Development of imaginative thinking in musicians. Musical thinking is a specific intellectual process of awareness of the originality, patterns of musical culture and understanding of works of musical art. Music and visual arts

30.10.2019

The development of a creative personality is one of the important factors in pedagogy. For a child, especially at a young age, life experience is an ever-changing “kaleidoscope of impressions,” and creativity is “extended play motivation.” School age is a period of intensive development of the emotional development of the emotional-imaginative sphere. Therefore, the student’s artistic activity and his imaginative thinking should be subject to the same systematic development as other abilities.

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MUNICIPAL AUTONOMOUS EDUCATIONAL INSTITUTION OF CULTURE

ADDITIONAL EDUCATION

MUNICIPALITY OF NYAGAN

"CHILDREN'S SCHOOL OF ARTS"

Methodological development

DEVELOPMENT OF MUSICAL-FIGURARY THINKING

JUNIOR SCHOOL CHILDREN

Highly qualified teacher

Petrova Irina Nikolaevna

Nyagan

2012

Introduction ………………………………………………………………………...3

Chapter 1.

1.1. Peculiarities of children's thinking……………………………...6

1.2. Imaginative thinking as a problem of musical psychology and

Pedagogy………………………………………………………...11

Chapter 2.

2.1. Educational and educational tasks of children's musical

Studios…………………………………………………………….18

2.2. Associative comparisons as a method of developing musical

Imaginative thinking…………………………………………..22

Conclusion ……………………………………………………………………28

References…………………………………………………………31

Introduction

The beginning of the 21st century in Russia is characterized by the establishment of humanistic principles for the construction and development of society, which determine a person-oriented approach to each person. Modern Russian schools are looking for new humanistic approaches to education, trying to combine them with state standards and existing subject programs. The development of a creative personality is one of the important factors in pedagogy. For a child, especially at a young age, life experience is an ever-changing “kaleidoscope of impressions,” and creativity is “extended play motivation.” School age is a period of intensive development of the emotional development of the emotional-imaginative sphere. Therefore, the student’s artistic activity and his imaginative thinking should be subject to the same systematic development as other abilities.

One of the most common and time-tested structures for the aesthetic education of children is music schools, which primarily solve the problems of professional music training. Along with music schools, music studios have become widespread, tasked with more general tasks of musical education of children. On the threshold school age The child has enormous potential for the development of perception and memory. The famous Russian psychologist L. Vygotsky believed that this age is a period of activation of children’s imaginative thinking, which significantly restructures other cognitive processes.

Figurative thinking is a process of cognitive activity aimed at reflecting the essential properties of objects and the essence of their structural relationship. Imaginative thinking underlies musical thinking, since musical thinking begins with operating with musical images. An important part of musical thinking is creative, which, in turn, is closely related to imagination and fantasy. Imagination involves associative comprehension of artistic ideas in the process of perceiving a work of art. The role of associations in the perception of music has been repeatedly pointed out in studies by psychologists E. Nazaikinsky, V. Razhnikov, and musicologist L. Mazel.

According to both teacher-researchers and practicing teachers (O. Radynova, M. Biryukova, E. Savina, and others), the development of imaginative thinking is a fundamental factor in teaching music. Attempts to find a constructive approach to methods of activating the musical-imaginative thinking of schoolchildren were associated mainly with the use of visualization, interdisciplinary connections and integrative study of the arts.

Psychologists and teachers note that the formation and development of musical-imaginative thinking is greatly influenced by extra-musical associations. But the technology of the associative approach in the development of musical-imaginative thinking has practically not been developed, as evidenced by a small range of scientific and methodological works, although many teachers have widely used the possibilities of associative ideas in teaching music.

In connection with the relevance of the identified problem, the goal of the methodological work was to theoretically substantiate effective ways to develop musical-imaginative thinking of primary schoolchildren, which is facilitated by the method of associative comparisons included in the process of teaching children.

In accordance with the purpose of the work, the following tasks were identified:

Studying scientific and methodological literature on the topic of work.
Definition age characteristics imaginative thinking of younger schoolchildren.
Studying the specifics of the educational process in a children's music studio.
Development of a method of associative comparisons for the purpose of its application in music training and raising children.

The methodological basis for studying the problem posed in this work was the concept of age-related characteristics of thinking (L.S. Vygotsky, V.V. Zenkovsky, A.N. Zimina); about the role of imagination in the learning process (L.S. Vygotsky, D.B. Elkonin); about the specifics of musical thinking (V.I. Petrushin, G.M. Tsypin, A.L. Gotsdiner, V.G. Razhnikov); about the influence of the associative approach on the development of imaginative thinking (O.P. Radynova, E.G. Savina, E.E. Sugonyaeva).

Psychological and pedagogical foundations for the development of imaginative thinking in younger schoolchildren

Features of children's thinking

Primary school age is a very short period in a person’s life. But it is of great importance. During this period, development proceeds more rapidly and rapidly than ever, the potential for intensive cognitive, volitional and emotional development of the child develops, and the sensory and intellectual abilities of children develop.

Age-related characteristics of the thinking of younger schoolchildren depend on their previous mental development, on the presence of readiness for a sensitive response to the educational influences of adults. “Age characteristics,” writes T.V. Chelyshev, – do not appear in “ pure form", and do not have an absolute and unchangeable nature, they are influenced by cultural, historical, ethnic and socio-economic factors... Special significance takes into account age characteristics in the process of training and education” (50, p. 39).

At primary school age, along with the activities of others, mental functions(perception, memory, imagination) the development of intelligence is put forward. And this becomes the main thing in the development of the child.

