildren in general. Already in those who existed until the 70s of the twentieth century, music programs contained the requirement to achieve the integrity of the music lesson. And individual teachers, in particular, N. Grodzenskaya, sought good results here. However, this requirement could not be systematically implemented in practice due to objective reasons: integrity, unity was absent in the content of the training. Program DB Kabalevsky on music with its thematic structure of content combined all forms and types of musical activity in the lesson. All of them began to obey the topic. The task was to ensure that the teacher can provide in real practice in real practice to provide a holistic organization of the learning process itself using relevant methods. Analysis of the principles and content of the program made it possible to allocate three methods of musical education, which in their totality are primarily aimed at solving the goal and the organization of the assimilation of the content. They contribute to the integrity of the process of musical education in the lesson of music, i.e. Perform regulatory, cognitive and communicative features. Musical pedagogy presents various approaches to establishing links between learning methods. T. Berkman allocates specific types of classes as the basis of the combination. Singing on notes with accompaniment and without it, oral dictation, etc. They are both forms of organization of schoolchildren's activities, and as a form of intensifying, stimulating their development, and as a form of pedagogical control. Of course, these methods do not deny the actions of other methods and techniques of musical education and are in relationships with them. So, the allocation of leading methods of musical education (musical generalization, "running" ahead and "return" to completed, emotional drama) made it possible to group the methods of musical education in accordance with the content of musical training. Principles of musical education, formulated by DB Kabalevsky, allowed to group the methods around such an element of the content of musical training as key knowledge. Since their formedity is one of the main characteristics of the formation of a schoolboard musical culture, then all methods of musical education should contribute to the formation of key knowledge. 3. Methods of musical education are classified also on the basis of the main tasks of musical education. On the basis of communication of methods with the main tasks of musical education, three groups of methods are distinguished (E.B. Abdullin). 1. Methods aimed at the development of empathy students, an emotional-value attitude to music (creating an installation on emotional and spiritual communication with art, achieving "resonance" in the perception of music; The method of emotional lesson dramaturgy as a lesson of art, the method "like" (b . Nemensky), etc., aimed at developing the ability of "residence" of music, her mood, feelings, relations to the world. Gaming methods and techniques (especially in elementary school) aimed at organizing a fascinating process of musical classes).

2. Methods aimed at developing students of artistic and cognitive abilities, skills to hear music. This includes comparison methods, finding similarities and differences, analysis, generalizations, "running" ahead and "return" to the new level. Methods of "Snego Coma" (assimilation of new material in support for updating and communications with already known and close in content), dating students with biographies of composers, performers, establishing links with other arts, creating vital and artistic associations, creating problematic search situations. 3. Methods aimed at developing students of self-expression in musical art. Among them, for example, the methods of organizing vocal-choral work (shedding, showing songs, various methods of learning words and melodies, attracting a note record, combination of singing without accompaniment and accompanied by et al. Here are the methods of organizing the game on elementary musical instruments: teaching techniques The game, an essay by teacher of scores based on the capabilities of a particular class, etc.). Methods of organizing plastic intonation: a expressive show of movements by a teacher, training "free conducting" and others. Methods of organizing creative activities: an essay of children of motives, melodies, as well as improvisations to the specified "grain" -intonation, poetic text, a specific plot, rhythmic pattern, essay Podcomers to melodies, simple parties in the orchestra of elementary musical instruments, etc. Thus, the most common classifications of methods of musical education are classifications, outgoing from: 1) species of educational music activity of schoolchildren in the lessons of music; 2) the content of musical education (its individual elements in their relationship); 3) the main tasks of musical education. 2. Characteristics of the main methods of modern musical training Methods of pedagogy art. L.P. Maslova distinguishes methods to a special group that makes up the basis of the pedagogy of art. The author refers to them the following methods: - intonational analysis of artworks; - reinstoned the image through the formulation of various artistic tasks; - reinstoned the image into the language of the adjacent type of art (translation to another modality); - observations and comparisons; - method of game and dramatization; - method of polyphony activity; - exit to extremisical spheres, conjugate with the analogies, comparisons, the emergence of associations; - Organization of dialogues of different levels (recipient author, student-okhlahnik, dialogue with himself, with another culture, with peace, etc. ); - method of creative tasks; - Paradox (contrast and surprise). Methods of stimulating musical activity. This group of musical education methods allocates L. Dmitriev. These methods are used to create an emotional, creative atmosphere, which is required for music lessons. Here the author relates: - Method of emotional impact; - method of creating the effect of surprise; - method of creating a success situation; - method of creating game situations; - method of creating problematic search situations;

Discussion method;

Comparison method;

Method of analyzing music; - verbal methods (story, conversation, explanation); - visual hearing method. Methods of musical training in creative class lessons. The author of this grouping methods of musical education N.A. Terentyev, which identifies the concept of "method" and "form of work". It allocates three main forms of learning, which permeate the principles of creating analogy and improvisation. These are verbal, visual and practical forms of training. 1. Velive forms of training: conversation, story, verbal explanations, explanation, comment, talk talk, talk-dialogue, dispute with teacher. The story is a living, figurative, emotional story about the artistic phenomenon. It should be brief, bright, meaningful, emotional and corresponding to the age of children. Conversation is a dialogic form of work. It has great opportunities, as it helps to associate educational material with personal experience Students, with their existing activities. Two types of conversation stand out: a talk of conversation and a conversation-dialogue. In the first case, the teacher himself brings the guys to faithful judgments, conclusions, in the second, the students themselves play a leading role, the teacher only sends a conversation and brings students to the right conclusions. In both cases, the main thing is to formulate a teacher who contributes to the correct thinking process of students. The conversation is based on a carefully thought out plan. Dispute with teacher. In the dispute, the child is taught to the argued, logical thinking. Children can be attracted to the dispute when analyzing literary, musical and picturesque works, cartoons and theatrical productions. The reason becomes the opposite, even an allogical, but "argued" opinion expressed by the teacher. You can prevent in advance about his mistakes. Encourage to discussion need as early as possible. 2. Visual forms of training. ON THE. Terentyev highlights three such forms: - Hearing visibility (musical works in the record and "live" execution, literary readings, retelling, reading poems); - Motor clarity (gestures, hands, plastic and mimic illustrations, etc.); - visual clarity (showing reproductions, illustrations, diamets, slides, posters, etc.). It is important not only to correctly choose art material, but also skillfully to show it, that is, to send the perception of students to the most essential moments. 3. Practical forms of study are aimed at the formation of direct ability to understand, evaluate and analyze the specific means of artistic expressiveness of works of art, the development of the ability of aesthetic generalization and judgment. Practical forms include various techniques and didactic methods. For example: - the comparison method and comparison, which develops the ability to see in similar phenomena, specific differences, and in different - find common features. It raises acute observation, attention to artistic details and understanding their expressive function in the general system of artistic integer; - The method of contrast and identity: develops experience in analyzing a specific product through a comparison with another product in order to brighter and fully identify the content and structural side of the first. Comparison through the contrast will emphasize the most significant artistic and expressive signs of this composition. Comparison through identity causes greater sensitivity in the perception of works, more attention to its artistic features; - Method of variability of impressions - is aimed at showing this phenomenon in different versions in order to disclose the diversity and multidimensities of a particular artistic image; - the "perspective" method and "retrospectives" - similar to the "Range" method forward and "return" to the traveled (D.B, Kabalevsky); - the method of destruction - helps to identify the importance of a means of artistic expressiveness; - The method of generalization (as stimulating the conclusions made as a result of the use of all the above techniques). Generalization is the theoretical outcome of the lesson, and the conclusions should make students themselves, although with the help of a teacher.

Lecture 8 (Topic 2.2.2):

Music lesson is the main form of the organization of musical training 1. The lesson is a general characteristic in the consequence of the Belarusian sense under the forms of organization (organizational forms) of training means the external expression of the agreed activity of the teacher and students carried out in a certain order and mode. Organizational forms are classified according to various criteria. For example: 1) by the number of students (mass, collective, group, microhyrup, individual forms); 2) at the place of study (school and extracurricular); 3) in the duration of classes (classical occupation (45 minutes), a paired lesson (90 minutes), a paired shortened, arbitrary duration). Currently, a class-grade training system, which emerged in the 18th century (Ya.a. Komensky) continues. The key component is a lesson. The lesson is finished in a sense, temporary and organizational terms, the segment (stage, link, element) of the educational process. Music lesson is the main form of the organization of musical education at school. Despite the fact that the school conducts extracurricular work on musical education (mugs, holidays, optional classes, etc.), the lesson is of paramount importance. The essence of the lesson of music, like any other, is the organization of educational and cognitive activity of students, which should always be emotionally painted. The basis of this activity is the process of the perception of music. The main types of educational music activities (in ways, forms of communication with music) schoolchildren in the lessons are considered to be hearing, performance of music (singing, game on elementary musical instruments, plastic intonation, musical and rhythmic movements, creativity (essay and improvisation). In the lesson, music should All components of the educational process: goal, tasks, content, methods, etc. General and distinctive features of music lessons and lessons on other subjects. On the one hand, music lesson is an integral part of the general education process in school, so it must comply with all the necessary requirements To the lesson. On the other hand, the music lesson is a lesson of art, as a result of which he has a pronounced peculiarity. In this regard, the music lesson has both general and distinctive features with lessons on other educational subjects, especially the scientific cycle.

