Test: which song reflects your character? Song. Variety of songs Classroom entrance. Musical greeting

PROGRAM AND METHODS FOR STUDYING CHILDREN'S MUSICAL CULTURE

The problem of monitoring the development of children in contact with music and the world around them is essentially equivalent to the problem of teaching children music and raising children with music. The importance of diagnostics is also determined by the fact that, while declaring that the educational process is focused on the development of the child’s personality, we cannot give up the questions: what is a modern child like, what worries him, what does he hear around him? That is, it is necessary to try to understand the problem of “what is a child in music and does music live in a child”, to try to draw a musical and pedagogical portrait of a modern child.

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

Many years of research have convinced us that musical culture as a part of spiritual culture is understood by teachers mainly with an emphasis on the first part of the formulation - education musical culture. The second part of it is like a part spiritual- is considered rather as a beautiful ending to the statement of the goal, which has become a kind of “ catchphrase" It is precisely the underestimation of the spiritual basis of music education that does not allow the qualitative development of the musical culture of children (perhaps including teachers). Often after a concert we can hear, for example, the following assessment: “How illiterate the performer of Mozart played...”, which least of all implies that the performer does not know musical literacy, - after all, he graduated from the conservatory, - but “making claims” to the spiritual trace that his playing left. By analogy with this, any music teacher has a level musical culture It is also not directly proportional to the musical education received. The point is not in professionalism, but in the spiritual layer of musical culture. This layer is not knowledgeable but an internal, personal, spiritualizing experience of communication with art.

Let's explain with an example. At the “Russian Teacher of the Year” competitions in 1996 and 1997. out of 15 art teachers who are proficient in professional techniques of choral singing, playing musical instruments, who skillfully find connections with literature and fine arts, only one (!) teacher came close to the essence of a music lesson as an art lesson. He managed to stop a wonderful moment of communication with music, which made both children and adults feel involved in the content of the music and such a spiritual kinship with it that there was a pause that I wanted to hold so as not to ruin this moment.

But what, other lessons looked worse, there was no result? What should be considered a result? Information gained, a choral skill gained, a melody learned, a song well sung? Or maybe it was just this moment when mental shock made you want to remain silent?..

Here we need to talk about sincerity as music lesson basis and in general any form of involvement in it. Then it is not enough for a music teacher to have a certain level of musical training; he must have musical culture emanating from his spiritual world. And he must be able to reveal the educational potential of world musical culture, which lies, first of all, in spirituality. Without this, school music lessons turn into “professional fuss” about music. Probably this last phrase can largely reflect trend modern teaching of music at school in the wake of “updating the content of music education.”

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

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

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

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

The structure of the concept of “musical culture” is very diverse; many components can be distinguished in it, which have content content of varying degrees of significance. The task is not to isolate as many components as possible, but to find such cores, such components that would reflect the most essential in musical culture, in the dynamics of its development. In research practice, a sufficient number of different methods and measurements have been accumulated on various parameters of musical development: the level of singing development, skills in perceiving modern, folk, classical music; the level of creative activity of children in various types of musical activities, etc. But the development and advancement of children in various aspects of music comprehension still do not in total constitute musical culture (especially as a part of spiritual culture). Therefore, we emphasize: the components of musical culture must be generalized, they must meaningfully express the most essential in it, become general in relation to the particular - special knowledge - and determine both the strategy of work on the formation of musical culture, and the strategy of research to identify the level of its formation. The components of musical culture cannot be independent, but only interconnected, i.e., based on a common foundation, expressing a certain genetic relationship between the art of music, the musical culture of the schoolchild and the very process of its formation.

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

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

Level of general awareness of music,

Presence of interest, certain passions and preferences,

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

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

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

When processing the data obtained, the highest ratings are given to the responses of children who included music of different forms and genres in the lesson program, music that they heard not only in class, but also outside it. The main thing in this technique is significant motive references to certain works. The vastness of children's information is also taken into account - information about the composer, the author of the poetic text, familiarity with the history of the creation of the work, with its life content, the presence of options for their own interpretation, the ability to sing or play the melodies of the works, etc.

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

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

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

1.How do you feel about music?

2.Why is music needed in life?