Thinking is a mental process of mediated and generalized cognition objective reality, based on the disclosure of connections and relationships between objects and phenomena. A child’s thinking begins in his perception of reality, and then becomes a special mental cognitive process.

As noted by psychologist V.V. Zenkovsky, children's thinking is, on the one hand, objective, on the other hand, concrete. While the thinking of adults is verbal, in children's thinking visual images and ideas are of great importance. Typically, understanding general provisions is achieved only when they are concretized through specific examples. The content of concepts and generalizations is determined mainly by the visually perceived characteristics of objects.

As studies by psychologists (V.V. Zenkovsky, A.N. Zimina) show, the simplest, and at the same time the main form of thinking in children 6-7 years of age is thinking by analogy. The general idea that guides and regulates the work of thinking is the idea of similarity, the idea of analogy between all parts of reality. The principle of analogy determines the work of fantasies in children. Children's analogies are very often superficial, sometimes even meaningless, but the work that is carried out in thinking is enormous: the child strives to find unity in reality, to establish the most important similarities and differences.

From thinking by analogy, children develop other forms of thinking. Analogy, as it were, paves the way for thinking, selects material for its work, draws similarities and differences. A child’s curiosity is constantly aimed at understanding the world around him and building his own picture of this world. The child, while playing, experiments, tries to establish cause-and-effect relationships and dependencies.

The thinking of a junior schoolchild is closely connected with his personal experience and therefore, most often in objects and phenomena, he identifies those aspects that speak of their use, action with them. The more mentally active a child is, the more questions he asks and the more varied they are. The child strives for knowledge, and the acquisition of knowledge itself occurs through many questions. He is forced to operate with knowledge, imagine situations and try to find a possible way to answer them. When problems arise, the child tries to solve them by actually trying them on and trying them out, but he can also solve problems in his head. He imagines a real situation and, as it were, acts in it in his imagination. The complication and development of mental activity leads to the emergence of imaginative thinking.

Imaginative thinking is the main type of thinking in primary school age. Of course, a child can think logically, but it should be remembered that this age, as noted by psychologist V.S. Mukhina, is sensitive to learning based on visualization (25).

Visual-figurative thinking is such thinking in which the solution of a problem occurs as a result of internal actions with images. New types of problems appear that require establishing dependencies between several properties or phenomena that are solved in terms of representations.

The thinking of children of primary school age has significant qualitative differences from the thinking of adults. Unlike the logical, analyzing and generalizing adult, children's thinking is figurative, and therefore visual (visual, auditory, spatial), extremely emotional, insightful and productive. It is permeated by the most active counter processes of perception. In them great place occupied by imagination and fantasy.

A flexible imagination capable of anticipation can actually “help thinking.” The tireless work of imagination is the most important way for a child to learn and master the world around him, the most important prerequisite for the development of creativity.

One of characteristic features The imagination of children of primary school age is clarity and specificity. Everything the child hears he translates into a visual plan. Living images and paintings pass before his eyes. For younger schoolchildren, listening requires relying on a picture, a specific image. Otherwise, they cannot imagine or recreate the situation described.

The concreteness of the imagination of a primary school student is also expressed in the fact that children in imaginary actions, for example, in a plot game, need direct support for any specific objects.

In conditions educational activities educational demands are placed on the child’s imagination, which awaken him to voluntary acts of imagination. These requirements stimulate the development of imagination, but at this age they need to be reinforced with special means - a word, a picture, objects, etc.

Psychologist L.S. Vygotsky pointed out that a child’s imagination develops gradually as he gains certain experience. J. Piaget also pointed out this: imagination, in his opinion, undergoes a genesis similar to that of intellectual operations: at first, imagination is static, limited to the internal reproduction of states accessible to perception. “As the child develops, the imagination becomes more flexible and mobile, capable of anticipating successive moments of the possible transformation of one state into another” (Quoted from: 25, p. 56).

The thinking of a junior schoolchild at the beginning of education is characterized by egocentrism - a special mental position due to the lack of knowledge necessary for the right decision certain problem situations. The lack of systematic knowledge and insufficient development lead to the fact that perception dominates in the child’s thinking. The child becomes dependent on what he sees at each new moment of changing objects. However, a junior schoolchild can already mentally compare individual facts, combine them into a holistic picture, and even form for himself abstract knowledge that is distant from direct sources.

As is known, in primary school age imaginative thinking is characterized by the concreteness of images. But gradually specific images of objects acquire a more generalized character. And the child has the opportunity to reflect not individual properties, but the most important connections and relationships between objects and their properties - thinking takes on the character of a visual-schematic one. Many types of knowledge that a child cannot understand based on an adult’s verbal explanation, he easily assimilates if this knowledge is given to him in the form of actions with models.

The transition to building models leads to the child’s understanding of the essential connections and dependencies of things, but these forms remain figurative, and therefore not all problems can be solved in this way - they require logical thinking, use of concepts.

Psychologists have proven that any human mental activity always goes into knowledge about the subject and is based on a system of ideas and concepts about this or that material.

Along with the development of imaginative thinking, verbal and logical thinking also begins to develop at primary school age. The development of speech helps the child to understand the process and result of solving a problem and allows him to plan his actions in advance.

The transition from visual-figurative to verbal-logical, conceptual thinking, which occurs as primary schoolchildren master educational activities and master the fundamentals of scientific knowledge, gives the child’s mental activity a dual character. Thus, concrete thinking, associated with reality and direct observation, is already subject to logical principles, and abstract verbal and logical reasoning thinking becomes accessible and the main new formation of primary school age. Its occurrence significantly rearranges other cognitive processes of children.

