The essence of the function and direction of musical pedagogy. Theory and methodology of musical education and development of children

Plan

2. Interdependence of goals, objectives and principles of music education of students.

3. The unity of the principles of general didactics and artistic pedagogy in music lessons.

"Principles" - the initial provisions that reveal the essence of the goals and objectives of education, the nature of its content and process.

Principles are an essential component of the structure of music education. In music education, they affirm the position of a music teacher in the philosophical-aesthetic, musicological, psychological and musical-pedagogical direction. The authors of the textbook "Theory of Music Education" E.B. Abdullin and E.V. Nikolaev characterize these areas as follows.

1. Humanistic, aesthetic, moral orientationmusical education are embodied in principles such as:

Revealing the diverse connections of musical art with spiritual life;

Disclosure of the aesthetic value of music;

Recognition of the unique possibilities of music in the aesthetic, moral and artistic development of the child;

Study of musical art in a general historical context and in relation to other types of art;

Focus on highly artistic samples (masterpieces) of musical art;

Recognition of the intrinsic value of the child's personality in his communication with art.

2. Musicology focus education is manifested in the following principles:

Studying musical art by students based on the unity of folk, academic (classical and modern), spiritual (religious) music;

Reliance on intonation, genre, style approaches in the study of music;

Revealing to students the process of listening, performing and composing music as ways of personal "living" in the art of music.

3. Musical and psychological orientation music education is embodied in the following principles:

The focus of the process of music education on the development of the student's personality, his musical abilities;

Orientation to the mastery of students of various types musical activities;

Reliance on the unity of the development of intuitive and conscious principles in music education;

Recognition of musical creativity in its various manifestations as one of the most important stimuli for a child's development;

Realization of art-therapeutic possibilities of music in music education.

4. Pedagogical focus music education is manifested in the following principles:

The unity of musical education, training and development of students;

Fascination, consistency, consistency, scientific approach in the organization music lessons;

Dialectical relationship of musical and pedagogical goals and means;

Assimilation of the nature of musical studies to the musical and creative process.

Undoubtedly, the totality and complementarity of the indicated principles of modern music education provide a holistic approach to the construction of its content and the organization of music lessons. However, the problem of identifying, developing and systematizing the principles of music education is still relevant and significant, therefore, many theorists, didactists, psychologists, and music teachers turn to it. This is primarily due to the comprehension of the essence modern lesson music.

Music lesson and music itself is considered by most authors of works on the methodology and teaching aids, one side, as a school subject, and on the other hand - as an art lesson... Here it becomes necessary to highlight the characteristic features of both sides of a music lesson, similarities and differences them between themselves and other school subjects - which is maturing into an urgent problem.

O. A. Apraksina in her book "Methods of Music Education at School" finds the similarity of music lessons with other school subjects in the common goal - the formation of a comprehensively developed harmonious personality; taking into account the general psychological and pedagogical laws of the development of students; in the forms of organizing the lesson - the same composition of the class, the obligation of the lesson, regardless of the data, interests of the students, the duration of the lesson, the message of a new one, consolidation, repetition, verification of the assimilation of the passed material. According to the author of the textbook, the general "... are the basic teaching methods: demonstration-explanation, conversation, the creation of problem situations for the performance of any tasks, etc.".

It is especially important for us that the author sees similarities in the following: “... all teaching at school is based on general didactic principles, which again are implemented in different ways, in accordance with the characteristics of each item. Principles: educational training, systematicity, accessibility, visibilityand others are inherent in the lesson of music, as well as in teaching any other subject. " The differences, which I also want to emphasize, naturally follow “... from the main feature of a music lesson: this is an art lesson ... The very knowledge that occurs in the process of teaching music is specific, it cannot be reduced only to the activity of thought, but must necessarily represent the unity of emotions and reason , consciousness and feelings ".

Besides the unity of the emotional and the consciousalso stands out unity of artistic and technical... “The complex effect of art on the psyche, motor skills, physiological processes in the body is becoming another feature of the art lesson. And the last distinguishing feature is the predominantly collective form of work ”.

Reflecting on the problem of the fundamental principles of music lessons - art lessons, many authors agree that the formal belonging of music to school subjects and the same formal commonality of basic teaching methods cannot be such a serious reason for teaching music to be based solely on general didactic principles and with obligatory for all teaching at school “communication, consolidation, repetition and verification”. The indication by O. Apraksina that the principles are implemented in different ways "in accordance with the characteristics of each subject" does not bring concreteness and clarity to this position, since the singled out features (differences) of an art lesson cause a number of objections.

First of all, the “main feature” - the lesson of art - is such only in relation to music as a school subject, while in relation to music as an art it is not a feature, but its very nature. Therefore, we should talk about a common strategy of cognition for science and art and, already within its framework (that is, within the framework of the theory of cognition as "the unity of the emotional and the rational" at the essential - philosophical level), about the peculiarities of the emotions of art as artistic emotions that have a different nature, and hence a number of differences from scientific and everyday ones. This is not about the complete exclusion of the generally accepted principles of didactics in music education, but about their optimal interpretation, taking into account the specifics of comprehending the art of music. Therefore, it is necessary to answer the following question: How do the general didactic principles and the revealed features of a music lesson as an art lesson interact?

In the 90s, in connection with the dramatically changed social foundations of society, the question of updating the content of music education arose sharply. This made the associates and followers of D.B. Kabalevsky to make a number of attempts to revise the original version of the typical school curriculum. During this period, supporters of the approach to teaching music as a school subject, having come up with new programs, continued to defend and develop traditional ideas, but, as they say, taking into account the "spirit of the times." For new versions of the program, it became characteristic: leaving its conceptual part intact, revising the repertoire and rejecting lesson methodological developments, but with the preservation of the basic methodological positions.

Interest in this regard is aroused by the programs "Music 1-8 grades" under the general editorship of Yu.B. Aliyev, "Music 1-3, 5-8 grades" edited by E.B. Abdullina, "Music grades 1-4" by G.S. Rigina and a number of others. Some of the author's programs published in the 90s begin with references to the progressive concepts of art education by D. Kabalevsky, B. Nemensky, L. Predtechenskaya, B. Yusov, which once again proves the relevance of the concepts and programs of prominent domestic educators.

In the last decade, the process of integration of different types of activity, different ways of knowing art is gaining momentum. The ideas of the complex interaction of arts (B. Yusov) in this process acquire special relevance. For example, in his program “Music (musical and aesthetic education). 1-4 grades "authors-compilers N.А. Terentyev and R.G. Shitikova formulated the goal of musical and aesthetic development in comprehensive school: "... To form the artistic culture of students in the context of various types of creative cognition of reality and to optimize the creative qualities of the individual."

This program is based on the principle associated with figurative and thematic unity of integration of various types of art in the learning process: “... The organizing core of the entire system of aesthetic education should be a holistic artistic perception, since it is a common denominator characterizing the process of listening, reproduction and judgment (emotional and evaluative comprehension). At the same time, a school lesson in aesthetic education becomes a lesson in the art of comprehending life in all its richness and diversity. " Within the framework of the problem of interest to us, we note its new perspective - the lesson in the "art of comprehending life."

Another position of the authors is especially significant: “... The object of study in the classroom should be art, but outside the narrow subject-activity orientation. Skills and knowledge should not be an end in itself. They are a means and condition for the development of a child's personality, and art is a form of manifestation of his life". "... Music lessons as art lessons, creativity lessons should help to optimize children's holistic thinking, selective artistic needs and interests, certain value orientations and attitudes."

The value of these attitudes is determined by the fact that the image of a music lesson is interpreted as an image of an art lesson and in line with the theory of developing education. This is a focus on spiritual communication, and on the gradual accumulation of experience of creative comprehension of art on the basis of personal experiments, and awareness and feeling of creative tasks, and a methodological principle dialectical relationship between life and art, art and life, and much more.

Note that today we have two directions in musical pedagogy.

The first, striving to get out of the suffocating framework of regulations, clichés, ranking, segmentation, defending living art and proclaiming: music is an art, and it deserves to have its own principles, its own didactics, a methodology that really corresponds to the image of a music lesson as an art lesson.

Second, considering a music lesson along with other school subjects, the teaching of which is based on traditional principles, on the traditional division into types of activities with the ensuing "technological" focus and inconsistency with modern progressive ideas of developing and developing education for children.

Let us consider the principles of general didactics from the point of view of their role and capabilities in organizing a music lesson as an art lesson, without placing a “dividing line” between the above directions.