3.What musical works do you know, which of them are your favorite?

4.What do you sing in class, what songs do you know?

5.Where do you listen to music (television, radio, concerts)?

6.Do you encounter music at school outside of class? Where?

7. Do you like to sing at home? What are you eating?

8. Do your parents sing at home or when visiting? What are they singing?

9.What kind of music did you listen to? last time with parents? Where?

10.What kind of music programs are Lately did you like it? Why?

An important role in the study of a child’s musical experience is played by finding out the parents’ understanding of the role of musical culture in his life. To survey parents, the following questions are proposed, which they can answer in writing:

1. What, in your opinion, should a child be so that he can be considered cultured in the field of music?

2. What is necessary for your child to achieve a certain level of musical culture?

3. How do you see the family’s help in solving this problem?

As a result of such research, we expect to gain insight into the following:

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

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

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

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

An important role in the study of a child’s musical experience will be played by data on whether the child has certain musical performance skills: whether he sings in a choir, plays musical instruments, receives an education in a special school, or studies independently at home, in a circle, in a studio; dances, practicing this type of art somewhere, etc. Obtaining this information is not particularly difficult. The main thing, we repeat, is to identify motive - does such activity arouse interest and passion in the child; whether he does it of his own free will or because his parents force him; goes to the choir because he loves to sing, or because he gets satisfaction from collective activities with other children, etc.

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

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

A special “sense of music” that allows you to perceive it emotionally and distinguish the good from the bad in it;

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

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

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

The child’s ability to “discover himself” through music;

The degree of involvement of the child in the content of music, in the life phenomena behind this content, which, in his opinion, gave rise to precisely such musical-semantic content;

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

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

The first method can be conditionally called “ Musical and life associations.” It reveals the level of perception of music by schoolchildren: it makes it possible to judge the direction of musical and life associations, the degree of their correspondence to the musical and life content, emotional responsiveness to heard music, the basis of perception on musical patterns. The music chosen for this purpose contains several images, the degree of contrast of which can be different, but the contrast must be “read” clearly. In this case, the condition is met: the music must be unfamiliar children. We can recommend, for example, Mozart's Fantasia d- moll, but without an introduction - the first three fragments.

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

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

2. Under what life circumstances could this music sound and how could it influence people?

3. What in music allowed you to come to such conclusions (meaning what the music tells about and how it tells, what are its means of expression in each individual work)?

In order for the research to be fruitful, it is necessary to offer children of different ages the same music. This will additionally reveal what children of a certain age look for in music and what they rely on in their associations. Depending on the organization of music teaching at school (program, systematicity, etc.), the third question may have varying degrees of complexity and professional content, for example: how many images have you heard in music? What genre does the music belong to? In what form is the music written? how the principle of unity of visual and expressive means is implemented in music, etc. After listening to music, an individual conversation is held with each child. If a child finds it difficult to answer a question, you can remind him of musical fragments. The answers are recorded in written form (for the sake of “history” - it will be interesting to compare the children’s answers in a few years in order to trace the dynamics of musical development).

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

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

7option A. Lyadov. "Prelude" d-moll,

P. I. Tchaikovsky. "Barcarolle"

D. B. Kabalevsky. "Sad story".

Option 2 E. Grieg. "Lone Wanderer",

P. I. Tchaikovsky. “Morning Meditation”, E. Grieg. "Death of Oze."

After listening, schoolchildren must determine which of these works are related in the “spirit” of music, in musical-figurative structure, and tell by what criteria they determined this commonality.

The technique allows us to identify a special “feeling of music.” The main thing in it is what children evaluate: their own emotions caused by music, or simply means of expression, divorced from the content of life. If they rely only on means, this indicates a low level of perception; only on your emotions - average level. A high level should be considered the establishment of a relationship between one’s emotions and the music being played, when a child can tell quite meaningfully why he has these particular emotions and not others.

normal abilityholisticgeneral intonation.

The third technique " Discover yourself through music"to ourselves

Exercise 1.

Task 2.

Task 3.myself child, his spiritual world

Now let's turn to the last parameter of musical literacy: the ability to identify by ear the author of unfamiliar music, if it is characteristic of him. The presence of such ability indicates sufficient high level development indicates a low level of perception; only on your emotions - average level. A high level should be considered the establishment of a relationship between one’s emotions and the music being played, when a child can tell quite meaningfully why he has these particular emotions and not others.