However, as psychologists and teachers emphasize, the logical thinking of younger schoolchildren does not provide all the necessary conditions for children to acquire knowledge about the world around them. At this age much development is more important imaginative thinking.

Imaginative thinking allows the child to create generalized ideas that underlie abstract concepts. Thanks to imaginative thinking, he solves specific problems that he encounters in musical activity much more accurately. Therefore, the possibilities of logical thinking should be used when familiarizing him with some of the fundamentals of scientific knowledge, without striving for it to become predominant in the structure of thinking of a junior schoolchild.

Thus, the study of the psychological patterns of thinking has shown that imaginative thinking is one of the main types of thinking of younger schoolchildren, which the teacher should rely on in music teaching.

1.2. Imaginative thinking as a musical problem

psychology and pedagogy

The general concept of thinking in modern psychology, despite a number of fundamental works (S.L. Rubinstein, L.S. Vygotsky, R.S. Nemov, etc.), in some aspects continues to remain insufficiently clear. This is especially true for musically figurative thinking. The judgments and opinions of psychologists, estheticians, and teachers on this matter, who are trying to shed light on this issue, do not build a coherent, structurally complete, comprehensively developed theory of musical thinking.

The complexity and multicomponent nature of musical thinking is the reason that there is still no generally accepted term to designate it either in musicology, psychology or pedagogy. It is called both “intellectual perception”, and “a person’s reflection of music”, and “musical perception-thinking”.

Musical thinking- this is a rethinking and generalization of life impressions, a reflection in the human mind of a musical image, which represents the unity of the emotional and rational.

Important questions regarding musical-imaginative thinking remain not fully studied:

interaction and internal confrontation between the emotional and rational, intuitive and conscious in the mechanisms of creative activity;
the nature and specificity of the actual intellectual manifestations in it;
similarities and differences between artistic and figurative and abstract, constructive and logical forms of human mental activity;
socially determined and individual-personal in mental activity.

Musical thinking begins with operating with musical images. The progress of this thinking is associated with the gradual complication of sound phenomena displayed and processed by the human consciousness: from elementary images to more in-depth and meaningful ones, from fragmentary and disparate to larger-scale and generalized ones, from single images to those combined into complex systems.

Psychologists note that the formation and development of musical-imaginative thinking is greatly influenced by extra-musical associations. And associative processes, in turn, are directly related to the emotional-imaginative sphere of a person and, as a rule, serve as a kind of catalyst for a wide variety of feelings and experiences.

In recent years it has been published a whole series works on musical psychology: E.V. Nazaykinsky (26), V.N. Petrushina (33), G.M. Tsypina (37), A.L. Gotsdiner (10), E.N. Fedorovich (56). They highlight, in particular, the specifics of musical and musical-imaginative thinking, creative fantasy and imagination.

So, G.M. Tsypin focuses attention on the relationship between emotional-imaginative and logical thinking. The musician-psychologist writes that thanks to associations, mental activity becomes fuller, deeper, more colorful, musical-imaginative thinking becomes richer and more multidimensional.

E.V. Nazaikinsky points to the focus of musical thinking on comprehending the meanings that music has as a special form of reflection of reality, as an aesthetic artistic phenomenon.

A.L. Gotsdiener emphasizes such a feature of musical-imaginative thinking as its reliance on conscious, unconscious and emotional processes, and they are carried out with the help of mental operations.

V.I. Petrushin points to the role of problematic situations in the development of musical thinking, which is considered by a psychologist as a cognitive process, “the generation of new knowledge,” an active form of creative reflection and transformation of reality by a person. According to the concept of the famous teacher M.I. Makhmutov, the development of thinking can occur through simulated problem situations.

The problem of the formation and development of musical-imaginative thinking of younger schoolchildren is also touched upon in a number of works by music teachers. One of these books is training manual O.P. Radynova (40), which summarizes the latest achievements of science and practice in the field of musical development of children. The author notes that the formation and development of musical-imaginative thinking is facilitated by different types of activities, pedagogical methods based on comparison various types art, comparing them with music.

New trends in music pedagogy on the development of children’s creative abilities, including musical and imaginative thinking, indicates E.E. Sugonyaeva (51):

focus on preschool and primary school age as the most favorable in terms of the development of imaginative thinking through music;
reliance on play activities as predominant at this age;
the desire for a synthesis of various types of art.

The latest trend, as noted by E.E. Sugonyaev, reflects the syncretism of children’s artistic activity and helps to more fully realize the main goal of a child’s musical education - the development of special (ear for music, sense of rhythm) and general (imaginative thinking, imagination) musical abilities. The author, however, believes that the formation by teachers primarily of formal-logical reactions to music and blocking the direct emotional-figurative perception of music causes irreparable harm to the child’s personality.

Imaginative thinking is both involuntary and voluntary in nature: an example of the first is dreams, daydreams; the second is widely represented in human creative activity.

Imaginative thinking is not only a genetically early stage in development in relation to verbal-logical thinking, but also constitutes an independent type of thinking, receiving special development in technical and artistic creativity.

The functions of imaginative thinking are associated with the presentation of situations and changes in them that a person wants to cause as a result of his activity, transforming the situation, with the specification of general provisions. With the help of imaginative thinking, all diversity is more fully recreated various characteristics subject. The image can capture the simultaneous vision of an object from several points of view. A very important feature of imaginative thinking is the establishment of unusual, “incredible” combinations of objects and their properties.