Common features:

The ultimate goal of general education; - The basis of the construction is the psychological and pedagogical patterns; - Support for general-generating principles; - the form of a lesson with its main features (the permanent composition of the class, the obligation of the lesson, its duration, such forms of work, as a new, fixation, repetition, testing of the material, etc.); - integrity, focus on achieving the goal, mastering the content, types of educational activities; - Basic learning methods. Distinctive features (which give the originality and common features): - The main distinguishing feature of the music lesson is a lesson of art, not scientific discipline. Music art is a special form of reflection of reality, in which the most important role is played by feelings, an emotional sphere. In this regard, musical knowledge should occur on the basis of the unity of emotions and mind, consciousness and feelings; - the indispensable unity of the artistic and technical, when the artistic (goal) constantly covers the technical (path to the goal), when working on the technique at the same time there is both work on artwork (expressiveness), imagery; - advantage in the lessons of collective forms of work; - The main content of any lesson is the music itself, communicating with it; - the creative nature of all types of educational music activities; - the advantage of the dialogue; - non-traditional structure of lessons, originality of types; - Support on the problem type of training. 2. Types of music lessons under the type are generally customary to understand the form of anything that have significant qualitative features. In this case, the type of lesson is determined by the presence and sequence of its structural parts. Types of music lessons are diverse and significantly different from the types of lessons on naturally scientific disciplines (lessons to study new knowledge, the formation of new skills, generalizations and systematization of the studied, control and correction of knowledge and skills, the practical application of knowledge and skills, combined (mixed) types). Types of music lessons have usually unconventional structure, that is, are non-standard. This is due to the fact that the key problem of musical education is the creation of an interest in the atmosphere of interest and enthusiasm, the goal of non-standard lessons is precisely in that and is to initiate and keep the interest of schoolchildren for training work. Among the common types of music lessons are as follows: Lesson-image, press conference, competition, theatrical lesson, lesson conducted by students, creativity, competition, quiz, game, music collection, concert, integrated lesson, lesson crossword, musical transmission, music salon and etc. It is obvious that the discharge of non-standard lessons includes such types that usually appear as auxiliary, extracurricular and extracurricular organizational forms. Of course, such types of lessons are interesting, unusual, very much like students. At the same time, experts believe that it is inexpedient to turn them into the main form of work because of the big loss of time, the lack of serious informative labor, low performance, etc. It is quite acceptable for music lessons and a traditional combined type that can be built, for example, as follows: organizing time - Repeated study - the study of the new, formation of new skills - fixing, systematization - task to the house. However, due to the specifics of the lesson of music structural components Can be moved, and also be peculiarly painted. Thematic construction of the program D.B. Kabalevsky caused such types of lessons as: - a lesson of introduction in the topic; - lesson deepening the topic; - a lesson for summarizing the topic; - Summarizing lesson-concert of the year. Introduction lesson in the topic. Its main feature is the presence of the initial generalized characteristics of the new key knowledge. Each quarter is one lesson of this type. The introduction process in the topic is usually in the lesson, from three main points: 1) intensifying the previously accumulated life and musical experience of students at an angle of view of the new key knowledge; 2) itself introduction to the topic that occurs on the basis of creating a search situation; 3) The initial generalized idea of \u200b\u200bthe new knowledge is enshrined during the perception of the musical material of the lesson. Lesson deepening the topic. Chief sign - the presence of a new characteristic of key knowledge in its content. The lessons of this type in every quarter most. The process of deepening the topic is usually different from three main points: 1) the activation of the existing life and musical experience of students (first of all the knowledge that digested in this quarter); 2) actually deepening the topic (based on the perception of music, the active participation of schoolchildren in the process of knowledge, with the involvement of various means and teaching techniques); 3) consolidating the new quality of understanding the topic in the process of perception of various works, using a variety of forms and species of musical training activities). Lesson summarizing the topic. The main feature is the presence in its content of a holistic, but already enriched, compared with the lesson of introduction in the topic, characteristics of key knowledge. The teacher determines the content of musical material, selects funds and teaching techniques, depending on how the students of a specific class have learned the theme of the quarter. Final lesson-concert of the year. The purpose of such a lesson is to demonstrate the level of musical culture of students achieved during the school year. In the course of the lesson of this type, first of all, it is necessary to show: - how much rose interest in the guys to music, the emotional attitude towards her, the feeling of communication of music and life was deepened, as an understanding of the moral value of art is formed, an emotional attitude towards him; - To what extent is the thematic content of the program, the ability to reflect on it (conscious attitude to music); - What and to what extent is the experience of creative educational musical activity in schoolchildren. The concert lesson should be held in a solemn atmosphere. It is possible to combine several classes of one parallel. The music lesson is a lesson of art, therefore, his distinctive feature is his creative character. In this regard, the leading type of music lessons N.A. Terentyeva considers a class lesson. For its construction, according to the author, a support is needed to a number of relevant principles: - the focus on the education of the emotional culture of the child; - focus on the formation of figurative thinking as an essential factor of the artistic development of being; - creation in the lessons atmosphere of creativity, interest, ease as an essential psychological factor that guides the artistic opening process; - upbringing improvisation skills as a basis for the formation of an artistic and distinctive attitude towards the environment; - optimization of the ability of artistic synthesis as conditions for plastic-sensual and aesthetically multifaceted development of reality phenomena; - development of artistic generalization skills as a basis for the holistic perception of art; - the creation of aesthetic situations as the most important condition for the emergence of the emotional and creative experience of reality; - Formation of schoolchildren the foundations of artistic knowledge as the necessary prerequisites for the implementation of the actual creative experience of students and developing spiritual criteria to understand the reality phenomena. Leading type modern lesson Music as a lesson of art is a lesson-image. The following requirements are put forward to it: - the integrity of the lesson based on an artistic idea, a single drama, thematic and intonational relations; - justification of logical connections, contrasts, comparisons; - Artistic form of the structure of the lesson (form of structure of musical works (1-bed, 2x, 3x-private, rondo, variations, sofate allegro, improvisation, fantasy, etc.), form of structure of the literary work); - the unity of the educational process, the continuity of ethical, aesthetic and educational tasks at an emphasis on the culture of feelings; - creating an environment for contemplation, dialogue, impressions; - structuring of material on the principle of mutual complementary, promoting the volume vision of the problem; - support on the methods of artistic didactics (art pedagogy); - the creation of an intonational atmosphere of lesson, both in the field of lesson, creating trust relationships and in the nature of interaction with works of art and their authors; - an active-practical approach to each topic and to the elaboration of the lesson elements (support for synesthesia mechanism). In one lesson, music can be combined by several types, for example, the lesson of the deepening theme can simultaneously contain signs of an image and lesson-learning lesson, an introduction lesson in the topic may be immediately a lesson of creativity and a lesson, etc.

Lecture 9 (Topic 2.2.3.):