This is not some special ability, characteristic only of professionals or a select few, but normal ability given to man by nature. What is it? Probably in some special “grasping” holistic character sounding music, in an intuitive feeling general intonation. And, note, the younger the child, the more clearly this ability is expressed.

The third technique " Discover yourself through music" pursues the goal of penetrating the depth of personal attitudes and perceptions of music by children. To some extent, it allows us to reveal something very important: how much schoolchildren “discover themselves” to ourselves through music, to the extent that they are aware of their feelings and experiences, they feel their involvement in the content of the music, its images, and events.

To do this, children are offered one work or part of it, for example, a fragment from “Dumka” by P. I. Tchaikovsky, “Nocturne” by F. Chopin, “Prelude” by D. B. Kabalevsky, etc., and are given three tasks.

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

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

Task 3. Children are invited to embody “themselves” in the drawing. Let us especially emphasize: the schoolchild does not draw the music he hears, namely myself while this music is playing. This condition applies to all three tasks of the methodology, since in it we are not interested in music, but child, his spiritual world in his own estimation. Music acts as a source, a meaningful reason for self-esteem.

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

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

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

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

Musical and creative development of schoolchildren -Third component musical culture. The ability to create (creativity) should be considered as a special personality quality, characterized by the ability to self-development. In the broadest sense of the word, creativity is the conscious, purposeful activity of a person in the field of cognition and transformation of reality. In music, creativity is distinguished by a clearly expressed personal content and manifests itself as a special ability to reproduce, interpret, and experience music. Creativity is an indicator of human development; it is necessary in any type of activity. In music, this is the highest indicator of a person’s mastery of the art of music.

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

What role did the child choose in a particular situation;

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

How original and expressive he is in his plan and the forms of its implementation;

To what extent does he express the need to demonstrate his understanding of the musical and artistic task in various types activities;

Is his creative search independent?

After classes, individual conversations are held, during which it is possible to reveal the underlying reasons for these, and not other, actions of the child, to find out the children’s attitude to their activities - whether it is successful or not, what they would do next time, etc. Questions could be:

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

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

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

What role will you choose next and why?

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

The second technique is "I'm composing music"- is carried out with each child individually and helps to identify the degree of development of figurative ideas, fantasy, imagination, thinking within the framework of artistic tasks, figurative hearing, vision, etc. The procedure for carrying out the technique is reminiscent of the creative process. An initial creative task is given, which serves as the first impetus for the child to organize independent artistic activity. You can offer several situations from which students choose their favorite ones. These could be, for example, the following situations: “Spring voices”, “Summer day”, “Sounds of a big city”, “ Winter road", "Fairy-Tale Events" etc.

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

It is very difficult to analyze the creativity of children, since, as a rule, the “technical skill” of implementation is of a low level, and the creativity itself often remains only at the level of the concept and sketches for it. However, the evaluation parameters include:

The degree of awareness of the plan. Here the independence of the plan, its logic, the sense of time and space in it are revealed (which is judged by the content side of creativity);

Ingenuity, originality, individuality in the choice of means of implementation. Here non-standardity and unconventionality play an important role, but it is desirable that it be reasoned;

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

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

Focus of analysis children's creativity should be aimed at studying how the child plans their activities, starting with the motive of creativity and ending with the real embodiment of the plan. The main criterion here is, as already noted, the degree harmony attributes of musical and creative activity - harmony between “I hear - I see - I think - I feel - I act.”

So, each identified component of musical culture corresponds to certain techniques. Some of them - questionnaires, questions, observations - are traditional in nature, others were created specifically for the program for studying musical culture and are the author's own (but they are also close to traditional). Therefore, the question naturally arises: what, exactly, is their novelty?

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

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

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

In general, the research program allows us to obtain a detailed and fairly detailed understanding of the level of formed musical culture and the dynamics of its development.

Tasks

1.Choose the least labor-intensive techniques and include them in the plan for specific lessons.

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

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21.Music. 1-8 grades /Under general. ed. Yu. B. Alieva. - M., 1993.