In scientific and methodological literature, it is difficult to find special workdevoted to the problem of using the principles of general didactics in teaching art, therefore we appeal to the publications of a prominent modern scientist-methodologist L.V. School student when covering this issue.

Note that the very principles of general didactics in their as it stands no longer satisfy pedagogical science and practice, and leading scientists are increasingly insisting on their revision. On the other hand, the principles of artistic didactics are currently at the stage of formation, until they have formed into a system of teaching art.

The principles of general didactics were developed back in the days when pedagogy as a science was just beginning its path, therefore, for the most part, they developed as an empirical generalization of the fact that everyday teaching practice with its dogmas and contradictions has developed. In view of this, some general didactic principles are largely "organizational" in nature, since were largely dictated by considerations of a utilitarian and practical nature. It is also important that, for historical reasons, during the formation of the principles of general didactics, the teaching of art could not find any reflection in them, since musical pedagogy itself did not yet exist (it was a spontaneous phenomenon and was based on the experience and creativity of individuals).

Gradually, attention to general music education increased, and theoretical views on teaching music at school as an art developed. But, lacking proper methodological and methodological support, music at school was mechanically inscribed in the school system and the dominant concept of education. This seems to be the reason for the fact that music is taught in schools based on the principles of general didactics. In today's conditions, it becomes an urgent task to identify the possibilities of general didactic principles in ensuring the formation of a music lesson at school as an art lesson.

Didactic principles are a system of theoretical generalizations designed to organize the content and forms of education in such a way that it is carried out in the most fruitful way.... For us, their interpretation is important, and the ability to ensure the proper organization of the educational process in music lessons in the conditions of developing and developing education. Let's consider some of them.

The principle of continuity, traditionally implying only quantitative changes in teaching at each of the stages of acquiring knowledge, in this interpretation is not acceptable for musical pedagogy. For teaching music at school, it is more important to characterize this principle (taking into account the psychological and age characteristics of students) as an idea of \u200b\u200ba new level and quality of music education, affecting the ways of mastering art and acquiring knowledge about it, ways of thinking, the level of perception, the depth of the child's exploration of his spiritual world , understanding the organization of means of musical expression as a form in unity with the content of music.

Accessibility principle found reflection in the entire practice of constructing school subjects: at each stage of education, children are given only what they can do at a given age. This measure develops in the real practice of teaching, which, based on social requirements, predetermines the level of requirements for children. school age... In this case, one should take into account the concrete historical nature of the child's capabilities and rely on the idea of \u200b\u200bthe developmental role of learning. When building a training system, you need to change the general type and general pace mental development children at different levels of education. The principle of accessibility in music lessons should not be reduced solely to knowledge, skills and abilities, but, first of all, should be addressed to the spiritual and emotional development of children.

Consciousness principle initially directed against formal cramming and scholasticism in teaching. But the process of understanding and consolidating knowledge in music lessons most often proceeds as a didactic process in content and form, as "near-musical" conversations, conversations, immersion in the theoretical part of musical knowledge to the detriment of truly musical, aesthetic, moral knowledge. But art, as B.V. Asafiev and D.B. Kabalevsky is not a scientific discipline, which is studied and studied. Here it is important to understand what musical knowledge proper is in terms of content and form. These are, first of all, "mysterious", semi-conscious, intuitive, ideal mental education in the form of aesthetic and moral assessments. They arise as a result of "emotional thinking" when the student correlates the emotions of music with his emotions caused by the music. This is the moment when the child compares "his own" and "human". Musical knowledge, which belongs to the sensory sphere, does not have to be expressed in concepts at all. The music teacher should awaken a lively emotional feeling of music in the classroom and make schoolchildren think about their experiences.

The principle of visibility, at first glance, is "simple to the point of banality", but its practical application leads to very serious consequences. The demonstration of illustrative material, which is traditional for subjects of the natural science cycle, is not essential for art, so we must talk about a different principle: the principle of a comprehensive study of various types of art on a single figurative and artistic basis... Without taking into account the specifics of art, visualization is interpreted in full "empirical volume", as a result of which music becomes not a model of the dialectic of life, the inner world of a person, but a simple illustration of life.

Scientific principle should be understood in the meaning of a special way of mentally reflecting reality, as an ascent from the abstract to the concrete. The implementation of the principle of scientific teaching is associated with a change in the type of thinking, i.e. with the transition to the formation in children from the very first years of training the foundations of theoretical thinking, which lies in the foundation of a person's creative attitude to reality. The theoretical level of thinking, to which the principle of scientificness is obliged, is laid down in the thematicism of music curricula, which is a system of meaningful generalizations of the theoretical level.

Each of these general didactic principles can and should play a role in teaching music as an art, provided they are rethought from the standpoint of how they can help to "streamline" the educational process in art lessons. But in organizing a music lesson as an art lesson, other, more “large-scale” principles play a greater role: the principle of developmental learning, the principle of systematic and consistent learning and others.

As already noted, teaching art at school, in order not to lose the essence of its subject, must have its own artistic didactics, i.e. their principles, which would completely and completely follow from the nature of art as a concentrated expression of methodological and methodological thought in the musical pedagogy of the school.

Its methodological basis is: intonation theory B.V. Asafiev; duality theory of musical form V.V. Medushevsky; works on philosophy and psychology of artL.S. Vygotsky, A.N. Sokhora, S.Kh. Rappoport, M.S. Kagan and others; creative and pedagogical heritage of outstanding teachers-musicians K.N. Igumnova, G.G. Neuhaus, S.E. Feinberg and others; the unique system of K.S. Stanislavsky; art teaching concepts D.B. Kabalevsky, B.M. Nemensky, L.M. Predtechenskaya, B.P. Yusov; a unique and interesting way of organizing a new system of art pedagogy V.G. Razhnikov and, finally, rich experience of practicing teachersdeveloping progressive ideas in teaching music at school.

Integrity, imagery, intonation, associativity, identity and contrast, variation, repetition, polyphony, problematic, dialogical, improvisational, artistic - these are the grounds that become the basis for the formulation principles of musical didactics... New principles are formulated on the basis of the unity of the world, the laws of the development of thinking, art, the common spiritual culture of mankind (the unity of the scientific and artistic picture of the world), taking into account the leading role of art in the search for new forms of spiritual and practical mastering of reality. The principles of integrity and imagery, being the properties of human thinking, a universal natural ability of the child's psyche, should govern the artistic and pedagogical process in music lessons.

L.V. Goryunova in her book "Speak in the Language of the Object Itself" noted that the lines of organizing the artistic and aesthetic environment that coincide with the directions of the child's development and, accordingly, determine the methods of musical education, lead to overcoming the mismatch of the goal, objectives, content and methods of musical education with the nature of art and the nature of the child. classes:

“… These lines organize the child's life… as a movement: from whole to whole; from image to image; from improvisation to improvisation; from surprise to reflection; from saturation with artistic impressions to expanding the "field" of meanings, personal meanings and further to skills and logical awareness; from spoken to written; from questioning to question; from polyphony to unison. In general: from artistic to artistic. The main thing in teaching is comprehension of music through intonation, comprehension of music by music, music by other arts, the life of nature and man, and not by separate means torn from the whole and destroying it. "

The conclusion follows from this: principles of artistic didactics must be integrative... At the same time, integrativity is understood both as a generalized deep essence of a number of phenomena, and as their new quality, which is not contained in individual phenomena, and, first of all, as a methodological basis reflecting the refraction of the universal laws of aesthetics in the general laws of art. Only the upbringing of schoolchildren's thinking along the path of movement from the general to the particular makes the process of music education developing.

Music teachers should not forget that the principles of music education should be considered in their evolution and correlation with practical experience, as pointed out by the famous American music teachers - researchers C. Leonhard and R. House.

Literature

1. Abdullin E.B., Nikolaeva E.V. Theory of Music Education: Textbook. - M .: Academy, 2004.

3. Bezborodova L.A., Aliev Yu.B. Methods of teaching music in educational institutions. Textbook. manual for students of muses. fac. pedagogical universities. - M., 2002.

4. Goryunova L.V. To speak in the language of the subject itself ... Pos. for the teacher. - M., 1989.

5. Kabalevsky D.B. Basic principles and methods of a music program for a secondary school // Music program for a secondary school. 1-3 grades. - M .: Education, 1985.

6. Music. Musical and aesthetic education. 1-4 grades. Program for general educational institutions / Compiled by N.А. Terent'eva, R.G. Shitikova. - M., 1994.