Extracurricular work on the musical education of schoolchildren, along with the main form of musical education of schoolchildren (lesson), there is extracurricular work on musical education. The diversity of the forms of its organization is due to the creative initiative of the music teacher, the organizer of the extracurricular work of the school, the attitude of the administration. 1. Tasks of extracurricular work on music. Participation in extracurricular work opens up to schoolchildren the opportunity to in-depth to do what they are entitled, and from here - more intensive development of love and interest in music in general, receiving new knowledge and skills. Children can make sure that the school lessons of music are closely related to life, as knowledge, skills and skills and skills will be actively demanding in extracurricular time in the lessons. A teacher in the process of extracurricular activities has the opportunity to even more attach concerned children to music, systematically form their creative activity. By organizing extracurricular work on music, the teacher should the following: - All kinds of extracurricular musical sessions should be directed to the moral and aesthetic education of schoolchildren, the formation of their musical tastes and interests: - Wide use of methods should contribute to the awakening of artistic needs, the development of artistic imagination, musical, creative students' abilities; - It is necessary to raise interest in schoolchildren to educational work, the desire to promote musical culture; - the success of all the diverse work on musical education is largely determined by how much the guys are seized by various kinds of musical activity and have the need for it; - In each particular case, it is necessary to take into account the fact that the formation of the interests and tastes of children is greatly influenced by the media, peers, family. Extracurricular musical and educational work is carried out in two main directions: mugs and mass forms. 2. Circle forms. This includes: choral, vocal, orchestral, dance, instrumental, vocal-instrumental, folklore and other circles. This also includes a musical theater. Entry into one or another circle is mainly due to the desire of participants. At the same time, a certain level of development of relevant musical abilities is required, which, of course, is lower than in special music schools and studios. Practice shows that every normal healthy child has all the musical abilities, including the singing voice, and the feeling of rhythm, and even a musical rumor. Choral circles are combined by students by the ages: younger students (grades 1-4), students of secondary school age and high school students (9-11). A large educational value is the creation of a community-wide choir, which combines all the teams for performing a pre-planned work. In the choir participate, as a rule, from 25 to 80 people. The duration of occupation depends on the age of the participants (from 45 to 90 minutes). Each lesson is planned, while the teacher tries to make it interesting and diverse. Of great importance is the knowledge of the physiological characteristics of the formation of the voice apparatus of children. Careful selection requires a repertoire for classes. Mugs learning to play musical instruments. Classes are carried out individually, which contributes to the active development of musical abilities, brings up musical taste and interest in music. The main thing is that such classes will not be reduced only to the technical development of a certain repertoire and mastering the sum of skills. An important factor is to organize concert speeches of the participants of the circle. Children's folklore ensemble. Its creation requires a teacher knowledge of folk creativity, wealth of his genres and regional features. Already at 7 years old, children are happy to perform speakers, sweatshirts, booms. The repertoire of the ensemble includes folk songs available to children, characteristic of this or that region, as well as the author's writings that embody bright folk traditions. They should be accessible to children's performance, understandable by content, cause interest. A large role for the interest of children folklore is played, for example, specially prepared (possibly and do it) folk costumes, as well as the simplest musical instruments (spoons, scraps, etc.). School orchestra or folk instruments ensemble. Unfortunately, there are few such teams, but experience shows that they are able to play an important role in promoting musical culture. Thanks to the constructive features of Russian folk instruments, it is possible to quite quickly develop their development and at the same time active development of students' musical abilities. Even people with limited musical data can well play on a musical instrument. Training of participants takes place in preparatory group. When distributing to tools, it is necessary to take into account the physical and musical data of each student, and of course desire.

Vocal instrumental ensemble. This is the most popular among children and adolescents a circle, as they pronounced the desire and desire to follow fashion and argue through it in the peer environment. In addition, popular music is available for perception and attracts with its external simplicity and brightness. The participants of such an ensemble often fascinates the game process itself, and not artistic advantages of works, which negatively affects the formation of taste, and interests are limited only to the imitation of popular rock bands. At the same time, the interest in modern light music can be used for adolescents to musical culture. To do this, their repertoire includes folk songs, instrumental plays, sometimes translating classic works. Thus, the adaptation to the best examples of musical art has an educational impact on adolescents (especially on "difficult"), and the solution of educational tasks contributes to their spiritual growth.

School musical theater. His work can be attracted to a wide range of students who have different interests, since soloists, chorus, dance groups, participants in mass scenes, artists, decorators, illuminators, make-up artists and costumes are required for setting the opera performance. Each participant in the performance of the performance, engaged in a favorite thing, at the same time comes to musical art. The head of the theater needs to be carefully thought out the repertoire, as well as how to present the work of children (a fascinating story about the content, history of creation, authors, and after listening - a conversation about the musical characteristics of heroes). The idea of \u200b\u200bthe opera can help understand the analysis of the means of musical expressiveness, memorizing the main melodies. Selection of artists and doubles should be accompanied by a discussion in the team, accompanied by explanations from the head. Selection of costumes and scenery can be carried out on the basis of the sketch contest developed by children. Parents, senior schoolchildren can be attracted to their manufacture. Then each number is rehearsed separately, then rehearsals are carried out in general. The final stage is the preparation of colorful posters. It is very important that participation in the opera performances is developing creative abilities of the guys, their fantasy, imagination. Such a theater can become a center for wide and effective educational work by means of art. It gradually forms a constant composition, which is replenished with new members. To participate in the performance it is possible to attract schoolchildren from other circles. Thus, the musical circles create great opportunities for the manifestation of the inconsistencies, the development of musical, creative abilities of students. Expanding the lesson framework, they are important in raising the interests and tastes of schoolchildren. 3. Mass forms of extracurricular work on musical education The main task of such forms is the coverage of the greatest amount (mass) of children. Massive events do not require some abilities, knowledge, skills, skills from schoolchildren. Under the mass events are understood by those that are conducted without an individual testing of musical data, the level of musical development of children. These events are episodic, do not provide for planned musical training. Just the desire and interest of students. And the creation of such interest is the central task for the teacher-organizer. The mass forms of musical extracurricular education include: lectures - concerts for schoolchildren, collective visits to musical performances and concerts, musical holidays, carnivals, competitions, reviews, quizs, etc. By performing musical and educational functions, these events at the same time contribute to the identification of children with special musical data, awaken or deepen their musical and aesthetic feelings, needs. The subject of school holidays can be the most diverse, but special importance are the holidays dedicated to significant dates. Music combined with other types of art can have a huge impact on all participants and promote the formation of moral and aesthetic feelings, views, beliefs. Holidays based only on musical art can be held at school. For example, they can be dedicated to the song, the work of one composer, folk music, the events of the musical life of the country, etc. The holiday should deliver the participants to joy, unite them, allotted with a single feeling, experience, and be sure to give the opportunity to every participant to show their abilities and creative initiative. Thematic and integrated classes. This is a form of active recreation guys in a group of extended day (or class hour), which contributes to the formation of their interests and tastes. In such classes, students get acquainted with the musical genres, the work of composers, musical performers, etc. Topics of classes can be the most different. For example, "Children's Album P.I. Tchaikovsky "," Evening Folklore "," Russian Folk Tools "," Your Favorite Composer "," Music of Favorite Cartoons "," Evening Musical Fairy Tale "and MN. Such classes may include different activities (listening to music, singing, game on musical instruments, musical and rhythmic movements). Comprehensive classes unite various types of art - music, visual arts, literature that are associated in the scenario of a single theme. The main task of such classes is the upbringing of moral feelings, which is solved by intensifying the initiative and creative abilities of schoolchildren. The saturation of the experience of impressions and creative tasks stimulates the interest of the guys, strengthens their experiences, enriches artistic perception. Lectures for the 9th semester