22. Traditions and innovation in musical and aesthetic education (Proceedings of the conference December 7-11, 1999). - M., 1999.

23.Music. Musical and aesthetic education. 1-4 grades/Auth.- comp. N. A. Terentyeva. - M., 1994.

You need to choose quickly, subconsciously

1. This is the choice of a positive person who easily finds mutual language with everyone. You notice only the good in people, which helps you feel great yourself. You love animals, movies and pleasant conversations. Most likely you are not trying to romantic relationships, but prefer to spend time with friends and family.

2. For you, quality is much more important than quantity. On most issues you adhere to classical views. You are a sensitive person who does not like it when the usual order of life is rudely interfered with. A person with this preference is quite confident in his appearance, but despite this, has low self-esteem. You should have everything under control. Being a wise, intelligent person, caution still does not hurt you, because sometimes you really trust the wrong people. You enjoy interactions that inspire people to make changes for the better.

3. It doesn’t matter how, but it’s important for you to help others. Completely organizing an event, planning a business lunch or a vacation is a piece of cake for you. People like you are simply irreplaceable in the office. But once you're on your own property, it's a completely different story. Your personal life will most likely balance between the desire to control absolutely everything and nervousness due to the impossibility of implementing this. It is important for you to keep everything under control. It will take a lot of time to learn to be in harmony between what you want and what you actually want. Of course, it’s probably not bad to live according to the laws of a comedy film or entertainment show. But you are a human being, and it is natural for you to contemplate and think.

4. Your life is an eternal rush. For you, there are too few hours in the day for all your worries. You don't like to be alone with your thoughts, so you overload yourself. Discipline is a strong trait. However, you need to figure out what you really want from life. Spend as much time as possible with people who can inspire and make you happy. Now is the right time to look at the world around you as a real miracle. You need to slow down and look back.

5. There is too little room for feelings in your life. You are considerate and kind, but when it comes to your own dreams and plans for the future, you are lost. Finally understand what happiness really means to you. You have a warm attitude towards people and animals, you love life and know how to enjoy it. But still, loving your job is also important, because you want to be understood and appreciated.

6. A hardworking, dynamic person who feels confident and comfortable only by hiding her feelings. Changes on a global scale are not for you. You just smell of sadness and melancholy, and the course of life is determined by its dark stripes. Depression and unhappiness do not add color and richness to life, try to get rid of them.

7. You are always worried about everything, so it’s as if you consist entirely of graphs and tables. You are more comfortable living on the surface, without delving deeply into anything. Do you prefer to go with the flow? serious relationship they scare you. Focus on your own dreams and desires. Find something that will truly make you happy and inspired. You love people and can be an extremely sensitive person. Enjoy the harmony of everyday life and carefully think through any decisions you make.

8. Mysterious, resourceful personality, full of different ideas. True innate creative potential helps you develop fantastic ideas. A slightly introverted thinker, but completely dedicated to his work. Trust your intuition and inspiration, relying on your amazing mind.

9. You enjoy feeling the love and adoration of others. Nice conversation, good book, learning something new or listening to your favorite song can make your day great. Conscious politeness and courtesy seem to fill you with strength. Would you like to become famous person, has succeeded and achieved a lot, but narcissism does not allow your dreams to come true. Putting yourself above others is normal, but only as long as it does not disadvantage others. You should finally leave your bubble and evaluate life in a new way from an unequivocal point of view.

10. You love to create. You are a fairly broadly developed personality. You don’t waste time: you easily bring new ideas to life, you are not afraid to take advantage of emerging opportunities and resort to non-standard ways of thinking. You strive to remain whole, creative personality. Most likely you - great writer, a worthy student or a chef from God. However, you feel incredibly intimidated when you apply your first brushstroke to a blank canvas. This unknown makes you feel insecure and uncomfortable. Yours the main task The only thing is to decide to buy this blank canvas and put your first touches on it. Add spontaneity to life and have fun with it!

11. You like to have a good time, but it seems like you have absolutely no intention of developing and moving forward. As a rule, you eagerly take on large projects, but very soon you become bored, disappointed and begin to feel that this is not your thing at all. You tend to judge a lot in people, while being convinced of how everything should really be. This most likely stems from a subconscious belief that not everything is good enough for you by your standards. You do not like to act without instructions and recommendations. Try to expand your horizons.