The achieved level of development of imaginative thinking was considered by J. Piaget only as a necessary condition for the transition to operator intelligence. However, the works of Soviet psychologists show the enduring value of imaginative thinking, which serves as the basis for the highest forms of creative activity of an adult. The work of imaginative thinking is associated with the activities of writers, musicians, artists, performers and other creative professions.

An image is a subjective phenomenon that arises as a result of objective-practical, sensory-perceptual, mental activity, representing a holistic integral reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously represented.

The image - poetic, visual, sound - is created in the process of artistic creativity. N. Vetlugina, long time who studied the psychological possibilities of the musical development of preschool children, noted the close connection between artistic and imaginative thinking and their musical and creative development.

In psychology, imaginative thinking is sometimes described as a special function - imagination. As V.P. points out. Zinchenko, imagination is psychological basis artistic creativity, the universal human ability to construct new images by transforming practical, sensory, intellectual, emotional and semantic experience (38).

Imagination plays a huge role in human life. With the help of imagination, a person masters the sphere of a possible future, creates and masters all spheres of culture. Imagination is the basis of all creative activity. Everything that surrounds us and that is made by human hands, the entire world of culture, is a product of creative imagination.

This is explained by the fact that imagination is the basis of imaginative thinking. The essence of imagination as a mental phenomenon is the process of transforming ideas and creating new images based on existing ones. Imagination, fantasy is a reflection of reality in unexpected, unusual combinations and connections.

The most important function of the imagination is to represent reality in images. Many researchers (L.S. Vygotsky, V.V. Davydov, S.L. Rubinstein, D.B. Elkonin, etc.) consider imagination as the basis for the formation of a creative personality, since the creation of the desired image is a prerequisite for any creative process. It naturally follows from this that the activation of imagination in the process of learning music becomes a necessary prerequisite for the development of musically imaginative thinking.

Psychologists and teachers note the close connection between emotions and musical-imaginative thinking. Since the image in musical art is always filled with a certain emotional content, reflecting a person’s sensory reaction to certain phenomena of reality, musically figurative thinking has a pronounced emotional overtones. “Beyond emotions,” noted G.M. Tsypin - there is no music; Outside of emotions there is, therefore, no musical thinking; connected by the strongest ties with the world of human feelings and experiences, it is emotional by its very nature” (37, p. 246). In music, imaginative thinking is also called emotional-figurative, since emotional responsiveness is specific feature perception of music.

Emotions occupy a special place in musical activity. This is determined by the nature of the activity and the specifics of the art. The emotional world of a person is one of the most mysterious phenomena of the psyche. Emotions (from the Latin emovere - excite, excite) are a special class of mental processes and states associated with instincts, needs and motives, reflecting in the form of direct experience the significance of phenomena and situations affecting the individual (38).

Thus, the main components of musical-imaginative thinking are imagination and emotionality. Musical thinking begins with operating with images. Musical-imaginative thinking is closely connected with the work of imagination and emotionality.

The active role of imagination is a distinctive feature of children's thinking, which plays a largely determining function in organizing the learning process through the arts. Teachers (O.P. Radynova, E.E. Sugonyaeva) unanimously note that the desire for synthesis and comparison of various types of arts contributes to the development of musical-imaginative thinking.

Thus, the pedagogical tasks for the development of imaginative thinking in primary school age are:

formation of the ability to see an object or phenomenon as an integral system, to perceive any object, any problem comprehensively, in all its diversity of connections;
the ability to see the unity of relationships in phenomena and laws of development.

The development of musical-imaginative thinking is one of the important factors in pedagogy. The sphere of additional education has significant opportunities for its implementation.

Pedagogical conditions for the development of musical-imaginative thinking in children

2.1. Educational tasks of the nursery

music studio

One of the established and widespread structures of the system of additional art education is the children's music studio. Its main task is to identify and develop the child’s musical and creative abilities, develop his interest in music lessons and, in general, cognitive interest to art. The narrower task of the studio is to prepare children of senior preschool and primary school age for training in a children's music school (children's age is 6-7 years).

The basis of teaching children of primary school age is a set of subjects aimed at aesthetic education, allowing the child to enter the first stage of education.

IN aesthetic education schoolchildren in lately the process of complex interaction of arts was outlined. The basis for combining various types of arts in the aesthetic education of primary schoolchildren is the tendency of children of this age group to have a syncretic perception of the world. In this regard, there is a need to compare the expressive means of various types of art.

Complex classes are the main form of teaching children in a music studio. They are conducted in two main subjects: “Musical Lesson” and “Rhythm. Musical movement".

« Music classes"include singing, rhythmic exercises, basic musical literacy, listening to music, musical games and preparing concert numbers.

Musical classes develop pitch and harmonic hearing, a sense of rhythm, form a number of necessary vocal skills (singing breathing, articulation), and pure intonation skills.

Listening to musical works is aimed at developing musical taste, cultural outlook, the ability to analyze a piece of music and comprehend one’s own auditory impressions.

In music classes, the teacher also uses elements of literary creativity, which allow students to comprehend a number of complex musical concepts by comparing two types of arts, such as rhythm, meter, phrase, etc. Literary creativity classes allow you to learn and feel the beauty of your native language, help you focus your thoughts on artistic expression. at different levels, as well as artistically express their thoughts and feelings, develop a bright and colorful imagination, fantasy, and imaginative thinking.

“Rhythm. Musical movement". This type of activity is aimed at embodying musical, artistic and fairy-tale images in movements. The rhythmic skills acquired by children in these classes presuppose their use in the “Music lesson”. Education in the studio follows the “one teacher” principle, when one teacher teaches all subjects.