Development of differentiated musical perception and creative

approach to music

Section 3.1.: Music perception and its development in younger students lectures 10 and 11 (Topic 3.1.1.): Perception of music and methods of organizing hearings 1. The essence of musical perception The problem of musical perception is one of the most difficult in music pedagogy due to subjectivity This process and, despite the mass of studies in this area, is largely not solved. The term "musical perception" is interpreted in two meanings: 1) as a human ability to penetrate the musical image and its understanding; 2) as the actual hearing process and the "hearing" of music. Music perception as an ability. This is a private form of aesthetic perception. The aesthetic perception is the ability of a person to feel the beauty of the surrounding world, its objects and phenomena. It prevails the sensual side of knowledge. Music perception - the ability to hear and experience musical content (musical images) as artistic unity, and not as a mechanical sum of sounds (O.A. Apraksin). According to B.M. Teplov, musical perception relies not only for musical and auditory views, but also the experience of life, which is manifested in the wealth of associative connections (hearing, visual, temporary and other ideas, fixed by long-term memory. The basis of musical perception is emotional musical and aesthetic estimates. M ., Tarakanov (1970) allocated three main types of listener response to music, which characterizes the degree of development of his musical perception as an ability: - complete lack of understanding of music, for which the perception of music as a sound chaos devoid of organizing starts is characterized. This is a low level of development of perception which is found in young children, as well as adults who have never met with this musical style, which is completely incomprehensible and unfamiliar to them; - generalized, little differentiated perception, without deep penetration into the internal structure of music. A character - not averaged emotional reaction, such perception corresponds to the average level of development; - Complete understanding of music: implies the ability to realize it in the unity of the patterns of content and forms, all the components of its elements; The musical image is perceived as the phenomenon of internally meaningful, harmonious. Such perception is called differentiated. It is possible and necessary to develop, as perception underlies all types and forms of musical activity, and also constitutes the foundation for the formation of a human musical culture. In this regard, the development of differentiated musical perception is a central task in musical pedagogy. Music perception has a pronounced creative character. The creative beginning is manifested in the originality of judgments about music (and not only in their correctness), in the desire to receive additional information about the work, in the urgency of hearing observation, manifest itself in music stories. The prepared and creative listener of music is a researcher in his desire to compare, compare, to generalize the heard. The development of musical perception is closely related to the musical and aesthetic taste of man. The taste is characterized by the fact that a person prefers, chooses and assesses as the most interesting and necessary for himself. The taste may be limited and wide, as well as at the same time good or bad. A good taste means that its owner is able to experience aesthetic pleasure from highly artistic works. Other works can cause active hostility (if they claim to be significantly) or perceived indifferent, with a person with good tastes an assessment of the work is always adequate to its quality. Features of musical perception in schoolchildren. The ability to musical perception develops, passing through certain stages that do not have very clear boundaries, but still stand out. Stage 1 (1-2 classes). In children, perception is brightly emotional, generalized, specifically-shaped. Well perceive the overall nature of the work, fixed assets of musical expressiveness (tempo, dynamics, register, road, timbre, etc.). Prefer cheerful music telling about the familiar world of childhood, with bright images, simple and clear tongue and shape. Carefully listen to music 1.5-2.5 minutes. Stage 2 (3-4 classes). The emotionality of perception is complemented by the desire to understand the meaning of music: what it is about, to get an explanation (name, plot, history of creation). It is important to avoid the formation of the habit of specifying. Children of this age like music for heroic topics, folk music. Carefully listen to 3-5 minutes. 3 stage. (5-7 classes). Above the emotionality of perception begins to prevail the subject-figurative interpretation. Show interest in the compositions expressing the complex inner world of man. Modern music feels particularly acute. Senior attract images of love, struggle, fate, and T.L. At the same time, the desperation of judgment appears: it is not clear, it means not interesting and does not deserve attention. The desire for self-affirmation can manifest itself in a negative attitude towards incomprehensible. If interested can listen to 15-17 minutes. Music perception as a process. According to V.D. Ostromsky, musical perception is a complex artistic and informative act in the process of comprehension of musical art and involving special abilities, musical knowledge, skills and skills to the subjective-creative perception of environmental reality in musical images. B.M. Heat believes that musical perception is an active process, a complex psychological function, determined by the objectives and objectives of activities, as well as specific external and internal factors. A.N. Savor allocated four stages in the process of perception of music: 1) the emergence of interest in the work to be heard to install on its perception; 3) understanding and experience of music; 4) its assessment. At the same time, the scientist believes that it is necessary for a listener who can realize and correctly evaluate the listened, a certain musical and hearing experience was accumulated. 2. Models of development of the musical perception of schoolchildren in the learning process L.V. Scholyar allocates three main models for the development of musical perceptions that exist in secondary schools. They may also be called "approaches" to the organization of musical training. The first model is "technocratic". It is based on the desire to build a massive musical education according to the type of professional. The rod is the formation of special knowledge, skills and skills. The intonation comprehension is moving into the background. In the psychological plan, the main task is to develop musical abilities that have reduced to the development of different sides of the musical hearing, a singing voice. The second model is "educational". It is focused on a general musical education. It is distinguished by the popular nature of the lesson. The emotional side of the content of the work associated with its program, the title. Much attention is paid to the word about music, works are widely attracted by works of other types of art. This model is directed mainly to expanding the musical horizon of schoolchildren, the comprehension of music is deepened due to the overall development of children, the formation of ideas about cultural and historical ties. Both unilateral models: they do not contribute to the penetration of the intonational and temporary specificity of the music. In the first case, the scientific and technological roll, in the second - illustratively descriptive. The basis of both approaches is an element approach to the perception of an artistic image. The third model is "intonational" (intonational approach). This is a musical and holistic model (originates from the concept of D.B. Kabalevsky). The intonation approach integrates both the above-mentioned models and implies the comprehension of music as "art of intonated meaning" (B.V. Asafyev). Installation of the teacher: students need to help understand the thought of the composer, the logic of emotional contrasts in the unity of content and form, assess the work, express their attitude to it. To do this, you need to recreate the process of writing music, put a child in the position "I am a composer". The main thing is to raise the creative-minded personality, which has the experience of an emotional and value attitude towards art, to life in general, which in the process of musical development is enriched with special knowledge, skills, skills. The rod approach is "music and children." Music fabric should be turned to a child with its intonation side, that is, with a connection with real reality, experience of an emotional and value relationship. In this case, there is not a direct acquisition and use of musical knowledge, but the process of interpreting the artwork in accordance with its life and musical experience. 2. Methods of organizing listening to music N.L. Herzenskaya presented the structure of the process of organizing the listening of music in accordance with the structure of Sonata Allegro. The shape of the Sonata Allegro is represented by the following stages: accession, exposure, development, reprise, code. Similarly, it looks like a sequence of listening to music: 1) Teacher's introductory word, 2) Actually listening of work, 3) Analysis-analysis of listened, 4) re-hearings on a new, higher conscious and emotional level, 5) summarizing. This structure Also with the stages of the process of the perception of music, allocated by A.N. Savor. Teacher's introductory word: - His task: Integrate students to those who have to hear, create an installation for perception; - may be very short or sufficiently deployed, in rare cases maybe even absent; - In the opening of the word, the formation of the central concept of the lesson begins, so it must be associated with the theme and purpose of the lesson; - entry can be built using a combination of various methods, but should always be bright, figurative, accurate in meaning; - The content of the entry should orient the children to understand the expressive side of the work; - the obligatory final component of the introductory word is the statement of the task of the task expressed in a specific task issue, which must be performed in the process of perception; The essence of the task has a direct connection with the theme and purpose of the lesson; - The opening word as a whole and the task must be a problem-search nature, not to give ready-made concepts, but to create conditions for the children themselves can come to the answer in the process of creative search. Hearing works: - Music can sound both in the "live" performance and in the record; - In any embodiment, it should sound high quality; - It is necessary that during the perception in the class there was complete silence, and students who are ready for the answer would not raise hands until the music end; - The teacher must carefully listen to music together with children, unacceptably engage in unauthorized affairs and demonstrate its indifference to sounding music. Analysis-analysis of listened: - First, it should be solved in the process of conversation with children, the task set before the hearing; - In the course of analysis, the teacher introduces new information, sets additional questions that deepen the understanding of the content of the work and the central concept of the lesson; - the teacher must lead the analysis analysis, without giving ready-made answers, stimulating the creative initiative of students, the independence of their thinking; - if this necessity arises in the process of conversation, then you can additionally listen to the corresponding fragments of the work; - It should be remembered that in the process of parsing the main attention should be paid to the meaningful, expressive side of the music; - this stage of the hearing should not be excessively tightened, should not turn into "occasional" conversations; - Upon completion of the pared, the teacher brings him a result with the help of 2-3 questions to students; - Further, the schoolchildren put a new task for a re-hearing, which acts as a task that needs to be performed in the process of musical perception. Repeated listening: - It is carried out with an additional type of musical activity (game on elementary musical instruments, vocalization of melodies, plastic intonation, musical and rhythmic movements) or with creative tasks (music drawing, its color modeling, creating an essay, etc.), with Music and didactic games, music and research tasks can also be used; - The work can be listened to several times until children fulfill their creative task or do not take part in the game, at the same time, the time lesson planned on this part should be adhered to; - If necessary, the repeated hearing can be transferred to one of the following parts of the lesson or even another lesson (if the product is large). Summing up the hearing: represents a number of issues of the teacher to schoolchildren who allow you to emphasize the basic concepts introduced during the hearing, consolidate and clarify them, check how much the hearing content has been learned. By time, the listening of music should not occupy more than half of the lesson, although there may be pedagogically based exceptions. 