7. Music education at school. Textbook. manual for students / Ed. L.V. School student. - M., 2001.

8. Hoh I. Principles of music lesson and their relationship with the motivational-need-sphere of the student // Music in school. - 2000, No. 2.

9. Shkolyar L.V. and other Theory and methods of musical education of children. - M., 1988.

Lecture 9. Content of general music education

Plan

1. The main components of the content of music education.

2. Experience of students' emotional-value attitude to the art of music.

3. Musical knowledge, skills and abilities.

4. The experience of educational and creative musical activities of students.

5. Mandatory minimum content of music education (state standard general education).

Basic concepts and categories:

"State standard of general education" - norms and requirements that determine the mandatory minimum content of the main educational programs general education, the maximum amount of study load of students, the level of training of graduates of educational institutions, as well as the basic requirements for the provision of the educational process (including its material and technical, educational and laboratory, information and methodological, staffing);

"Mandatory minimum content" - this is the generalized content of education, which each general educational institution is obliged to provide to students in order to ensure their constitutional right to receive general education.

The content of music education acts as a pedagogical interpretation of its goals, objectives and principles. Its development is based on the conceptual provision on the correspondence between the nature of the child and the nature of artistic creativity, namely, on the child's predisposition to primordially childish types of creativity (singing, movement to music, playing musical instruments, etc.) and the development on this basis of creative imagination and artistic and imaginative thinking. The content of music education is focused, first of all, on the priority goals lying in the field of education of the emotional-value, moral-aesthetic attitude of students to art and life, the development of their sensory-emotional sphere and abilities for various types of musical and creative activity. In accordance with these goals, the content is aimed at fostering the ability to evaluate the world around us according to the laws of beauty, the development of artistic taste, creativity, imaginative thinking, etc. - in general, to determine the personal meaning of comprehending art.

The practical, life orientation of the content of music education is also determined by modern socio-cultural conditions, focused on the assertion of national and universal values, the formation and socialization of the student's personality in modern world... IN primary school music education is based on the syncretic nature of the perception and ways of activities of children, which is manifested in the establishment of the relationship between music and other arts and life. In basic school, the specificity of musical art comes to the fore, in-depth mastering of its language in the process of practical activities of adolescents, which becomes the foundation for the introduction of specialized education in high school, contributes to the socialization of the individual, stimulates the activities of schoolchildren for free self-determination in various types and forms of musical creativity. Music education in basic school is designed to activate the students' experience of communicating with musical art, to give an impetus to artistic self-education and the formation of a stable need for communication with art in later life.

Going to 4 year old primary education;

Introduction of specialized training at the senior level;

Normalization of the teaching load of students;

Correspondence of the content of education to the age patterns of development of students, their characteristics and capabilities at each stage of education;

Personal orientation of educational content;

The active nature of education, the focus of the content of education on the formation of general educational skills and abilities, generalized methods of educational, cognitive, communicative, practical, creative activity, on gaining experience in this activity;

Strengthening the educational potential and social and humanitarian orientation of the educational content, contributing to the establishment of the values \u200b\u200bof civil society, the formation of the student's personality;

The formation of key competencies - the readiness of students to use the acquired knowledge, skills and methods of activity in real life to expand practical tasks, etc.

The content of music education is made up of the following interacting components: the experience of students' emotional-value attitude to the art of music; knowledge of music and knowledge of music; musical skills and abilities; experience of educational and creative musical activities of students. The authors of the textbook "Theory of Music Education" E.B. Abdullin and E.V. Nikolaev.

The experience of the emotional-value attitude of students

to the art of music

This element, according to the researchers, is manifested in the preferences of students, their interests and tastes, both in the field of music itself and in certain types of musical activity. At the same time, the personal character of the accumulation of this experience (a person's attitude to the world of music, to oneself through listening to music, performing it, composing) acquires special significance. This process is all the more successful, the more developed the child's musicality and empathy. The authors emphasize that the accumulation of experience of an emotional-value relationship plays a leading role in the content of music education.

The personal nature of the perception of a piece of music determines the appearance in the process of its aesthetic experience, the methodological substantiation of the essence of which is revealed by K.A. Abulkhanova-Slavskaya. According to her position, in aesthetic experience, each time anew there is a unique meeting of sensuality, emotionality inherent in an individual, with a piece of music, which turns this act into a spiritual event in life. The totality of such experiences satisfies the aesthetic and general spiritual needs of a person, nourishes his psyche, sensuality, reproduces, restores a kind of psycho-energetic forces.

The researcher also reveals the essence of musical experience, which, according to the author, is distinguished by its continuity (continuity, indivisibility), which is its “saturating” feature that nourishes not only spirituality, but also the soulfulness (mental strength) of a person. Aesthetic experience, which is based on a certain emotional and temporal makeup, acquires to one degree or another the character of a personality-oriented spiritual ability (G.S. Tarasov) and from a kind of "autistic" state turns into a state of creativity, co-creation, empathy regulated by a personality.

Characteristics of the emotional-value attitude of the student's personality to music, according to the intonation theory of B.V. Asafiev, is largely due to the intonation fund he has accumulated in the process of communicating with music. The wider this fund is, the more the student finds familiar intonations in new music, the closer he becomes to musical art, which acquires a certain meaning. At the same time, the issue of the formation and development of the musical taste of students, which largely determines the content of the emotional-value attitude to music, acquires great importance.

The modern musical and cultural space of music lessons cannot be limited only to folk and classical music, today it is necessary to actively include in the content of classes highly artistic works of spiritual (religious) music, jazz compositions, author's (bardic) song, new genres of musical art (musical, rock opera etc.), various styles of pop and rock music at its best. So we will be able to give impetus to the approval of a new view of the teacher-musician on the development of musical taste in students and the formation of their emotional-value attitude to music, considering the named categories in a broad pedagogical aspect.

Also, one cannot ignore the unique possibilities of musical art to have a strong psychological, art-therapeutic effect on a person. Therefore, the urgent task of a modern teacher-musician is the search and application of the entire set of musical and pedagogical means for the transforming, creative impact of music on the personality of each child and the student body as a whole. The system of the Swiss scientist E. Willems, which includes sound therapy, rhythmotherapy and melotherapy, is among the most famous and widely used in practice in the United States and a number of European countries.

Musical knowledge

The knowledge acquired by students in the process of music education is divided into two groups: knowledge of music itself and knowledge of music. Knowledge of the music itself is of paramount importance for music education, as it is. the breadth of students' musical impressions determines the usefulness of their entry into the world of great musical art. It is very important to form a multifaceted intonation and auditory experience in children, including works of folk music, academic (classical and modern), sacred music, modern popular light music of decent quality.

The authors of The Theory of Music Education E.B. Abdullin and E.V. Nikolaev note that in the traditions of Russian musical education (V.F.Odoevsky, M.A. Balakirev, S.V. Smolensky), masterpieces of Russian and foreign musical culture were of primary importance for its content. Subsequently, they began to be called the golden fund of the musical and pedagogical repertoire, which serves as the basis for both listening and performing activities of students. However, in modern pedagogy of music education, there are different points of view in relation to the advisability of including classical music in the content of music lessons with children. Let us analyze two opposite positions of modern scientists.

L.V. The schoolboy in his scientific research points out that the highest rate of perception of classical music was noted by it in 4-year-old children (75%) in comparison with school-age children (for sixth graders the indicator was 20%, for third graders - 30%). It was the four-year-olds who were able to more fully and more accurately capture the consonance and kinship of musical fragments of classical works from a number of those proposed by the researcher. L.V. The schoolboy explains this fact by the ability of preschoolers to holistically perceive the phenomenon in the integrative unity of emotional and intellectual assessments - the most important, according to the author, property of the human psyche.

The opinion of T.E. Tyutyunnikova, who asserts the impossibility of checking the results of the pedagogical influence of high music on children younger age due to the lack of valid diagnostics. The researcher sees the problem not in doubting the high merits of the music itself, but in disabilities children to perceive it.

Each point of view has the right to exist, and the very problem of the adequacy of children's perception of musical classics requires further in-depth research. Nevertheless, today, as never before, the need to bridge the gap between the ideas of traditional pedagogy of music education about the content of the musical culture of an individual and the musical interests and needs of schoolchildren is obvious. One of the ways to bridge this gap is to show vivid examples of musical art of various genres, trends and styles in music lessons.