The main methodological guidelines for conducting music and rhythm classes include, in particular:

the focus of education on the child’s knowledge of the world around him. Fairy tale, fantasy, the natural world - this is the figurative sphere that is a natural cognitive environment for children of primary school age;
the use of interdisciplinary connections in the development of musical skills and abilities. Thus, articulation, diction exercises, exercises on correct breathing are present at different activities. Coordination exercises, as well as exercises that develop fine motor skills of the hands, are used both in the process of practicing rhythm and music. Motor exercises included in rhythmic classes are auxiliary for developing correct articulation and eliminating metrhythmic difficulties.

A holistic system of subjects that combine related areas of knowledge is present in the curriculum twice: at the initial and final stages of education.

At the initial stage of teaching children of primary school age, the main goal of a music teacher is not the development of purely musical skills, but the task of transforming the child’s imagination into imagination, the development of musically imaginative thinking, arises. The teacher strives to guide the young musician in the ability to convey not only “literary and pictorial” images, but also an emotional state.

At the same time, the use of an invented plot or verbal image creates conditions for understanding the artistic content piece of music. Therefore, the basis of the musical repertoire used in classes is made up of program works: their names help to concentrate the child’s attention on the corresponding image and contribute to better memorization of the educational material being studied. Picturesque and poetic images stimulate children's creative imagination. Painting and poetry, contributing to the development of the student’s general emotional culture, can give impetus to the development of imagination when perceiving (listening, performing) music.

As you know, children's imagination is most clearly manifested and formed in play. The game form of learning also contributes to the assimilation of a number of concepts. In game situations, theoretical material is involuntarily memorized, which during the game arouses interest and an active reaction in children.

In children of primary school age who do not have enough experience with music, subjective ideas are not always adequate to the music itself. Therefore, it is important to teach younger schoolchildren to understand what is objectively contained in music, and what is introduced by them; what in this “own” is determined by the musical work, and what is arbitrary, contrived.

Positive factors contributing to the development of children of primary school age in a children's music studio include: the presence of great potential opportunities in the development of musical-imaginative thinking, supported by pedagogical methods aimed at activating the imaginative perception of knowledge, which traditional education not used enough; teaching subjects by one teacher at the initial stage of education.

Negative factors include limited quantity educational subjects in a children's music studio. Also, teachers do not pay due attention to the development of imaginative thinking at all stages of education, although it is precisely developed imaginative thinking that will be of great importance in the future in the interpretation of one’s own performance of musical works.

The expedient organization of classes and the selection of effective methods presuppose the elimination or reduction of negative factors.

Consideration of the educational tasks of a children's music studio makes it possible to conclude that music classes have the opportunity, due to the use of various types of arts and their comparison, to develop the student's imaginative thinking. It is important to show children ways to connect means artistic expression with emotional and figurative content of works musical art. I consider one of such methods to be the method of associative comparisons.

2.2. Associative comparisons as a method of developing musical-imaginative thinking

Association as a concept in psychology is a reflection in the mind of the connections of cognitive phenomena, when the idea of one causes the appearance of thoughts about another (34). Physiologist I.P. Pavlov identified the concept of association with a conditioned reflex.

There are many types of associations. They are classified “by contiguity”, “by similarity”, “by contrast”. Sometimes they are quite concrete, appearing as clear, “objective” images, pictures and ideas. In other cases, the associations are vague and vague, felt more like unclear mental movements, like vague and distant echoes of something previously seen or heard, like an emotional “something”.

Association is usually accompanied by comparison, that is, comparison, correlation of certain phenomena with each other.

Comparison is a type of thinking during which judgments arise about the commonality and difference of two or more properties of cognizable phenomena. Judgments, as a type of thinking, make it possible to establish the simplest connections between facts and phenomena in the form of connections between concepts. Judgment is the basis of evaluation.

A large number of associative connections allows you to quickly retrieve the necessary information from memory. Associative processes are connected, however, not only with a person’s mental activity, but also with the sphere of his emotions as a component of feelings. In conditions music education An important role in activating imaginative thinking is played by the involvement of extra-musical associations: comparisons of music with literary works, fine arts, life situations, etc.

These provisions of the psychological science of thinking, affecting the concepts of association, comparison and evaluation, are the basis for the development of teaching methods, in particular, the method of associative comparisons. This method is aimed at developing the ability to see connections and similar features in objects and phenomena, sometimes, at first glance, incomparable.

The method of associative comparisons is close to the integration principle of learning. “Integration of knowledge,” says V.Ya. Novoblagoveshchensky, is the remelting of knowledge from one subject into another, allowing them to be used in various situations” (30, p. 207).

At the same time, integration is not limited to ordinary interdisciplinary connections. The interaction of different types of arts can be built at different levels and in different forms. Including, in the context of the pedagogical process - as a mutual illustration of the arts with the general theme of the lesson. Therefore, a number of researchers propose to simultaneously use the following terms: interaction, synthesis, syncretism, comparison.

In the process of practicing music, it is possible to use such types of associative comparisons as:

literary;
figurative;
motor-rhythmic.

Literary comparisons in music classes with children of primary school age involve the use fairy tales, literary descriptions of natural phenomena and surrounding life. With the help of a figurative word, you can deepen your perception of music and make it more meaningful. “The word should tune the sensitive strings of the heart... The announcement of music should carry something poetic, something that would bring the word closer to music” (V.A. Sukhomlinsky).