3. Methods of repeating in the organization of listening of music These are methods and techniques of artistic and visual, literary and plastic interpretation of the musical image. The methods and techniques of artistic and visual interpretation include: drawing, abstract drawing, compilation of the color scheme, color modeling of music development, method of creating an artistic and semantic symbol of music, the method of creating an artistic and musical collection. Drawing method. The implementation of this method is associated with the "transfer" of specific visual images caused by music on paper. At the same time, both a variety of paints and color pencils, markers can be used as a means of expressiveness. The process of drawing requires multiple listening to the musical work, its understanding, comprehension of intonational entity. In this case, the images become "visible", real, which allows them to make them closer and understandable recipient. Several drawings can be created for the same product, revealing various images or individual sides of the intonational entity. Abstract drawing method. This method has a lot in common with the previous one. At the same time, it is simultaneously different from him. If the drawing method involves an image of specific visual images arising during the hearing, then abstract drawing reflects only general emotional views. That is, the abstract drawing is performed using a certain combination of colors corresponding to the intonation system, the texture, the timbus of the work, and lines reflecting, mainly, the features of its sound and a general nature. This method, in contrast to drawing, requiring a certain level of development of the corresponding abilities, is available to any listener. The method of compiling a color scheme. The basis of this method (as well as the previous one) is a psychological phenomenon known in science as synesthesia. The sound of music is able to cause a person in a person with color, since music and color express certain feelings and emotions, which constitute the basis of their internal similarity. In accordance with this, it is possible to choose certain colors that characterize the intonational essence of a particular musical product. The method can be carried out both by drawing and using the choice of available cards. In addition, the compilation of the color range is possible to perform mentally or by writing verbal characteristics, which allows the maximum number of shades in operation. Method of color modeling of music development. The color range of the color scheme involves the creation of one or more real or imaginary patterns or verbal characteristics expressing static images. In contrast, the color modeling method is aimed at an image of a musical image in development. In other words, on paper there is a visual model of drama of the work, reflecting changes in intonations, textures, sound studies, speakers, tempo, climax, shift parts, etc. The method of creating an artistic and semantic symbol of music. According to this method, the perception of music should be aimed at comprehending its deep meaning, that is, the leading artistic idea, the author's intent. It must not only be covered in a specific phrase, but also translate into a symbol language transmitting the specific figures (both specifically-shaped and abstract), made in the corresponding color scheme. It should be noted that the method of creating a artistic and semantic symbol of music can be most appropriate when working with software works. Before applying it for the work of non-programmable, you must create this program yourself. The method of creating an artistic and musical collection. This method differs from previous ones that the recipient creates a artistic and visual interpretation of the musical image not by its own, but uses for this ready works of professional artists, close musical on the topic, intonation, style, etc. To one musical work, several reproductions of paintings or quality illustrations can be selected. As a result, a whole collection is created that allows the recipient to feel the musical image better. Methods for creating literary interpretations. These include the following: Translation of music letters, a monologue fantasy, an essay, the creation of poetic analogies, musical illustration of literary works, creating a program for the development of the image. Method of translation of the music letter. A similar method in generalized form is described by L.P. Maslova. According to him, the recipient must be imagined that, first, the musical work is a letter to the auditor from the author, in which "encrypted" with the help of appropriate means of expressiveness, a certain information that needs to be "translate" to a regular language. Secondly, the listener must write this translation not from his face, but on the author of the author. That is, to fulfill this method, the recipient "is gaining" into the image of the author, but the content of the translation reflects its own ideas, associations, elements of musical and life experience. In our opinion, it is important that the translation of the letter is written not as an appeal to an abstract listener, but as a friend of the author. The method of translation of the music letter allows the recipient to be deeply joined not only in the artistic image, but also try to find the points of contact with their "I" and "I" of another - composer. This rapprochement contributes to overcoming the alienated listener's relation to the work and the author. Monologue fantasy. To implement this method, it is also necessary to drive into the image, but this time the image of the hero of the work, which himself tells about himself, about the events that happened to him about those feelings that he had to experience in connection with them. It does not matter, positive is a hero or negative. The major meaning of the monologue fantasy is that the listener immersed in the world of the works of the work, he was able to understand them and feel, as well as transfer their own attitude towards heroes, assessing their actions and worldviews. Method of writing. In essence, the two previous methods can also be considered as an essay. However, in our opinion, the allocation of them into independent methods is justified, since the literary interpretation in each case is carried out from different persons. As part of this method, this is the recipient itself. The method under consideration is similar to the traditional essay on the specified topic. That is, the listener describes his own impressions, feelings, thoughts, attitudes caused by a specific work gives him a professional and personal assessment, etc. Method for creating an image development program. The action of the method is associated with the use of such techniques as the selection of the musical work and its individual parts of the epigraphs, names reflecting the intonational-semantic essence of the image. The method also implies the creation of a listener of its own interpretation of the plot, the creation of imaginary situations, a description of the actions of the heroes of works. The result of such a job may be, for example, a story-written story, concretizing the content of the work, the scenario for the film, the musical performance, etc. The method of creating poetic analogies. It is largely similar to the method of creating an artistic and musical collection. However, in this case, the relationship of music and poetry is carried out. The recipient selects several poems to the musical work, which in its view correspond to its intonational and semantic building, allow you to specify, add, deeper to feel the musical image. Methods of plastic interpretation of the musical image. In the pedagogy of art, there are a number of plastic intonation methods. In particular, the free conducting method (D.B. Kabalevsky), methods of identification with the image and animation (L.P. Maslov), the method of improvisation (N.A. Terentyev et al.). The method of plastic-scene interpretation of the image. Associated with improvisation, curving into the image of the work. This method allows you to work with both small and large forms. The essence of the method is that the recipient additionally using the method of creating a development program, forms a specific plot of the musical work. In accordance with it, movements capable of expressing the necessary thoughts and feelings, their changes in general, are selected. Methods of emotional impact. Open emotional expressive statements about a valuable phenomenon from the position "I" ("When I listen to this music, I have tears come to your eyes," "This work is very close to me and expensive," I like the works of Beethoven that I can Listen to them, "" I feel sorry for people who do not like folk music. After all, communication with her can deliver so joy! ", etc.). Using the opinion of "like-minded people": bringing examples from the literature or real events of life, in which the value attitude to the art under consideration is expressed, the situation in which it has become valuable for a person helped him in a difficult moment. Creating an effect of surprise: bringing the appropriate art of bright facts from the life and creative path of the composer, the artist, its own, information about the hero of the work, able to surprise and intrigue students, to force in a new way to treat the proposed phenomenon: the mystical history of the creation of Mozart Requiem, personal tragedy Beethoven, Borodin is not only a composer, but also a chemical scientist and much more. Intonation adequacy of speech. If the words disclose thoughts, transmit certain information, then the intonation of the voice is expressed by the relationship, feelings, emotions of man relative to the thoughts and people to which it is addressed. The value attitude is primarily reflected through the corresponding intonation of the voice. As a result, the teacher must select and use intonation, adequate to the attitude of the attitude, which it really is experiencing to the thought phenomenon. Picture of speech. The pattern of speech is an important component of communicating techniques of any teacher. However, for the teacher-musician, revealing his personal artistic and creative value in the musical and educational process, it is very important that its speech is different not only for literacy, intonation correspondence, but also the presence of bright, sample examples in it. Lecture 12 (Topic 3.1.2.): Music grades in the development of music perception 1. Musical grades and musical literacy Modern views on the essence, the volume, the role of musical letter in the secondary school is diverse, sometimes contradictory. There are two main interpretations of the term "musical grades": 1) this is an elementary theory of music, which gives ideas about the music language and methods of its conditional recording, that is, actually - not a good gradder; 2) This is the part of the musical education, where information about music (its styles, genres, elements of expressiveness, write methods) and its creators (composers, performers) are given. Obviously, the second definition is wider. It includes the first. Therefore, for him, the term "musical literacy" will be more correct. It is musical literacy, and not a diploma appears in the concept of musical education D.B. Kabalevsky. Therefore, it writes about the following: "Musical literacy is essentially a musical culture, the level of which is not in direct dependence on the degree of assimilation of the musical (notable) diplomas, although it implies the knowledge of this letter." Thus, in this embodiment, knowledge of musical letter is only an integral part of the human musical literacy, all the musical education of schoolchildren is directed to the formation of which (as a musical culture). Consequently, the study of musical letters (notion of letters) is not an end in itself, but only one of the ways to achieve the goal of musical education. Nevertheless, the teaching of musical letters has its own characteristics, stages, the logic that the teacher should know. In music programs, a music lotion takes a different place. For a long time There was an independent section - a good grade having his tasks, its system. Separate teaching musicians considered a notion literacy with an autonomous region. These include I.P. Gainrichs. He was opposed to the relationship of a note letter with singing, believing that it leads to a simplification of the singing repertoire. The teacher believed that there should be a solid assimilation system by children of each sound as a certain stage. For example, in the 1st grade, children must learn the first 3-5 notes of the oscillate on the basis of at least 50 exercises. Especially widely this opinion was distributed to the Great October Revolution. M. Rumemer allocated the following principles of studying music certificates: 1) the connection of theory and practice; 2) visibility; 3) the connection of hearing, vision and movement; 4) the role of the word; 5) activation of the pedagogical process; 6) Floor basis for the development of musical hearing. However, many teachers saw in a notice literacy only a means of visibility, which allows to deepen understanding and emotional experience of music (N.L. Grodzenskaya). In the authors of modern programs (D.B. Kabalevsky, N.A. Terentieva, Yu.B. Aliyev, I.V. Kadobnova, L.V. Vinogradova and MND.) Similar position. In these programs, the task of developing the identity of the child, his spiritual culture, the development of love for art is set at the forefront. Specific knowledge and skills should form imperceptibly, urgent, being a means to achieve the main goal. 2. The relative system of studying the musical letter at present in the musical pedagogy there are two systems of studying music certificates: relative and absolute. The relative system is also called the relative solitude or relative system. It is aimed at developing sounding hearing. The basis is the sequential development of the Lada through the characteristic lade intonation, the singing of melodies with the conditional names of the steps to which manual designations correspond. The 1st stage of the major Lada is indicated as "E", the 2nd as "Le", the 3rd - "V", the 4th - "on", 5th - "ZO", 6th - "RA ", 7th -" TI ". The names of only two steps change in the minor: 3rd is called "in", and the 7th - "That". Solmization (from the name of the "salt" and "mi") is the medieval Western European practice of singing melodies with syllables denoting steps regardless of its absolute height. According to M. Rumemer, a relative system (from the sounds of "re" and "la") was used in different countriesEspecially in Hungary. The task of this system is to teach children to distinguish the steps of the skews on their way.