In this regard, it is important to observe proportion in the presentation of vocal, instrumental and vocal-instrumental music, programmed and non-programmed, in order to comprehensively reveal the wealth of possibilities in combinations of music and words, music and painting, as well as the nature and laws of musical art. In music lessons, a place should be found for original performing interpretations of outstanding musicians, and performing vocal and instrumental activities of the teacher himself, and the involvement of various musical instruments, including electromusical ones, due to which a new, modern sound appearance of familiar musical compositions is created.

When selecting musical material for music lessons, one should take into account a number of criteria for assessing the repertoire, which were pointed out by D.B. Kabalevsky: fascination, artistry, pedagogical expediency, educational value.

In the process of music education, students also acquire direct knowledge about music, which is necessary for entering the world of music and serving as a tool for learning it. Among this knowledge, it is possible to distinguish musical-theoretical and musical-historical, as well as knowledge about the art-therapeutic possibilities of music. This knowledge, combined with the knowledge of the music itself, emotionally perceived, experienced and meaningful by the child, acquires personal and value significance.

The knowledge of the intonational nature of musical art - the basis of the entire system of knowledge acquired by schoolchildren in the process of music education; knowledge about the basic principles of intonation development; knowledge about musical genres as the main mediators between the listener and the composer, between reality and its reflection in a work of art; knowledge about musical styles as systems of means of expressiveness aimed at embodying the ideological and figurative content of musical compositions; knowledge about the emotional-figurative nature of art, about musical drama, about the means of musical language and musical speech; specific information about music, the work of composers and performers, about choirs and orchestras, about ways of mastering various types of musical activity; knowledge of musical notation, contributing to the independent communication of schoolchildren with music. Musical-theoretical knowledge about music is system-forming in the formation of an integral musical culture of students.

Musical-historical knowledge, its volume and content are determined by a specific curriculum in music and a teacher, depending on the direction of music education in a particular educational institution, the level of preparedness of the class, musical priorities of the teacher himself.

In the acquisition of knowledge about the art-therapeutic possibilities of music, the student's experience acquired by him in music lessons and based on introspection (reflection) about what music and what effect it has on him in various psychological states and what types of musical activity can enhance this effect is of particular importance.

Musical knowledge cannot be regarded as an end in itself, it is only a part of a student's musical culture, a means of creative comprehension of musical art, a tool for mastering certain performing skills, contributing to the realization of the creative potential inherent in a child. That is why, in the pedagogy of music education, they are considered as “humanized knowledge” (the term of VA Sukhomlinsky). The mastery of musical knowledge is carried out in the logic of introducing students to the world of great art, which takes into account age features children, the availability of assimilation of this knowledge by schoolchildren, the measure of the accumulated musical-auditory, creative-activity and life experience, the presence of previously acquired knowledge.

Musical skills and abilities.

The authors of the textbook "Theory of Music Education" assert a fundamental difference between skills and abilities. Skills are conditioned by the temporal nature of musical art and are aimed at the process of "observation" (BV Asafiev's term) for intonational development in listening and performing activities, improvisation, as well as in establishing the relationship of music with other types of art and the surrounding life. Such skills are associated with the creative (and, therefore, never exactly repeating) process of comprehending the art of music and are not subject to automation. Musical skills are based on knowledge of music and are formed in the process of its living perception. They can be conditionally divided into two groups: skills inherent in a specific type of musical activity (listening, performing, music-composing), and the ability to correct their psychological state under the influence of sounding music, based on knowledge of music and their own reflective experience.

Unlike skills, musical skills should be viewed as actions, the individual components of which have become automated as a result of repetition. In psychology (A. V. Zaporozhets, A. A. Lyublinskaya, A. V. Petrovsky) there are three main stages in the formation of skills: mastering the elements of action; the formation of a holistic structure of action; consolidation and improvement of the integral structure. Musical skills based on musical knowledge and skills are a necessary technological base, first of all, for musical performance (singing, playing musical instruments, musical and plastic movements). In the listening activity, one can single out the skills associated with the differentiated hearing of individual components of the musical fabric, as well as the skills of tracing the process of intonational development based on the principle of identity and contrast. In music-composer creativity (according to B.R.Iofis), the skills of variant repetition of a given motive, improvisation of cadence turns, creation of rhythmic patterns from the proposed modules, improvisation of a melody in low-volume frets based on the proposed melodic turns are developed.

Experience in musical and creative activities

The experience of musical and creative activity is isolated into an independent element of the content of music education in order to emphasize its special significance for musical and overall development student personality. Such experience is acquired by schoolchildren in the process of listening to music, in vocal-choral and instrumental performance, in musical-plastic and musical-dramatic activities, musical improvisations and composing music, in establishing a connection between music and other types of art, with history, with life.

The creative principle manifests itself in the independence and originality of students' judgments, in the desire to ask questions, in the acuteness of auditory observation, in the creation of performing plans for the embodied music, etc., which was pointed out by D. B. Kabalevsky. In the process of musical education, an important task is to awaken the creative principle in a child, to activate his interest not only in the result, but also in the process of musical activity, which reveals to him the creative nature of music, the ways and methods of creating, performing and listening. In educational musical and creative activities, the student discovers something new for himself. Moreover, the effectiveness of such activities largely depends on the previously acquired musical experience, knowledge and skills of students. In confirmation of this, we cite the words of B.V. Asafieva: "Any creative invention is a combination of previous data in a new way."

The creative principle manifests itself mainly in the creation by students of their personal perception, cognition, reproduction, composition and the arising artistic and life associations, comparisons, comparisons, etc. The actual musical creativity of students is manifested in improvisation and composing music by them. Currently, the development of the creative potential of children in music lessons in the lesson and additional forms of education is one of the priority tasks of music teachers.

The ongoing modernization of Russian education, aimed at increasing its accessibility, quality and efficiency, affects not only structural, institutional, organizational and economic changes, but, first of all, a significant update of the content of education, bringing it in line with the requirements of the time and the tasks of the country's development. In this regard, on March 5, 2004, the Minister of Education of the Russian Federation V.M. Filippov approved the federal component of state educational standards primary and basic general education. Federal component structured by levels of general education state standard regulates the mandatory minimum content (MHI) of basic educational programs for each academic subject.

OMS is presented in the form of a set of subject topics (didactic units), which are mandatory in the main educational programs. The OMS contains the basic values \u200b\u200band achievements of national and world culture, fundamental scientific ideas and facts that determine the general world outlook of a person and provide conditions for socialization, intellectual and general cultural development of students, the formation of their social and functional literacy.

OMS ensures the continuity of the levels of general education and academic disciplines, provides students with the opportunity to successfully continue their education at subsequent levels of education. Meanwhile, OMC allows for a varied approach to the study teaching material and provides multilevel training, which implies an increase in the effectiveness of training teachers for creative professional activity in the context of continuously developing education.

The standard indicates that at the level of primary general education, the priority pedagogical task is the formation of general educational skills and abilities. The emphasis is placed on deepening interdisciplinary connections, activity-based, practical content of education aimed at realizing abilities and creating conditions for each individual child's development.

At the level of basic general education, the compulsory medical insurance takes into account the age characteristics of adolescence, when the child is striving for real practical activity, knowledge of the world, self-knowledge and self-determination. The standard is focused not only on the knowledge component, but, first of all, on the activity component of education, which makes it possible to increase the motivation of learning, to the greatest extent to realize the abilities, capabilities, needs and interests of the child. At this stage of education, graduates must achieve the level of functional literacy required in modern society, be prepared for a conscious and responsible choice of life and professional path. In this regard, the main conditions for solving these problems are put forward - the consistent individualization of training and pre-profile training at the final stage of training in basic school.

The subject "Music" is included in the list of compulsory academic subjects of the federal component of the standard of basic general education, both at the first and second levels. The music programs approved by the OMC are based on the goals of general music education identified in the standard, have their own characteristics and ensure continuity at each level of education.

The main didactic units of the content of music education are systematized into sections. In elementary school, the foundations of musical culture are formed through ideas about music, ideas about the musical life of the country, the experience of musical and creative activity in its various forms (listening to music, singing, playing instrumental music, musical plastic movement, dramatization of musical works). In basic secondary school - through understanding music as an art form, comprehending folk musical creativity, mastering Russian music from the Middle Ages to the turn of the 19th and 20th centuries, foreign music from the Middle Ages to the turn of the 19th and 20th centuries, domestic and foreign musical art of the 20th century, ideas about the musical life of Russia and other countries. On the second stage special attention given to students' understanding of the role of music in the formation of the spiritual culture of the individual; the experience of musical and creative activity, aimed at developing musical perception and mastering the practical skills and abilities of musical activity in its various forms (listening to music, singing, musical-plastic movement, instrumental playing, dramatization of musical works, music and modern technologies ).