For a long time, in music pedagogy, words were treated only as a carrier of semantic meaning, but not figurative. However, the semantics of a word is an organic unity of semantic and figurative. At the same time, words and music have one fundamental principle - intonation. Consequently, verbal and musical images are inseparable: the deeper we comprehend the verbal and poetic image, the easier it is to create a musical one, and vice versa. Psychologist E.V. Nazaikinsky writes: “To understand how this or that work or its fragment, for example a short line of poetry, will be perceived, you need to know what the content of a person’s experience is, what his thesaurus is” (26, p. 75).

Children's determination of the mood and nature of music in lessons contributes to the development of imaginative thinking. Distinguishing by children the shades of one mood helps them to more deeply, subtly distinguish the nature of music, listen carefully to its sound, and also understand that one word can only very roughly characterize the mood expressed in music, that it is necessary to find several word-images.

The literary type of associative comparisons is aimed at helping to create an emotional mood in children to perceive a musical image, to arouse interest in it, and to prepare them for empathy with artistic content. The greater the child’s life experience, the richer the associations when listening to a piece of music, which evoke musical-imaginative thinking.

The visual form of the method of associative comparisons involves the search for the unity of musical images with images of fine art (in the form of illustrations, slides, photographs). Fine comparison helps to concretize and at the same time deepen the perception of the musical image.

Basically, this model can be used by a teacher when listening to music and thematic concerts. It allows, by illustrating this or that phenomenon, to awaken the child’s imagination, enrich his figurative and emotional sphere, activating imaginative thinking.

A certain color (this could be cards made of colored paper) is associated with the corresponding mood of the music: light colors - with the gentle, calm nature of the music; thick tones - with a gloomy, alarming character; bright colors - with a decisive, festive look.

In this regard, it can be noted that work on this type of associative comparisons is aimed at developing children’s ideas about the expressiveness of color, discussing with them which colors, which moods are most consistent with the nature of the music and why.

The motor-rhythmic type of associative comparisons consists in the manifestation of children’s motor reactions to music, which allow them to “reincarnate” into any image and more clearly express their experiences in external manifestations. Movements are successfully used as techniques that activate children’s awareness of the nature of the melody, the type of sound science, and means musical expressiveness etc. These properties of music can be modeled using hand movements, head movements, dance and figurative movements, vocalization, etc.

This type of comparison is of exceptional value in the musical development of children due to its closeness to the child’s nature. Here the content of the music, its character, and artistic images are conveyed in movement. Figurative expressive movements are associated with children's imagination, since, according to L.S. According to Vygotsky, children's imagination is inherent in a motor nature, and it develops most organically when the child uses “an effective form of image through his own body.” The basis is music, and various dances, plot-shaped movements help its deep perception and comprehension. The use of these movements by primary schoolchildren has an extremely active influence on the development of their imagination and imaginative thinking.

Motor-rhythmic comparisons are suitable for use in gaming activities. The game is the most active creative activity, aimed at expressing the emotional content of music, is carried out in figurative movements. In story games, children, acting as characters, fairy-tale or real, convey musical and playful images that are in certain relationships.

In a story game, the teacher can use not only demonstration, but also words, explaining the game in a figurative form, activating the figurative and mental activity of the younger student.

Based on various types of associative comparisons, we carry out an organic fusion and immediate impact on the visual, auditory, and tactile organs of perception, which ensures a deeper immersion of the child into the world of sound, color, movement, words and his awareness of culture. The content of classes may include various types of musical activities; At the same time, the emphasis is on the development of imaginative ideas and creative manifestations of children, therefore, as tasks it is often proposed to compose a imaginative story, come up with dance and song improvisation.

In musical educational activities, the interrelation of widely known pedagogical methods - verbal, visual and practical - is clearly manifested. The methodology, based on a multilateral, complex impact on students, involves accelerated and in-depth development of the intellectual sphere.

So, when organizing musical work with children based on the method of associative comparisons, teachers must constantly monitor the dynamics of the development of imaginative thinking, identify the special abilities of each child, and have comprehensive information for timely correction and determination of the effectiveness of the method used. In this regard, one of the areas of activity in the children's music studio is a diagnostic examination of children.

This method, which includes three types of associative comparisons, reflects the natural mechanisms of the emergence of associations, which are based on the life experience of students, the experience of perceiving other types of art, and the aesthetic understanding of natural phenomena. This method of teaching children of primary school age involves the child’s imaginative and sensory development based on an innate readiness for a polyartistic perception of the world and the ability to express oneself in different types of activities. They contribute to the formation and development of musically imaginative thinking.

Thus, associative thinking is the basis for the development of musical-imaginative thinking.

Conclusion

As a result of studying the scientific research literature on the problems of development of musical-imaginative thinking and the practice of musical teaching of children, I made the following conclusions.

The psychological and pedagogical features of the development of a primary school student are determined by the presence of sufficiently strong and stable motives for learning, which can motivate the child to systematically and conscientiously fulfill the duties imposed on him by the school.

It is figurative thinking that is one of the main types of thinking at this age, thanks to which children more accurately solve specific problems that they encounter in musical activity.

Music teachers unanimously note that the development of musical-imaginative thinking is one of the most important factors in pedagogy. The desire for synthesis and comparison of various types of art contributes to the activation of this cognitive process.

The presence of developed musical-imaginative thinking is necessary for all children for normal intellectual development. It is artistic images of various types of arts that have an intense impact on the psyche of a primary school student and enrich his spiritual world. Methodologically correct, age-appropriate pedagogical influence activates useful activity child, stimulates the acquisition of a variety of subject skills, abilities and knowledge, and therefore can prepare him for successful educational activities.