Section 2.2.: Methods and Organizational Forms of Music Education

Lecture 7 (topic 2.2.1.):

1. Essence, specificity and classification of methods of musical training

The determination of the method of musical education (training, education) in modern musical and pedagogical literature) is sufficiently diverse, but not in contradictory.

Methods of musical training - ϶ᴛᴏ Ways to organize the assimilation of schoolchildren to the content of the objects and the objectives of the educational process. The conditionality of the methods and content is implemented in the process of student under the guidance of the teacher (E.B. Abdullin).

Methods of musical training represent from themselves-free ways of joint activities of the teacher and students, where the leading role belongs to the teacher (L.G. Dmitriev, N.M. Chernoyvanhenko).

Term''metod'''''''t use in two senses: Wide and narrow.

In a broad sense, under the method of musical education, it is customary to understand the combination of pedagogical methods aimed at solving problems and mastering the content of musical education.

In a narrow sense, the method is a specific technique aimed at mastering students of musical knowledge, skills, skills, experience of creative activity and an emotional-moral human attitude to reality embodied in music.

Specificity Methods of musical education consists in their direction on the development of the creative abilities of students, their musical taste and communication needs with art, on modeling in the musical classes of the artistic and creative process, to achieve the union of teacher and students in the process of communicating with musical art.

Applying various methods, the teacher must remember that their choice should ensure the development of students from the imagination, emotional responsiveness to music, musical thinking, to create a sense of joy from communication with art, to form passionate lessons and their main content - the most music.

Methods of musical education are very diverse. This is due to the specifics of musical art, its diversity, as well as the features of the species of musical activity of schoolchildren in the lessons. As a rule, methods are not used isolated, but in a variety of combinations.

Classification of musical training methods.

1. Even before the concept and program on the music of D.B. Kabalevsky in musical and pedagogical practice, in special studies, in the methodological work a large arsenal of methods caused by individual types of educational music activity of schoolchildren, the very structure of the previously existing program (singing, musical grarity of the listening of music) was accumulated. These are methods:

Development of choirs of choir and solo singing (N. Dobrovolskaya, D. Lokshin, N. Orlov, T. Ovchinnikova, A. Sveshnikov, Vl. Sokolov, O. Sokolova, V. Tavlin, etc.);

Formation of elementary soluple filling skills (P. Wece, I. Gainerichs, M. Rumemer, etc.);

Development of individual musical abilities: Rhythmic (K. Freedin, L. Surgautaite), Harmonic, Polyphonic (Y. Aliyev, I. Rinkevichus), timbre hearing (Rigina, V. Sudakov, etc.), etc.;

Learning to listen to music (B. Asafyev, V. Beloborodova, N. Bolsova, N. Grodzenskaya, V. Shatskaya, B. Yavorsky, etc.).

So, the greatest recognition was the classification of musical education methods in accordance with individual types of schoolchildren's educational music.

2. In post-war and especially in the 60s-70s of the twentieth century, the issue of cognitive opportunities for schoolchildren in various types of musical training activities has become widely discussed. Different methodical ways of expanding the musical outlook of students, their orientation in modern music, in the musical folklore, are being developed, methods of analyzing common and especially in various national cultures are being developed.

So, referring to the pedagogical ideas of B. Asafieva, V. Shatsk, N. Grodzenskaya et al., M. Korsunskaya and in Sudakov, develop a method of similarities and contrast when meeting schoolchildren with the work of modern composers and establishing communication between the musical art of the past and present. Particular attention began to be given to the methods of activating musical perception. L. Goryunova for this purpose uses the method of intonational and thematic analysis. V. Beloborodova proposes to use the techniques of multivariate perception of works, apply reception ''

More attention is paid to the methods of intensifying the activities of schoolchildren, improving the role of creative principles in training (O. Apraksina, N. Vetlugin, L. Dmitriev, N. Chernivyenko, etc.), methods of awakening and developing schoolchildren's interest in music (V. Shatskaya, N . Grodzenskaya, L. Bererteva, etc.).

V. Shatskaya, N. Grodzenskaya, M. Rumemer, etc.
Posted on Ref.rf
it was sought to establish the unity of the methods on a deeper basis. V. Shatskaya for this elected topics dedicated to the work of composers and individual destinations in music (within the framework of optional classes). M. Rumemer highlights music literacy classes and the methodology of their organization. N. Grodzenskaya focuses on the development of music from schoolchildren. There is a largest approximation of musical education methods to solve the promising tasks of musical pedagogy, to the formation of the musical culture of schoolchildren in general.

Already in those who existed until the 70s of the twentieth century, music programs contained the requirement to achieve the integrity of the music lesson. And individual teachers, in particular, N. Grodzenskaya, sought good results here. At the same time, this requirement could not be systematically implemented in practice due to objective reasons: integrity, unity was absent in the content of the training.

Program DB Kabalevsky on music with its thematic structure of content combined in shapes and types of musical activity in the lesson. All of them began to obey the topic. The challenge was to ensure that a teacher could provide a holistic organization of the learning process with the help of appropriate methods in real practice.

Analysis of the principles and content of the program made it possible to distinguish the three methods of musical education, which in their totality before all are aimed at solving the goal and the organization of the assimilation of the content. ʜᴎʜᴎ contribute to the integrity of the process of musical education in the lesson of music, ᴛ.ᴇ. Perform regulatory, cognitive and communicative features.

Musical pedagogy presents various approaches to establishing links between learning methods. T. Berkman distinguishes specific types of classes as the basis. Singing on notes with accompaniment and without it, oral dictation, etc. They are both forms of organization of schoolchildren's activities, and as a form of intensifying, stimulating their development, and as a form of pedagogical control. Of course, these methods do not deny the actions of other methods and techniques of musical education and are in relationships with them.

So, the separation of leading methods of musical education (musical generalization, '-' -'''''' forward and ''''nogoration''''''''''''' forward and emotional drama) made it possible to group the methods of musical education in accordance with the content of musical training.

Principles of musical education, formulated by DB Kabalevsky, allowed to group the methods around such an element of the content of musical training as key knowledge. Since their formation is one of the basic characteristics of the formation of a school-culture of a schoolboy, then the methods of musical education should contribute to the formation of key knowledge.

3. Methods of musical education are classified as based on the basic tasks of musical education. On the basis of communication of methods with the main tasks of musical education, three groups of methods are distinguished (E.B. Abdullin).

1. Methods aimed at the development of empathy students, an emotional-value attitude to music (creating an installation on emotionally spiritual communication with art, achievement of 'resonance''' in the perception of music; Method of emotional lesson, as a lesson of art, method''So-charge'''' (B. Nemensky) and Dr., aimed at the development of the ability of "music'''s music, her mood, feelings, relations to the world. Gaming methods and techniques (especially in elementary school) aimed at organizing an exciting process of musical training).

2. Methods aimed at developing students of artistic and cognitive abilities, skills to hear music. This includes the comparison methods, finding similarities and differences, analysis, generalizations, '-'-'forward and' 'forward and'''''''''''''''''''''''K to the new level. Methods ''Snuzhny Koma''' (the assimilation of the new material in the support on topicalization and connection with already known and close in content), dating students with biographies of composers, performers, establishing relations with other arts, creating vital and artistic associations, creating problematic search situations.

3. Methods aimed at developing students of self-expression in musical art. Among them, for example, the methods of organizing vocal-choral work (combing, showing songs, various methods of learning words and melodies, attracting a notification, combination of singing without accompaniment and accompanied by et al.

Here, the methods of organizing the game on elementary musical instruments: the training techniques for the game, the composition of the teacher and the partitions on the basis of the capabilities of a particular class, etc.). Methods of organizing plastic intonation: a expressive show of the movements of the teacher, the training of ''svobody conducting'''' et al.
Posted on Ref.rf
Methods for organizing creative activities: Sochi-the Cleanings of the motives, melodies, as well as improvisations to the specified''Zerino''-intonation, poetic text, determined plot, rhythmic pattern, composure of pegs to melodies, uncomplicated parties in scores for the orchestra of elementary musical instruments and Dr.

Τᴀᴋᴎᴍ ᴏϭᴩᴀᴈᴏᴍ, the most common classifications of methods of musical education are classifications outgoing from: 1) species of educational music activity of schoolchildren in the lessons of music; 2) the content of musical education (its individual elements in their relationship); 3) basic problems of musical education.

2. Characteristics of basic methods of modern musical training

Methods of pedagogy art. L.P. Maslova distinguishes methods to a special group that makes up the basis of the pedagogy of art. The author refers to them the following methods:

Intonational analysis of artistic works;

Reopping the image through the formulation of various artistic tasks;

Reinstoned the image into the language of the adjacent type of art (translation to another modality);

Observations and comparisons;

Method of game and dramatization;

Polyphonism method of activity;

Yielding to extremiscal spheres, conjugate with the analogies, comparisons, the emergence of associations;

Method of creative tasks;

Paradox (contrast and surprise).