The level of mastering of compulsory medical insurance by schoolchildren in music education is assessed at each stage in accordance with the requirements of the state standard of general education for the level of training of graduates. In the implementation of music curricula, the teacher is obliged to ensure the OMS and the solution of the set goals of music education, as well as to show creative initiative in the development and practical implementation of the regional and school components of the content of music education, taking into account objective socio-cultural factors, such as educational institution, needs and requests of students. This once again confirms the need to train new generation music teachers.

Literature

1. Abdullin E.B., Nikolaeva E.V. Music education theory. Textbook. - M .: Academy, 2004.

2. Abulkhanova-Slavskaya K.A. Some features of aesthetic experience (psychological approaches to the problem) // Interrelation of methodological and methodological training of a music teacher: Materials of the II Intern. n.-pr. conference / Resp. ed. E.B. Abdullin, E.V. Nikolaev. - I., 1994.

3. Aliev Y.B. Handbook of a school musician teacher. - M., 2000.

4. Asafiev B.V. Musical form as a process. - 2nd ed. - L., 1971.

5. Asafiev B.V. About musical and creative skills in children // Asafiev B.V. Selected articles on musical enlightenment and education / Ed. EAT. Orlova. - M .; L., 1965.

6. Goryunova L.V., Maslova L.P. A music lesson is an art lesson. Book. for the teacher. - M., 1989.

7. Tyutyunnikova T.E. High music and children // T.E. Tyutyunnikova. Seeing music and dancing poetry ... Creative music making, improvisation and the laws of being. - M., 2003.

8. Federal component of the state standard of general education // Bulletin of education of Russia - 2004, №№ 12-13.

9. Shkolyar L.V. Diss. ... doct. ped. sciences. - M., 2002.

Deep knowledge of musical history and culture is of great importance for the formation of the spiritual image of new generations. In the process of the formation of the world musical culture, universally significant values \u200b\u200bare formed, emanating from universal moral and aesthetic categories, the laws of auditory perception and musical thinking.

Education is of great importance in the process of the spiritual development of society, since it is the main mechanism for fixing and generalizing human experience, occupying an important place in the process of conscious self-education of mankind. Music education plays an important role, the development of which presupposes the use of the achievements of the modern scientific-theoretical, methodological technological base.

Music lessons discipline thinking, foster concentration, and develop memory. To paraphrase the words of V.A. Sukhomlinsky, we can say that without music it is impossible to imagine a full-fledged education of mental abilities and memory. Music lessons should enter life as one of the elements of mental culture (4, p. 23).

In system additional education music schools for children occupy a special position. The task of additional education is not only to instill basic skills in playing one or another instrument, but to give all children who wish to have a general primary musical education; in the process of studying at a music school, reveal the creative abilities of each child and help their development; to contribute to the education of the aesthetic taste of students, to familiarize them with the world musical culture. That is, by means of the music school to achieve the development of the child's personality, to determine the path of his further development, to create the prerequisites for his personal growth. Teaching music should be about developing the ability to think independently.

It is impossible to narrowly understand the goals of music education, because the musical school is not so much a forge of outstanding soloists-performers as a temple, where the formation of personalities takes place.

The changes taking place in the social life of the country in the 21st century have largely affected the system of education and culture. The contradictions that have accumulated over the past decades have led to a slowdown in the development of children's music schools. The real way to improve the quality of music education is not only the introduction of new methods and a rethinking of goals, but also the strengthening of the role of the personality of music school teachers, whose activities are inextricably linked with the phenomena of social life.

Pedagogy in its historical continuity is a complex phenomenon, since through teaching, experience is transferred from one generation to another. No profession requires such a long learning process as the profession of a musician, which requires colossal efforts from a person, in addition to talent.

Not every teacher is the spokesman for the best traditions of his time. However, when this happens, his daily work turns into art.

The performance of a music teacher depends on his professional competence. It includes not only methodological and scientific knowledge and skills, but also the ability to work with children, which depends on the general culture of the teacher, the values \u200b\u200bof his orientations, ideas about the meaning of the activity and about himself as a specialist. Competence as a personality trait is the basis of a teacher's professional and pedagogical activity, a factor in the development of his creative potential (2, p. 15).

Musical pedagogy holds in his hands the keys to many problems, penetrating into the most delicate issues of children's pedagogy and upbringing.

The learning process in children's music schools imposes a great responsibility on the teacher. Under his guidance, the student not only learns the basics of musical art, but also develops his intellect, acquires the ability to think outside the box, forcing his imagination to act. The child develops a creative attitude to life, which in the future will contribute to successful work in any profession. But the main task of a children's music school teacher is to teach to feel not only musical art, but any other art as well.

The teacher not only teaches - he educates. It is the school teacher who deals with children during the period when their abilities are being formed and their character is taking shape. The future of the student often depends on him, the teacher.

The work of a teacher should be joyful and smart, because his work is a constant self-giving and constant self-renewal. The strictest discipline, dedication in work, disinterestedness, modesty, honesty, the ability to self-analyze, a sense of responsibility - all these are the necessary qualities of a teacher (2, p. 34).

Creative individuality and deep specialized knowledge, general erudition, intuition and professional skill of a music teacher are of great importance in the upbringing of music school students.

The activities of a teacher of a children's music school are public in nature and require the ability to manage their feelings and moods. The pedagogical process is associated with a constant creative search, since the teacher has to act in a variety of changing pedagogical situations.

The optimal form of communication between a teacher and a student is co-creation, that is, creative interaction, when the teacher, updating his methods and improving, creates an atmosphere of search in the lesson, during which the student's personality is formed (3, p. 25).

Each child is an individual, and we follow him. Children are very different, and therefore there are different methods. Any technique is alive only when it is individual in relation to each child and can be organically perceived by him; when the teacher is guided by the idea of \u200b\u200bthe ultimate goal of working with the student and the method of education becomes a natural part of the entire pedagogical process. Therefore, the success of a teacher is largely determined by his ability to individually approach each student, for which it is necessary to study the personality of each child.

Children are able to change quickly in a small amount of time. Each student has his own good and unique, which we, teachers, are obliged to discover and develop. Each has positive and negative traits. It is important to know not only the advantages, but also the disadvantages of the student and work to eliminate them. The encouraging word of the teacher is not only in praise, but also in benevolent criticism, which helps the student to mobilize strength to correct shortcomings in work.

The most important thing in a person is kindness. It constitutes the moral foundation of human relationships. The main task of music pedagogy is to help the student "discover himself". This is impossible without a respectful and kind attitude towards the child. No diktat. Everything is calm, moderately strict, confidential and truthful. Psychological difficulties are constantly encountered in work. There are moments of despair and powerlessness. In music pedagogy, as in any other, one cannot do without obstacles. After all, it is not for nothing that they say that pedagogy is a battle for human hearts, and every student is the world (1, p. 16).

The teacher is faced with the need to constantly take into account the peculiarities of the temperament and character of a particular student. To be able to find an explanation for explosiveness and isolation, resentment and stubbornness. To be able to choose for each student the words that only he needs, because each student is a special case that needs a special individual complex of psychotherapeutic methods and methods of influence. A modern musician teacher must master the techniques of psychotherapy. Therefore, the problem of psychological compatibility between a student and a teacher is an important condition of the pedagogical process. If the teacher puts all his thoughts and all his soul into the work, then contact with the student arises easily and simply.

A child is a person, a future person. It is necessary to protect his character and psyche. You cannot educate him in nervous forms, killing his sense of human dignity. The simple benevolent attitude of the teacher helped many aspiring pianists to believe in themselves, find love for music and even find their vocation.

The largest Soviet teacher L.V. Nikolaev believed that the pedagogical process is a joint work of a student and a teacher. He argued that if teachers influence students, then students also influence teachers. Therefore, you need to be able to learn from your students (3, p. 45).

The teacher should not forget that a child who is much more gifted than himself may fall into his hands, and he should be ready for this situation. You should not defiantly show the student your own superiority, suggesting that he will not be able to achieve any results without your help. A true musician is devoid of arrogance and self-confidence. He understands the relativity of his skills and constantly learns, not hiding it from his students. A teacher without questions is not interesting. The pedagogical process is based on the teacher's work on himself, carried out in the most different forms... This is the responsibility of a professional not only to his students, but also to himself.

In our society, all processes are accelerated. The teacher must have a sense of the new, and therefore each of us faces the problems of our own self-education and self-improvement.