12. A funny, extraordinary person who looks at the world through pink glasses. Some people can confidently say that you are larger than life itself, referring to the positive energy emanating from you. Social parties and romantic meetings are yours. You truly enjoy other people's happiness. But do not forget that your life belongs entirely to you and no one else. Sure, you can probably easily help other people achieve their goals, but do you really need to? Now is the time to think and work on yourself. After all, sometimes, being long time Alone with your thoughts, you feel depressed and empty. It is important for you to feed off the energy of those around you.

13. You worry too much about everything that happens in the world. However, being within the walls of your own home, it is very difficult to help anyone in any way. You understand that everything that is going on in this world is too much for you, so you make a choice in favor of something familiar. It is common for you to look back on the past years and wish that everything was the same as before. Changes, of course, occur in your life, but it is important for you to get used to the new state of affairs, adapting and getting used to absolutely everything. Because of the habit of blaming others for what happens, you forget that each person is the creator of his own life. You may feel sad or depressed from time to time, but it is important to overcome these feelings by remembering to be grateful for all the many things that have been given to you.

14. You have nothing against the fact that after a long time working day laze in the sun while enjoying a cold drink in your hands. You lack ambition, but only because you consider it absolutely pointless. You know how to enjoy all the benefits of life, but at the same time you understand that tomorrow everything may change not in your favor. You feel limited, so you strive to get the most out of life. The simplest things in life are important enough to you that you feel love and affection for family and friends. You like to be a part of something, and you definitely won’t miss yours. Sometimes you are overcome by an insane desire to be the source of world change.

15. Such a person is full of energy and loves to surprise others in his own way. You are comfortable enough to be yourself, so you always try to be the center of attention. Of course, because you are the life of the party with an excellent sense of humor. It is important for you that everyone has fun and interesting time with you. You will never allow yourself to miss any adventure or the next adventure. And, as a rule, you are the last one to leave parties. After all, if you leave early, you can miss all the most interesting things, and, therefore, lose new history for your piggy bank. You - a kind person, but surprisingly have an incredibly difficult time accepting kindness from others. In fact, you are a very simple person, who is not alien to deep experiences and emotions. Don't cover up your worries and worries with jokes. Sometimes you just need to let off some steam.

HOW DO YOU HOLD THE CUP?

What kind of music does it have in character? There is hardly a clear answer to this question. Grandfather of the Soviet music pedagogy Dmitry Borisovich Kabalevsky believed that music rests on “three pillars” - this song, march and dance.

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

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

I would like to end with the words of Tolstoy from the “Kreutzer Sonata”:

These are special measures provided for by law or contract aimed at forcing the debtor to fulfill an obligation under the threat of property losses. These measures (or methods) form a special obligatory legal relationship, the main... ... Large legal dictionary

ENSURING FULFILLMENT OF OBLIGATIONS- a system of civil legal remedies that provide the creditor with additional guarantees that he will receive either proper fulfillment of the obligation or compensation for losses by stimulating the debtor by establishing property that is unfavorable for him... ... Encyclopedia of Lawyer

Ensuring the fulfillment of obligations- V civil law establishment of additional property measures that encourage the parties to accurately and effectively fulfill obligations. In Soviet civil law, such measures are: Penalty (Fine, penalty), Pledge, Deposit, ... ...

Temper, character, mind- Temper, character, intelligence. In the OT these concepts are conveyed to Hebrew. in nefesh see Soul or ruach Spirit (see Spirit, Holy Spirit) (see Ps 33:19; Proverbs 17:22); in NZ Greek words nous (see Mind, reason, understanding, rational) or dianoia (thoughts, consciousness, views, see... ... Brockhaus Biblical Encyclopedia

- ▲ character (of what) perform style character of execution (# work. maintained in kl. style). stylish. stylization. stylist stylize. stylized. archaism. archaization. ▼ style of speech, style in art, see ... Ideographic Dictionary of the Russian Language

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

Expectations- [from English expectation] a systemic complex of social expectations, ideas about how another person should fulfill status-role instructions. The nature and intensity of social expectations largely determine the assessment... ... encyclopedic Dictionary in psychology and pedagogy