Methods of stimulating musical activity.This group of musical education methods allocates L. Dmitriev. These methods are used to create an emotional, creative atmosphere, which is required for music lessons. Here the author relates:

Emotional impact method;

The method of creating an effect of surprise;

The method of creating a success situation;

Method of creating game situations;

Method of creating problematic search situations;

Discussion method;

Comparison method;

Method of analyzing music;

Verbal methods (story, conversation, explanation);

Visual hearing method.

Methods of musical training in creative class lessons. The author of this grouping methods of musical education N.A. Terentyev, which identifies the concept of'Method''' and''Form of work'''''''''''s. It allocates three main forms of learning, which permeate the principles of creating analogy and improvisation. it verbal, visual and practical forms of training.

1. Velive forms of training: conversation, story, verbal explanations, explanation, comment, talk talk, talk-dialogue, dispute with teacher.

The story is a living, figurative, emotional story about the artistic phenomenon. It should be brief, bright, meaningful, emotional and corresponding to the age of children.

Conversation is a dialogic form of work. It has great opportunities, as it helps to associate educational material with personal student experience, with their own activities.

There are two types of conversation: a conversation story and a conversation-dialo. In the first case, the teacher himself brings the guys to faithful judgments, conclusions, in the second, the students themselves play a leading role, the teacher only sends a conversation and brings students to the right conclusions. In both cases, the main thing is to formulate the issue of teacher, which contributes to the correct thinking process of students. At the root of the conversation lies a carefully thought out plan.

Dispute with teacher. In the dispute, the child is taught to the argued, logical thinking. Children can be attracted to the dispute when analyzing literary, musical and picturesque works, cartoons and theatrical productions. The reason becomes the opposite, even an allogical, but''arguanted''' 'opinion expressed by the teacher. You can prevent in advance about his mistakes. Encourage discussion need as early as possible.

2. Visual forms of training. ON THE. Terentyev highlights three such forms:

Hearing visibility (musical works in the record and''zhiv'''''m, literary readings, retelling, reading poems);

Motor clarity (gestures, hands, plastic and mimic illustrations, etc.);

Visual visibility (showing reproductions, illustrations, diamets, slides, posters, etc.).

It is important not only to correctly choose art material, but also skillfully to show it, that is, to send the perception of students to the most essential moments.

3. Practical forms of study are aimed at the formation of direct ability to understand, evaluate and analyze the specific means of artistic expressiveness of works of art, the development of the ability of aesthetic generalization and judgment.

Practical forms include various techniques and didactic methods. For instance:

The comparison method and comparison, which develops the ability to see specific differences in similar phenomena, and in different - find common features. It raises acute observation, attention to artistic details and understanding their expressive function in the general system of artistic integer;

The method of contrast and identity: develops experience in analyzing a specific product through a comparison with another product in order to brighter and fully identify the content and structural side of the first. Comparison through the contrast will emphasize the most significant artistic and expressive signs of this composition. Comparison through identity causes greater sensitivity in the perception of works, more attention to its artistic features;

The method of variability of impressions - is aimed at showing this phenomenon in different versions in order to disclose the diversity and multi-view of a particular artistic image;

Method 'Adjective''''t-'Donpective''''''''' is similar to the''Berennia''''''' forward method and''''Vestrament'''''''''''''''''''''''''K

The method of destruction - helps to identify the importance of a means of artistic expressiveness;

The method of generalization (as stimulating the conclusions made as a result of the use of GLC in the foregoing). Generalization is the theoretical outcome of the lesson, and the conclusions should make students themselves, although with the help of a teacher.

Theory and methods of musical education. Tutorial Bezborodova Lyudmila Aleksandrovna

5. Methods of musical education

In the definition of the "Theory and Methodology Methodology" methods, it relies on general pedagogy. In this case, the criterion for choosing methods in the context of the specifics of work on musical education depends on the characteristics of the content educational material (its difficulties and novelty), specific pedagogical purposes, the preparedness of children, as well as the personality of the teacher. Along with the common-goal methods, the "Theory and Methodology of Music Education" has its own methods caused by the aesthetic essence and intonational nature of musical art.

Under the methods of musical education (following the literal translation of the word "methods" with Greek as "the path to something") means certain actions of the teacher and students aimed at achieving the goal of the musical education of schoolchildren, or the work of the teacher and students. These are the ways of interrelated teacher's activities and students aimed at solving the tasks of musical education, education and development of students. Methods consist of more private receptions that specify them and detail.

The following group of methods is applied from Russian-generating methods:

- by the source of knowledge (practical, visual, verbal, work with a book, video music);

- by appointment (acquisition of knowledge, the formation of skills and skills, the use of knowledge, creative activity, consolidation, testing of knowledge, skills and skills);

- by the nature of cognitive activity (explanatory, illustrative, reproductive, heuristic, research, gaming);

- According to didactic purposes (methods that contribute to the primary learning of the material, consolidation and improvement of acquired knowledge).

All of the above methods of general pedagogy are performed: a training role, a developing, raising, encouraging (motivational) and control and correctional functions in the musical education of children.

Naturally, the compelling methods in music learning have their own specifics. So, for example, widespread sensual method, the efficiency and efficacy of which in pedagogical practice was marked by a number of domestic scientists (M. N. Rodhatyn, I. Ya. Lerner, etc.), in musical training is understood not so much as the transfer of the necessary information, how much as a figurative psychological attitude, directed to Spiritual communication of the child with musical art. That is, it should not be a household explanation for the verbal explanation of music, but figuratively.

Similarly, there is an originality and other common-friendly methods in the musical training of schoolchildren, which is to apply visual and practical methodsIt is reflected in the wording themselves who have undergone some transformation: visual-hearing, clear-expressive and artistic and practical methods.

To the group of methods determined by the specifics of musical art, famous teachers-musicians attributed and belong:

- Method of observation of music (and not learning it), the method does not impose music, but to convince her, not to entertain, but to delight, the method of improvisation (B. V. Asafyev);

- Method of empathy (N. A. Vetlugin);

- Methods of musical generalization, running forward and returning to the completed, reflections on music, emotional drama (D. Kabalevsky and E. B. Abdullin);

- Method for the development of styling in adolescents (Yu. B. Aliyev);

- Method of musical interview (L. A. Lamborodova);

- Method of intonational and style comprehension of music and modeling of the artistic and creative process (E. D. Crytskaya and L. V. Skolyar).

A group of methods was developed by O. P. Radins for musical education of preschoolers. These are methods of contrasting comparisons of works and lifting the nature of the sound of music, which contribute to the awareness of the perception of music, creating problem situations, deepen the emotional responsiveness to music, develop the imagination and creativity of children. In the method of contrast comparisons, O. P. Radins developed a system of tasks in which the contrasting works of one genre, the plays with the same names, contrasting works within the same mood (distinguishing shades), comparing the intonations of music and speech, comparing various interpretation options for one product ( Orchestral sound and solo, options for performing interpretation on piano).

Method like the nature of the sound of music, developed by O. P. Radinova, implies the activation of a variety of creative actions aimed at awareness of the musical image. Radins applies various types of musical sounding - motor-motor, tactile, verbal, vocal, mimic, timber-instrumental, intonational, color, polychudial.

The main thing is not to forget that in music learning it is important to comprehend music through the intonation, comprehending music by music, music by other types of art, the life of nature and man, and not separate musical means, eliminated from the whole.

All methods of musical education are aimed at developing artistic articulary thinking and adequate to the aesthetic essence of musical art, as well as targets and tasks of musical education.

Thus, the method of musical generalization involves the formation of the knowledge system among students, the development of a conscious attitude towards music.

E. B. Abdullin determines a number of consecutive actions of this method:

- activation of musical, life experience of schoolchildren in order to introduce it into the topic or deepening;

- familiarization with new knowledge through a clearly supplied teacher of the task, jointly solving it with students and the formulation of children's children;

- consolidation of knowledge in various types of educational activities of the child.

Due to the direction of the method of generalization on the development of artistic thinking, D. Kabalevsky considered this method mainly in the musical training of schoolchildren.

The method of running forward and return to the passed is aimed at forming a holistic idea of \u200b\u200bmusic. In the program of Kabalevsky, this method is implemented at several levels of communication between the stages of training, themes of quarta and musical works in the process of studying the program. So, for example, in the program of the 2nd class of Kabaleevsky household genres Marsha, dance and songs, familiar to children in the 1st class, are transformed into such major music qualities, like a march, dance and a song. At the same time, according to the principle of unconscious to the conscious children, in the 1st grade, intuitively experienced the transformation of the three main types of music as associative models into something more capacious, getting acquainted with the works of J. Bizet, P. Tchaikovsky, S. Prokofiev, and others. In this sense Return to the knowledge learned from year to year, in fact, there is an expression of the qualitative transformation of children's consciousness.