The worst thing is indifference. Our time requires new comprehension of works, new interpretations, far from the canons. You cannot create a dull atmosphere of boredom and pessimism in the classroom. Neither the difficulties of life, nor the overload of students can be an excuse. Real teachers, who love their work, know how to captivate even less gifted students with music, helping everyone to develop their inclinations.

For a musician educator, art is inextricably linked with the possession of an instrument. After all, little musicians can hear their repertoire mainly in the performance of the teacher. It is bad when the teacher is helpless with the instrument. Basically, you can teach what you can do, except for cases when a talented student outgrows his teacher, but this is his own merit.

In a music school, special attention should be paid to students who do not plan to become professional musicians. It is about fostering musical taste, general orientation in stylistic and genre peculiarities, creative handwriting of composers and, of course, love for music. Much attention should be paid to the development of the child's musical thinking. For this, the main thing is to give tasks, not recipes, to develop the ability to creatively communicate with knowledge, and not take them in the form of ready-made truths.

A teacher for a student should always be different: sometimes significant, sometimes calm, sometimes energetic, sometimes artistic. But in any of his incarnations, a musician teacher must remember the golden rules of musical pedagogy:

Continuously monitor the growth and experiences of children;

Help everyone to strengthen their independence;

Develop self-confidence;

To educate the necessary qualities: will, discipline, courage, artistry;

To teach from childhood to perceive each concert performance as a holiday (3, p. 29).

Given the exorbitant modern mental and physical workload of children, we must always remember that the health of the student should be at the center of our attention. The child's long-term illness complicates the teaching work. The time required to complete the program must always be properly considered. Work should be scheduled with some extra time. This makes it possible to change the direction of studies in the event of a student's illness or any surprises that disrupt the educational process.

An important aspect pedagogical work is working with parents. If the teacher managed to help the student's parents understand their role in raising the child's love for music, then he has gained reliable supporters on whom he can always rely.

You can talk a lot about the beauty and significance of the profession of a teacher-musician, but only true masters who are in love with their work can reveal its fascination and depth.

Pedagogy - Humanities. It requires selfless work, then inspiration is born and the work becomes creative. Musical pedagogy is precisely creativity, not a craft. Each true teacher is individual and unique. Everyone has their own paths. But you always need to remember and know that professionalism is an indispensable property and quality of a teacher.

A serious and loving attitude to his work as a teacher of musician bears great results. Musical pedagogy was, is and will be a science and art. A sphere in which strict theoretical principles are invisibly intertwined with the finest threads based on pedagogical intuition, professional skill and the abilities of a person who has chosen the difficult task of educating a person.

We know how much efforts have been made recently in children's music schools for the sake of improving educational process... There is a lot of talk and debate about the creative and educational role of the teacher of the musician. And we hope that our article will become a modest contribution to the solution of "sore" problems.

Kholostyakova Lyudmila Vladimirovna, teacher of theoretical disciplines,

MBOU DOD "Solnechnaya DSHI",

village Solnechny, Surgutsky district, KhMAO-Yugra

Music education at the present stage is considered as a system that combines music education, training and development.

In the modern scientific and methodological literature in the field of aesthetic education, general achievements in the field of musical and pedagogical research are widely represented and the main directions of the effective and high-quality activity of a music teacher are outlined. Thus, E.B. Abdullin notes that it is important for a music teacher today to master “... a professional thesaurus of pedagogy, which is one of the indicators of professionalism, since helps from a professional standpoint to analyze special literature on music education and actively participate in the discussion of its pressing problems ... ".

Let us highlight the main aspects of research in the field of modern music education: studying the possibilities of art pedagogy in music education, studying the priority professional qualities of the teacher's personality, studying the essence, types, achievements and features of the professional activity of a teacher-musician.

The domestic system of music education includes both general music education and additional education, the purpose of which is to implement additional educational programs in the interests of the individual, society, and the state. Educational music programs are aimed at fostering students' interest and love for music, at the formation of their active musical and auditory ideas and the development of practical musical skills - performing, auditory and analytical.

The author of this article, being a teacher of additional education and referring to the study of current trends in the study of the practice of teaching music at the present stage, believes that these are:

Study of the creative experience of teachers - musicians on the example of demonstration lessons and master classes in the subjects of the musical - educational cycle.

Pedagogical studies of musical and practical activity at the present stage, carried out by the author of this article, allow us to note the following:

The methodology of teaching music disciplines develops taking into account

the latest achievements of modern psychology of the development of musical abilities;

There is a tendency to educate "open" hearing, ie. able to perceive and switch to music of different styles, including the XX and XXI centuries;

In the pedagogical and scientific - methodical literature - the process of mutual enrichment and mutual influence of the methods of various schools, including foreign ones, is traced;

Methods of teaching musical disciplines using in educational process special developing computer programs.

Music education also directly affects innovative processes, while in modern music pedagogy the main goal of research is traced:

To study the scientific-methodological and musical-pedagogical material presented for implementation into practice,

On the basis of what has been studied, identify the leading teaching methods and determine the most significant stages of conducting a music lesson from the point of view of modern pedagogical technologies,

For this, the following tasks are set:

1. to study the main aspects of musical pedagogy: forms, methods and approaches to teaching music at the present stage;

2.determine the most popular methods of teaching music

and study their practical application in the educational process.

It should be noted that in musical pedagogy there are both general principles of pedagogy and special forms and methods of teaching. The main issue of many years of research in music is the process of interaction between teacher and student. For the transfer of knowledge about music, the forms and methods that have developed in the general education school are being adapted. For the assimilation of music itself and the mastery of practical musical skills and abilities, special forms of organization of training are required, as well as methods and means that meet the specifics of the content of musical disciplines. The basic principles of music pedagogy, mentioned by A. Lagutin, "are on a par with the general didactic", namely: the educational nature of teaching, scientific and systematic teaching, the strength of the knowledge, skills, skills, an individual approach to each student. "Pedagogy of art", - as noted by A. V. Shkolyar, in comparison with general pedagogy, defends its right to combine the methods of teaching the foundations of musical science in close unity with innovations.

In musical and pedagogical research at the present stage, the main task of a teacher-musician has been determined - a constant search for the most effective methods and ways of educating and teaching each individual student.

On the psychological aspect of pedagogical methods, D.K. Kirnarskaya: “A music teacher is a commander who leads to a victory that is still far away. He is forced to psychologically bring it closer, not to give up despair and maintain faith in the final result ... the teacher has to spiritualize all boring and painful moments of learning ... The alpha and omega of teaching is love for the student and understanding of the difficulties that the student is going through ... ".

In view of the fact that in modern music pedagogy the widest opportunities are provided to apply their knowledge, experience and pedagogical skills, the music teacher needs to decide on the ways and methods of solving the general pedagogical and narrow professional tasks assigned to him. The study of the methods presented today for implementation in musical and pedagogical practice allowed the author of this article to draw conclusions that the successful activity of a teacher-musician is based on analytical and practical teaching methods. A. Lagutin writes about this: “... Very organic for music learning Practical Techniques ... Mastering both performing and auditory skills and abilities is accomplished through special system exercises in constant practice ... "," Practical teaching methods implemented through the system different techniques - one of effective means musical pedagogy, which allows schoolchildren to master many musical skills ”notes further A. Lagutin.

Musical pedagogy today is also based on the activation of students' creative and search activity. VN Govor (Baltic Academy of Ecology of Culture and Art) believes that the future of musical pedagogy lies with the analytical method, and the teacher becomes “... the organizer of the student's independent search for new musical sensations ... This state of affairs ... does not oppress creativity. student, but stimulates and develops him ... Similar approaches, reflecting the focus of the teacher-musician on the creative, harmonious development of the student's personality - is more and more deeply understood in pedagogy, but they have not yet become widespread in musical and pedagogical practice ... " ...

Thus, in the opinion of the author of the article, the connection practical method learning with analytical is the main task facing the music teacher today. To successfully solve this problem at the present stage, the teacher needs not only to know the methodology of teaching his subject, but also to master the pedagogical technique, “i.e. a system of methods and skills, the possession of which will allow him to become a master of his craft ”.