To develop musical-imaginative thinking, I developed and implemented a method of associative comparison, which includes three types of comparisons: literary, visual and motor-rhythmic. This method involves searching for the unity of musical images with images of other types of art - in the form of poems, fairy tales, illustrations, photographs, dance movements.

When teaching children music, simultaneously with the development of musical abilities, it is necessary to develop an equally important system - musical-imaginative thinking. The ability to associatively correlate objects and phenomena of the surrounding world, to create new connections through imagination and imaginative thinking, must be developed in the same way as hearing or a sense of rhythm. Associativity is very easily acquired by younger schoolchildren in music classes. Music stimulates and awakens various extra-musical associations in their minds.

As teaching practice shows, the method of associative comparison helps to concretize and at the same time deepen images. It allows, based on a comparison of various types of art, to awaken the child’s imagination, enrich his figurative and emotional sphere and significantly intensify the musical cognitive process.

In order for this technique to contribute to the development of musical-imaginative thinking, it must be applied in a problem-based form. During the lesson, search situations are created that encourage children to independently search for answers to questions and ways of doing things. If a child himself finds the answer to the question posed, the knowledge he acquires is much more significant and valuable, since he learns to think independently, search, and begins to believe in his own abilities.

The results of such activities come very quickly. And even if a child does not become a musician in the future, contact with the world of beauty at an early age will certainly enrich his spiritual world and allow him to develop more fully as a person.

The work may be useful for young teachers primary classes secondary schools, teachers of aesthetic disciplines, teachers of additional education involved in the development and implementation of programs for musical and aesthetic education.

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the child, or rather, the degree of his development, greatly influences his achievements in learning music. After all, images always express emotions, and emotions are the main content of almost any music.

Unfortunately, very rarely children's games are interesting in an emotional and figurative sense; most often you can hear a dry, academic set of sounds. It’s good if these are exactly the sounds that the composer intended. It’s even better if the note durations are calculated accurately.

Well, if the pace is close to the present, then what more could you want? All problems have been solved. It's just incredibly boring to listen to such a game. Sometimes you think: “It would be better if something were wrong, but with a live emotional reaction.”

But for this reaction to appear, the child needs to be very sincerely interested in what he is doing at the piano. In this matter, the main task is to achieve a vivid emotional reaction to music. Such a reaction that the child would simply be “bursting” with impatience to talk about everyone in sounds bright images who live in music.

And for this it is extremely important that he first hears these images in music. But children of the age at which they begin to learn music have not yet developed abstract thinking, so the sound of music does not always evoke in them an associative series of images close to those with which they are already familiar from their childhood life.

In this regard, it is extremely important to push the child to consciously build bridges between the emotional content of the music he plays and those images, emotions, impressions that he receives from his life experience and from contact with other related arts.

One of these arts that is adjacent and very close to music is literature. Especially when it comes to literary and poetic recitation.

In music there are terms: “sentence”, “phrase”. We also use the concepts: “punctuation marks”, “caesura”. But the most important thing that connects music with expressive speech and which is one of the main foundations of expressive performance of music is intonation.

The meaning of a literary work is expressed in words, so it is not difficult for a child to understand the content of the text. In music, this content appears much more abstractly, it is hidden behind the sounding symbols and in order to understand the meaning, you need to know the decoding of these symbols.

Expressive intonation is one of the main symbols that conveys emotional context in music. Where did these intonation symbols come from in music and why are they more or less the same among all peoples (which is what makes musical language universal)?

The reason here is that they came from our colloquial speech, more precisely, from the intonations that accompany expressive speech. Accordingly, in order for a child to learn to hear these intonations in music, he must first be taught to hear them in ordinary human speech.

Since music is the language of emotions, the speech from which intonations are “removed” and copied must necessarily be emotional. Thus, in order for a musician’s playing to be expressive, he must learn expressive, emotional recitation.

Of course, at school everyone is asked to memorize poetry, and there are assignments for expressive reading of prose texts. But will the teacher try? More precisely, will he be able to work this skill with every child? After all, correcting inaccurate, “false”, or even simply plaintive intonations can take a lot of time.

No one will bother with every child when there are dozens of them in the class. This can only be done by a mother who is interested in the child receiving a good education and

In this case, we are “only” talking about the development of creative thinking, which is so necessary for any type of human activity and which is so rare (precisely because it was not developed in childhood)!

And at the same time, artistry and fluency in speech develop - such necessary qualities for adaptation in any society! But this is only if you don’t just learn the text with your child, but teach him expressive intonation.

And the music teacher will find what to do with this skill in the lesson. IN primary school For each melody, a verbal subtext (“subtext”) is invented.

If a child knows how to pronounce words emotionally, with expressive intonation, then it will be much easier to bring this intonation into music, and the meaning of the music itself will become much closer and clearer.

In this, a huge role is assigned to the teacher, the music director, who is the unconditional authority for a preschooler who has not yet developed a worldview.

The child readily accepts someone else’s value system and actively uses it in relationships with peers, parents, etc. Only gradually does he highlight his personal priorities. During preschool childhood, their formation and emotional development in activities occur. That is why the emphasis correctly placed by the teacher is so important, facilitating the understanding of musical images and the meaning of the works.

A huge role in understanding the emotional side of a work is played by the experience of psychological experiences from personal life: joy, grief, loss, loss, separation, meeting, etc.

The formation of musical thinking is influenced by:

Socio-psychological factors.
Level of musicality (the presence of various types of musical hearing: internal, harmonic, polyphonic, pitch, melodic).
Level of development of attention (voluntary, post-voluntary; qualities such as volume, selectivity, stability, ability to distribute, switch).