At the level of communication between themes of quarters, the implementation of the running method forward and return to the previously passed is even more obvious. So, the first half of the 3rd grade is called "Music of My People", the second - "There are no non-repeatable borders between the music of my people and the music of different nations." Return to the work passed similarly implies not just a repetition of it, but the perception of a friend in a new topic. So, in the 2nd grade, children turn to the preludes No. 8 and No. 20 F. Chopin in the first and third quarters, first, when they pass the topic "Martakhiness, a song, dance", and later, when the principles of the development of music are being comprehended.

The emotional drama method activates the emotional attitude of students to music, and also contributes to the creation of enthusiasm and living interest in musical art. An equally important function of this method is "directed" the structure of the lesson, the determination of its climax. In such an understanding, the method of emotional drama (E. B. Abdullin) is close to the method of emotional impact (L. G. Dmitriev and N. M. Chernivyenko).

The principles of the method of emotional drama are: emotional contrast and consistent saturation of the emotional tone lesson.

Intensify the attention and interest of students, especially younger age, various tasks before listening to music. For example, raise your hand when the music changes or when the violin sounds (flute, etc.); raise your hand every time the main topic will sound; do it in the place that the student like most of all; Remember other works of the same character, mood. When familiarizing young students with more complex images of the "adult" classical music, it is useful to use the reception of "pair perception" of works facilitating the process of hearing. It is that every more difficult to perceive classical work is selected similar to the mood, a simple children's play, the content of which is carefully disassembled with children, and when they "enter" in the mood of the play, they are invited to listen to the "serious" work. He is transferred to the mood that emerged at the hearing of the children's play, which facilitates the perception (from the experience of Yu. B. Aliyev).

For the inclusion of children and adolescents, the work of Yu. B. Aliyev's active and enjoyable work recommends a number of effective techniques, especially useful in the musical formation of younger students.

Movement.With the help of movements, children are easier to "enter the image", to feel the "all body" music, deeper to penetrate her mood. Since there are few spaces for movements in the class, they can be sitting or standing near the part; You can also offer individual groups to move to the music along the rows of the party.

Movements should be simple, easily fulfilled without a special workout, rhythmic and most importantly - meet the mood of music. For example, under fun music - to "dance" in the air of the hands of hands, pouring down legs (sitting), to make elementary dance movements (standing). Under sad or calm music - quietly walk (in place) or make smooth movements with your hands. Under the "mysterious" music - to depict curiosity or fright, the desire to hide.

Initially, the teacher himself shows the disciples of various "samples of movements" - so they are easier to improvise new ones. Children love to move to the music, and those works that were associated with the movement, they remember better and love more.

Game in the orchestra.This methodological technique creates the impression of participation in music in children. It activates their perception and they like it very much. To participate in the game of students (everything class or in turn of individual groups), elementary musical instruments are heard: sticks, bells, rattles, metal and wooden spoons (all of this they can bring from home). By the sound of the work performed in the record, the children quietly perform the rhythm teacher. When they are accustomed to such a game, you can offer them improvise rhythm. The teacher during the execution of music indicates which group came to the turn to enter with his instrument. Playing the orchestra should be in accordance with the mood of music: fun, cheerfully, loud - or quiet, gently, or slantfully, with fear.

Improvisation of melodies.So that students perceive the emotional music content better, you can offer them to improvise the melody in the same mood (on the specified text). The own melody, composed on a sad, cheerful, mysterious or heroic text, will help to fully perceive a musical work similar in mood. It is also useful to sing melodies, topics (if, of course, they are available to children) from the listened works. It will help to feel better and remember music.

Drawing pictures.After two or three times the re-listening of the work, when it is already at the guys on a hearing, you can offer them to draw (at home or in lesson visual arts In class) a picture that originated from them in the imagination when you are perceived by music.

So that the students better remember the musical work, it should be repeated. Repeat can be carried out in gaming form- Quiz, concert-riddles, concert on requests.

The characteristic and adequate aesthetic essence of musical art is method of empathy. A. A. Melik Pashayev, determining the importance of this method in the pedagogy of art, noted that if conscious activities under the rules, work with terms, concepts, the signs of the child precedes the emotional and sensual experience of the child, then the history of art itself will open with children not as a totality external factors and objective relationships, but as the treasury of spiritual content, which the student compets, finding them analogies in its own internal experience, knowing and developing his soul, experiencing the concerns of the cultural work of mankind. A prerequisite for the appearance of empathy is the formation of a certain context of consciousness, when the recipient is given to the impression of contemplating works of art. At the same time, we should not forget that, awakening in children internal empathy, the technique should be aimed at tactful support for aesthetic impressions. The naturalness of this provision is determined by the understanding of aesthetic perception as a process of personally conditioned, and aesthetic experience - as a specific manifestation of the individual position of the person.

Each method of musical education, learning and developing children includes a complex of clarifying and detailed it. methodical techniques. Thus, the problem method, according to Kabalevsky, assumes the following algorithm of actions: a clear wording by a teacher of the problem, a gradual solution to the problem by mutual efforts of the teacher and students, the formulation of conclusions.

In the lesson of music, as a rule, various methods are used together, taking into account the source of acquisition of knowledge, types of artistic activities of children, lesson types, as well as the tasks of the development of the artistic and creative abilities of a person.

Author

4. Some features of musical thinking

From the Book of Music Psychology Author Fedorovich Elena Narimanovna

4.2. Neuropsychic features of musical thinking roots of the peculiarities of any mental processes are in the human brain. The activity of the hemispheres of the brain, their different sites ensures the neuropsychic foundation of all intellectual and

From the Book of Music Psychology Author Fedorovich Elena Narimanovna

4.3. The temporary nature of musical thinking Music is the art of time, and in a number of other arts having a temporary nature, it is highlighted in that it has a "clean" time as the basis. All types of theatrical art, cinema are based, in addition to time, and on

From the Book of Music Psychology Author Fedorovich Elena Narimanovna

7. Features of the psychology of musical creativity 7.1. The overall characteristic of creativity. Psychological peculiarities Creative personality under creativity understand the process of creating new material and spiritual values \u200b\u200bin the field of science, art or technology. According to

Author Fedorovich Elena Narimanovna

Chapter 1. The origin and formation of a system of professional musical education of a secular orientation in the XIH - early twentieth century 1.1. The birth of piano pedagogy in the Russian piano pedagogy "arose in the second half of the nineteenth century. -

From the book History of professional musical education in Russia (XIX - XX century) Author Fedorovich Elena Narimanovna

Chapter 2. New Organizational Basics and Forms of Professional Music Education in the Soviet period 2.1 Music educational institutions of Russia at the end of the XIX - early XX Wow, the Moscow Conservatory marked the beginning

Author

Section 1 The history of musical education and

From the book theory and method of musical education. Tutorial Author Bezborodova Lyudmila Aleksandrovna

Chapter 3 The main trends in the development of the socio-cultural sphere and musical education at the present stage The modern stage of the development of the socio-cultural sphere of Russia is characterized by the presence of a number of features. One of them is due to the established

From the book theory and method of musical education. Tutorial Author Bezborodova Lyudmila Aleksandrovna

Section 2 Musical Education Theory

From the book theory and method of musical education. Tutorial Author Bezborodova Lyudmila Aleksandrovna

Chapter 1 General Questions Musical Theory

From the book theory and method of musical education. Tutorial Author Bezborodova Lyudmila Aleksandrovna

1. The essence of the theory of musical education The theory of schoolchildren's musical education is considered as a system. scientific knowledge and concepts about the laws of managing the musical development of the child, the upbringing of its aesthetic feelings in the process of admission to music

From the book theory and method of musical education. Tutorial Author Bezborodova Lyudmila Aleksandrovna

2. The specifics of musical art The exterior form of art in general and musical art in particular has two dimensions - ontological and semiotic, since it represents a certain material design and at the same time must function as

From the book theory and method of musical education. Tutorial Author Bezborodova Lyudmila Aleksandrovna

From the book theory and method of musical education. Tutorial Author Bezborodova Lyudmila Aleksandrovna

2. The principles of musical education The total pedagogy determines the procedure as a scientific discipline that studies the general patterns of the pedagogical process on the material of the subject. It means that the methods of musical education of schoolchildren should be understood as

From the book theory and method of musical education. Tutorial Author Bezborodova Lyudmila Aleksandrovna

4. Music play music activity as a type of art obeys the laws of drama, which is already undergoing the basis of each music work and is determined by its meaningful basis. You can allocate dramaturgy as an emotional and meaningful

From the book theory and method of musical education. Tutorial Author Bezborodova Lyudmila Aleksandrovna

Recommended also

• Divination for Christmas at home: on the mirror, maps, candles, wax and other fortune tells at work under Christmas
• Polydactilia in newborn children
• Anti-cellulite cream: "For" and "against
• Causes of skin peeling on face
• What clothes and who can you wear it?
• How to reliably find out that the wife changes and whether this is needed by many wives change