List of references:

1. A.B. Abdullin, E.V. Nikolaeva. Music education theory. M., ACADEMA, 2004, p. 3.

2. A. Lagutin, Fundamentals of Pedagogy of the School of Music. M., Music, 1985, pp. 7, 78, 80.

3. AV Shkolyar, Music education at school, M., ACADEMA, 2002, p. 7.

4. D.K.Kirnarskaya, Musical abilities, M., "Talents of the XXI century", 2004, p. 403.

5. V.N.Govor, Yu.V. Pletenetskaya, Improvisational activity is a means of harmonizing personality, St. Petersburg, "Baltic Academy of ecology of culture and art" 1999, p. 10

1. The purpose of school music education

purpose school music education was formulated by D.B. Kabalevsky. It consists in educating the student's musical culture as a necessary part of his general spiritual culture.

D.B. Kabalevsky believed that the musical education of children is the basis of the musical culture of the people, and that an attempt to further develop the musical culture in the country in the absence of a well-established work on the musical education of children is tantamount to an attempt to erect a monumental building without a foundation.

In aesthetics, the concept “ musical culture of society»Is interpreted as follows: it is the unity of music and its social functioning. This is a complex system, which includes: 1) musical values \u200b\u200bcreated or preserved in a given society; 2) all types of activities for the creation, storage, reproduction, distribution, perception and use of musical values; 3) all subjects of this kind of activity, together with their knowledge, skills and other qualities that ensure its success.

The central place in musical culture is occupied by the values \u200b\u200bof art accumulated by society, therefore musical culture of personality characterized by the extent to which a person has mastered these values. A more specific interpretation of the concept of "musical culture of a personality" is given by L.G. Dmitrieva and N.M. Chernoivanenko. According to them, musical culture includes: 1) moral and aesthetic feelings and beliefs, musical tastes and needs; 2) knowledge, skills, skills, without which it is impossible to master the art of music (perception, performance); 3) musical and creative abilities that determine the success of musical activity.

D. B. himself Kabalevsky concretizes the goal of musical education as follows: to introduce students to the world of great musical art, to teach them to love and understand music in all the richness of its forms and genres, to develop the ability to perceive music as a living art, born of life and inextricably linked with life, to bring up a special sense of music , allowing you to perceive it emotionally, distinguishing good from bad in it, participate in the performance of music, master the basics of musical literacy, form creative musical ability schoolchildren.

According to E.B. Abdullin, the main indicator of a graduate's musical culture schools: a school graduate is an active, creative lover and connoisseur, first of all, of highly artistic musical art in various forms of communication with him.

2. Leading tasks of musical education of schoolchildren.

The purpose of music education in the concept of D.B. Kabalevsky is concretized by three leading tasks.

First task: the formation of an emotional attitude to music based on its perception.

In accordance with it, schoolchildren need 1) to develop emotional responsiveness to music, musical feeling, subtlety of emotional penetration into the figurative sphere of music; 2) awaken an active desire to assimilate knowledge, acquire skills and abilities, a desire to listen to and perform music; 3) arouse interest in identifying the connections between music lessons and life.

Second task: the formation of a conscious attitude to music.

This task means that the student needs to gain experience of conscious perception of works: 1) be able to apply musical knowledge; 2) not only feel, but also understand the character musical images, the logic of their development, the vitality of its content.

The solution to this problem is associated with the formation of students' artistic thinking, with the ability to independently apply knowledge in new situations.

Both tasks are implemented in unity: a conscious attitude to music is formed on the basis of the experience of emotional, imaginative perception of it, and vice versa.

The third task: the formation of an active-practical attitude to music in the process of its performance, primarily choral singing, as the most accessible form of music-making.

The solution to this problem provides for the development of specific musical and auditory ideas and performing skills in the process of music perception in schoolchildren.

It is important to provide students with a wide opportunity to feel internally involved in the process of musical creativity, the embodiment of an artistic image. This aspect of musical education is especially close to younger students.

In the practice of music lessons, all these tasks are interrelated. It is impossible to single out any of them without affecting its connection with others. However, the allocation of these three tasks for the teacher is necessary: \u200b\u200bthey are the basis for identifying the initial level of students' musical experience, fixing the intermediate stages of their musical development, the results of the formation of musical culture in the conditions of schooling.

E.B. Abdullin approaches the selection somewhat differently main tasks modern music education for schoolchildren. He refers to them:

The development of artistic empathy in children, a sense of music, love for it, the ability to appreciate its beauty, a creative emotional and aesthetic response to works of art;

Development of creative artistic and cognitive abilities of students, awareness of oneself as a person in the process of communicating with music;

Development of creative abilities in performing and "composing" activities;

Development of students' musical and aesthetic taste;

Development of the need for communication with highly artistic musical art, for musical self-education.

3. Principles of musical education of schoolchildren

In modern music pedagogy, there are different opinions about the principles of music education.

Music teaching can and should be based on general pedagogical principles. They reflect a rich learning experience. Music education presupposes a certain amount of knowledge, abilities and skills that must be formed in children. And here general didactic principles are especially useful and irreplaceable.

However, teaching music also requires its own, special principles that would take into account the specifics of art pedagogy. V.G. Razhnikov put it this way principles of art educators:

The first principle... The starting point in the pedagogical process is the personality of the student. The teacher in dialogical communication assumes the future development of the student, admitting and even fostering equality with oneself. And he organizes the child's communication with music on the basis of equal size, for the value of music is great, and the value is comprehended from a certain distance (temporal, spatial, personal). Most often, the student has not yet developed a personal approach, abilities, little life experience, no own methods and means of work.

Second Principle... The personality of the student is developed only by the developing personality of the teacher. Pedagogical development takes place in the implementation of constantly changing ways of personal communication, based on the teacher's recognition of the student's personality, his ability to be equal to the best examples of music. The developing teacher, in dialogue with the student, if necessary, puts himself in the same vulnerable position, in which the student often finds himself in his problems of comprehending music.

The third principleconnected with the first two: the content of education in the field of art is not the development of information-symbolic aspects of works, but the education of a personal way of relating both to works of art and to the world, other people, to oneself.

L.G. Goryunova proposed the following principles of music pedagogy (didactics): integrity; imagery; intonation; associativity; artistry.

These principles are comprehensively manifested in the construction of the lesson-image, in the form of teaching the lesson and the way the teacher communicates with the students, in a special intonational atmosphere, in the organization of the perception of works of art in various forms of living of the artistic image.

L. Goryunova reasonably believes that the principles of integrity and imagery should govern the artistic and pedagogical process, since they are the properties of human thinking, a universal natural feature of the child's psyche.

The principles of artistic didactics must be integrative. This is very important, since the upbringing of the thinking of schoolchildren and teachers cannot be carried out otherwise than on the path of movement from the universal to the singular. Only this makes the process of music education developmental.

Currently, musical pedagogy is based on the principles proposed by D.B. Kabalevsky.

1. Study of music as a living art, reliance on the laws of the music itself.

This principle is implemented through the construction of a training program for three whales (song, dance, march). These are the most widespread areas of music. They associate music in its richest variety with huge masses of people.

2. The principle of connecting music with life... Kabalevsky believed that music and life is a general theme, a kind of "super task" of school studies, which in no case should be singled out as an independent section. It should permeate all classes in all links from the first to the last grade. The principle assumes a gradual, expanding and deepening disclosure of the connections between music and life.

3. The principle of interest and dedication... The problem of interest and enthusiasm is fundamental in musical pedagogy, where without emotional enthusiasm it is impossible to achieve more or less tolerable results, no matter how much time and energy are given to it. The principle characterizes the atmosphere of the lesson. Its implementation is associated with the development of a positive emotional and aesthetic attitude towards music in schoolchildren, towards the process of mastering knowledge, towards various types of musical activity.

The implementation of the principle is ensured by: 1) the study of music as a living art; 2) the connection between music and life; 3) musical material; four) various forms communication with music; 5) methods of musical education; 6) the teacher's skills to talk about music with enthusiasm, to perform it expressively.

4. The principle of the unity of the emotional and the conscious. The perception of music is the basis for the formation of musical culture. Its development requires an awareness of the emotional impressions caused by music, its expressive means. Reliance on this principle allows students to develop the ability to evaluate perceived, and through it - to educate their interest and tastes.

5. The principle of unity of artistic and technical is based on the fact that artistic, expressive performance of a work requires appropriate skills and abilities. But their assimilation must be subordinate to artistic goals. The unity of the artistic and technical is ensured, first of all, subject to the activation of the creative initiative of students. This allows children to realize that skills and abilities are necessary for expressive, artistic performance of works.

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Where does a person's love for music begin? And why is it so important for every person to join this area of \u200b\u200bculture? The answers to these questions are contained in the theory and methods of musical education of children. preschool age.