FUTURES TRANSACTIONS- a standard agreement, the termination of rights and obligations under which occurs by offsetting counter-claims of the same type during a certain period or by execution at a future date (performance date) at a price that is set based on... ... Encyclopedia of Lawyer

Znamenaya NOTATION- a sign system that records the melos of the main body of liturgical chants, which developed in Dr. Rus' in the 11th century. Znamenny singers. books are still used today in Old Believers and in individual churches of the Russian Orthodox Church. The earliest manuscripts containing Z. n.,... ... Orthodox Encyclopedia

Raga- (Sanskrit raga, Hindi and Bengali raga, Tamil iragam) one of the types of Indian. music, characteristics and the manner of performance were formed over the course of many years. centuries. The term rag is used in various meanings, basically boiling down to... ... Music Encyclopedia

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• Formation of an idea of ​​the song as the source and peak of music.
• Formation of listening culture.
• Development of creative activity, rhythmic, modal sense.
• Cultivating interest and love for folk and classical music conveying the beauty of human feelings.

Equipment:

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

Musical material:

• V. Kalistratov, lyrics. Prikhodko “The mice walked on foot”
• D. Kabalevsky “Clowns”.
• D. Kabalevsky “Our Land”.
• Rus.nar song “And I’m in the meadow”.
• I. Dunaevsky “March”.
• D. Kabalevsky “March”.

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

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

Students: March.

Teacher: What is the character of the march?

Students: Marching, cheerful, clear.

Teacher: who can march?

Students: Everyone - soldiers, children, toy soldiers.

Teacher: Guys, let’s now play the game “Guess who’s walking?”

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

Well done! Can mice walk?

Students: Yes

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

Articulation gymnastics and the “Swing” chant are performed. songs “The mice walked on foot”

Teacher: What kinds of marches are there?

Students: Various.

The music of D. Kabalevsky “Clowns” sounds

Students: dance.

Teacher: Why do you think so? How did you find out?

Students: The nature of the work is danceable and funny.

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

Who gives us laughter and joy?

Students: Clowns!

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

Who can dance? How can you dance?

Students: in pairs, ensemble, soloist.

Teacher: here are the residents fairy forest they can dance too. We will now see this in the game “Who is dancing”

Teacher: What types of dances are there?

Students: Various.

Teacher: Guys, close your eyes and turn into a “Big Ear.”

The teacher performs D.B. Kabalevsky’s song “Our Land”

What “whale” is “swimming” in our class now?

Students: SONG.

Teacher: Who can sing the song?

Students: ALL.

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

Students: “Our land.”

Students: Oh native land, about nature, about beauty.

Teacher: what is the nature of the song?

Students: Gentle, affectionate.

Teacher: Correct. This means we will perform it affectionately, the sound design is smooth, and at a calm pace.

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

Teacher: (Spanish fragment of the song “And I’m in the meadow”) Who recognized the work? What is the nature of the song?

Students: humorous.

Performing a round dance song. The song “Autumn” is performed by the teacher.

Teacher: Guys, what is this song about?

Students: about autumn.

Teacher: What is the nature of the song?

Students: Sad, sad.

Teacher: Yes, the melody is sad, but bright. Just like the season she painted for us. Guys, what colors does music “paint”?

Students: Musical.

Teacher: Listen, my dreamers! Do you hear? It's a SEA OF SOUNDS! Further, our path will follow sound waves and here, too, many interesting discoveries await us. What sounds do we know by pitch?

Students: high, average, low.

Teacher: Is it possible to represent the pitch of a sound with a line? (Students' answers) Yes, yes. Musicians even have such a concept - “sound line”. Let's try to draw a line and voice it.

3.

4.

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

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

The game “Attention” is being played

5. Consolidation.

Teacher: What songs were played in class today?

Students: “The mice walked on foot”, “Our land”, “Autumn”, “And I was in the meadow”

Teacher: Are they the same or different in character?

Slide 8

Students: Various - cheerful, sad, gentle, playful.

Teacher: That's right, guys.

THERE ARE DIFFERENT SONGS, BUT ANY SONG CAN BE SINGED.