Children listen to music with pleasure

The place of music in art

One of the most mysterious and enigmatic forms of art and artistic expression - music, at all times has been an integral part of the life of every person.

And, thanks to its versatility, it united people of different cultures, eras and worldviews. The parent's task is to help the child discover her wonderful world.




What kind of music is there? Perhaps the most common qualification of this art form, which every person must have encountered, is its division into good and bad. But what kind of music falls into each of these categories? After all, everyone knows that having his own taste and preferences, a person is extremely subjective in his assessment. Therefore, for a better understanding of the phenomenon of music, one must turn to another, more scientific qualification.




Music genre table

The theory and methodology of musical education for preschool children divides music into:

1. Classical - existing outside of time and space, bearing samples of reference musical art.
2. Folk music most often does not have a specific author; all the people whose culture it represents took part in its creation and transmission from generation to generation. It is a product of oral folk art.
3. Popular music is the most widely circulated and is relevant at the present time.

Despite the fact that such a classification is quite strict, it should be noted that the boundaries between types of music are rather arbitrary.

And works created by someone in particular often lose the author, becoming popular. Classically, massively replicated, they become popular, falling in love with the general public. Many songs of various styles are becoming classics of their genre.

Features of the musical development of the child

What information does the theory of children's musical development and upbringing contain? In the process of active interaction of the child with music, his appropriate education and development takes place.




Musical culture - definition

It is carried out in the following directions:

1. Emotional development is the ability to actively respond to a piece of music, responding to its semantic content, a message transmitted to the listener.
2. The development of children's sensation and perception - honing the skill to perceive not only individual sounds in a work, but also its integral structure. The ability to distinguish sounds by timbre, dynamics, rhythm and tempo.
3. In the field of relations - the identification of the prevailing areas of interest, the need for musical education of preschoolers.
4. In the field of independent actions - the ability to independently perform musical works, actively interact with music.

What is necessary for the correct perception of music and the development of an artistic taste in a child?

Musical abilities of children and their development

Musical ability childhood are most often viewed as an independent component of giftedness, allowing the child to effectively develop musical skills and carry out appropriate activities. In addition, musicality allows you to adequately perceive and experience a piece, recognize it, etc.




Sense of rhythm develops in music lessons

Also, musical ability has three basic components:

1. Fret feeling - the ability to recognize the modal functions of individual sounds.
2. Auditory presentation of the melody.
3. Sense of rhythm. The ability to experience the music being played while on the move.

An important role is played by the theory and methodology of musical development and upbringing of children.

• The ability to respond emotionally to music.
• Musical memory.
• Musical thinking.
• The ability to distinguish between melodic, harmonic, timbre components of music.

Thus, musical abilities allow a child not only to create and develop skills in playing a particular musical instrument, but also to experience musical works and create their own.




Musical ability - definition

What determines the musical abilities of childhood and what needs to be done in order to develop?

To begin with, consider how exactly musicality can make itself felt in itself early age... A child with this quality:

• Demonstrates musical impressionability, emotionally reacting to the sounding works
• Attempts to concentrate to the music or make certain movements to the music
• Has a need for music
• Has certain musical preferences (this may relate to certain genres, styles, actions, etc., and children's taste in general)

Given that these skills are noticed most often by the third year of a child's life, this is the time ideal for the development of musical abilities and skills.




Musical giftedness - definition

Where should you start? Let's try to trace the main lines of the musical development of a child from birth to about seven years.

Until about a year old, a child is just learning to perceive musical works by ear. Already at six months, he actively reacts to sound, tries to determine its source, recognizes its characteristics such as loudness, intonation, etc. He begins to experience a complex revitalization, or, on the contrary, he calms down to the music, and sometimes falls asleep.

In the second year, the child already reacts very vividly to music, capturing its mood and emotional color. His motor reactions to music begin to be traced: movements to the beat, etc.




You can start listening to music at least one year

At the age of three, it is best to start developing both general and special abilities in a child. To do this, he needs to be involved not only in listening, but also in the performance of music so that he can memorize the simplest rhythms and melodies.

At the age of four, you need to make sure that a certain baggage of musical images is already in the child's memory. It is desirable that he already be able to distinguish by ear various musical instruments, to compare melodies in such parameters as volume, speed, etc.

By the fifth year, the child already understands well the nature of music and its emotional color. His fine motor skills development is already good enough so that the child can already afford to play the simplest musical instruments. And the voice acquires the necessary mobility for onomatopoeia and singing.




Developing abilities in music lessons

By the age of seven, a child can already independently characterize a piece of music, indicating its key distinctive features. He perceives the work as a whole, using a sufficiently developed artistic taste.

The tasks of musical education

1. The development of interest in music and the need for it by stimulating an ear for music, sensitivity, artistic taste.
2. Expanding the child's musical horizons, introducing him to various musical styles and genres.
3. Enriching the child's conceptual apparatus with the help of elementary musical knowledge and performances.
4. Development of children's skills in emotional perception of musical works.
5. The development of creative musical activity (these include playing musical instruments, singing simple vocal pieces, dancing).




Learning to play musical instruments should be carried out only at the request of the child

Basic methods of musical education

• Visual-auditory method - listening to a piece of music for the purpose of its comprehensive analysis through thinking, emotions, feelings, etc.
• Verbal method - explanations, instructions provided by a parent, teacher or other person in the learning process.
• Artistic and practical - involves not only perception, but also an active reflection of musical works through singing, dancing or playing musical instruments.

Another classification of methods of musical education subdivides them depending on the activity of the parties in its process:

1. The direct method assumes the presence of a well-defined sample, which the child must reproduce, following all the instructions given by the adult. This can be listening to a piece, playing it on a musical instrument, singing a fragment of a song.
2. Problem-based learning stimulates the child to find independent solutions, using their creativity and skills.




Music education methods - enumeration

The choice of the method of musical education depends mainly on the individual psychological characteristics of the child, which include age, features of intellectual development, and his experience of musical activity.

To achieve the best result, it is best to combine various methods of music education and development of preschoolers in your work.

In order for a piece of music to best contribute to the development of a child, it is important to select it taking into account the following characteristics. It should:

• Build on humane ideas and awaken only positive feelings in the child.
• Have high artistic value.
• Be saturated with emotions, as well as entertaining and melodic.
• Be accessible to the child's perception and understandable to the child.

Principles of Musical Education of Children

Developmental methods of musical education of preschoolers argue that for the full development of a child in a creative way, it is necessary

• an integrated approach, expressed in the desire to solve several problems of education at the same time;
• gradualness;
• repetition;
• systematic;
• taking into account the peculiarities of child development.

Types of musical activities used for the upbringing and development of a child

Listening to music is perhaps the simplest form of child development available to him from the first days of life. Listening to works of various genres of styles allows you to significantly diversify the horizons of the child, as well as develop in him the foundations of artistic taste, teaching him to truly high-quality performance, the sound of music, etc. The child gets used to being selective about art, carefully "filtering" everything that affects him.




Expanding your musical horizons at a concert

Of course, the skill of actively listening to music, which allows not only to perceive a piece by ear, but also to analyze it in a certain way, is not developed in children immediately.

But it is precisely this that will form the basis of his ability to navigate a variety of works and use music as a powerful tool for personal development and growth.

Creative performing activity. When a child already has experience of active perception of musical works and the necessary amount of knowledge, he can go directly to the performance of music. Starting with the simplest rhythmic patterns, over time he begins not only to perform works according to the model, but to create something qualitatively new. Singing (individual and choral) and dance also belong to creative performing activities.

Considering that the musical abilities of childhood are among the general abilities of a person, the development of musicality is impossible without the general comprehensive development of the child. That is why the inclusion of a child in intellectual activity most often becomes the very "trigger" that gives rise to musical development child. In addition, such an approach will ensure the most correct and holistic development of the child.

One of the most important steps in the musical education of a child is the development of his subjective attitude to music. Therefore, it is extremely important to encourage him to actively reflect, to provide one or another emotional response to the work, to express his point of view regarding it.




By developing your musical ability, you may grow a new genius.

It is very important not to overload the child with musical compositions. It is important to remember that each of them is unique and therefore requires not just listening, but deep experience, comprehension and evaluation.

Musical education should be carried out with maximum consideration for the individual psychological characteristics of childhood in general and of each child (including pace, intensity, etc.). In no case should you rush him: it is not so much the process that is important as the result, which allows you to introduce the child to music and achieve positive changes in his personality.

As in any other activity, it is extremely important to motivate the child for success and help him to believe in himself.