The personality structure contains musical thinking and musical perception, which are interconnected, but not identical.

The process of perception occurs only at the moment of music playing; musical thinking is active simultaneously with perception and after it. It can be said that the perception of music involves a mental process, which in turn influences perception. It is known how important it is to develop a child’s cognitive activity - the ability to analyze what he hears, compare, generalize, find and understand connections and relationships between musical sounds and objects.

Imaginative thinking allows a child to go beyond the ordinary, operate with ideas about specific objects and their properties, awakens associative thinking, and includes figurative memory. Such mental work is aimed at preserving the impressions of what was experienced during the perception of music.

A huge role in the development of musical thinking through the perception of music is played by imagination, which in this case is considered as the mental process of creating images, including sound ones, modeling situations by combining elements from personal experience.

At the moment of music perception, reproductive and creative imagination develops through the techniques of agglutination (from parts of creating an image), analogy (identifying identical moments in different parts of music), hyperbolization (increase, decrease or change in ideas), accentuation (highlighting a phrase or part of a work), typification (identifying repeating motifs in a melody or parts in a work.

To create images when perceiving music, it is necessary to include voluntary and involuntary memory, its various types - emotional, figurative, logical, short-term and long-term.

Music can convey any emotions experienced in the real world.

But the understanding of these sensations is based only on the child’s experience, those feelings that are ready to awaken. A child's perception of melody changes significantly at each stage of his growing up. In preschool age, melodic perception becomes one of the most important forms of intonation perception, which is important for the active development of musical thinking in general. Music director it is necessary to select a listening repertoire that will help the child look into his inner world, listen to himself, understand himself and learn to think musically.

The perception of music should take place in a free atmosphere. The teacher pre-tunes the child to the nature of the piece, promoting relaxation and the ability to focus on sounds. You need to learn to perceive music not only with your ears, but also to inhale its aroma, feel it on your tongue, feel it with your skin, and become sound yourself so that the music penetrates from the tips of your toes to the roots of your hair... It is important not to let music out of your attention for a moment.

The basis for the development of musical thinking is the formation of students' ideas about such concepts as means of musical expression (tempo, timbre, register, size, dynamics, rhythm, melody, accompaniment, texture, form, etc.); thesaurus of musical terms and concepts; the emergence of a personally significant meaning in the perception of music, which becomes possible due to the similarity and resonance of the semantics of musical language and the semantic unconscious structures of a person. Unconscious images, coming into resonance with music, are amplified, thereby becoming accessible to consciousness. That is, the unconscious is part of musical thinking. It feeds all stages and operations of the thought process with the necessary mental material, which is significant for the final result.

The perception of music precedes any other type of musical activity (singing, playing musical instruments, musical-rhythmic movement), and is present in all types of musical and musical-didactic games.

That is why it is a necessary means of cognition and is closely related to the development of musical thinking, memory, attention, and imagination. It is not a passive copying of an instant impact, but a “living” creative process. The perception of music helps the formation and development of such skills as identifying the relationship between sensations, perception and imagination, understanding the relationship between objective and subjective perception, its connection with imagination and memory, as well as such characteristics as meaningfulness and generality, objectivity and integrity, speed and correctness , selectivity, constancy, etc.

Musical thinking activates attention, memory, and imagination.

In addition, it includes other types of thinking in the work: convergent (logical, to a small extent), sequential, etc. Unidirectional thinking manifests itself in tasks that require a single correct answer (for example, determine musical form pieces, find out the name of the instrument, etc.). Intuitive and associative thinking are manifested in determining the nature of music.

The inclusion of the above types of thinking in the work contributes to the formation of the ability to analyze (schemes of the structure of works), synthesize (isolate resonance from a work separate sound, the highest or the lowest), generalize (find parts of a work with the same dynamics), classify (to what class do the instruments performing the work belong), define concepts (about genres of music, folk dances etc.).

You can use the following tasks to develop thinking:

analyze the direction of movement of the melody and write it down graphically;
determine which instrument performs the melody in the piece, which instruments sound in the accompaniment;
what genre of musical art the work belongs to;
what means of musical expressiveness can be identified in creating the image in this work, etc.

Divergent thinking is considered alternative, departing from logic. It is most closely related to the imagination and clearly qualifies as creative, generating original ideas and plans. It assumes several answers to a question, and sometimes many, and all of them will be correct. For example, about the nature of the work. Everyone perceives it differently and whatever the child says will be true. The teacher should not forget to praise the child. This gives him confidence, a desire to continue listening to music and speaking out about it, and helps him become more relaxed.

You can invite children to draw pictures of the sounds of music with paints; they will be different for everyone and correct for everyone. The development of divergent thinking when perceiving music contributes to the development of originality, flexibility, fluency (productivity) of thinking, ease of association, hypersensitivity, emotionality, etc.

In addition, both directly at the moment of the child’s perception of music, and after the process of perception (when discussing the work, children expressing their thoughts about what they have experienced together with the music), develops all types of thinking: verbal-logical, visual-figurative, visual-effective, and its forms: theoretical, practical, voluntary, involuntary, etc.

It is safe to say that the perception of music is a means of developing musical thinking.

It promotes the inclusion in the work of such types of thinking as convergent, intuitive, associative, divergent, verbal-logical, visual-figurative, visual-effective in theoretical, practical, voluntary and involuntary forms. Thus, the perception of music is one of the powerful means of engaging the thinking process of preschoolers, which contributes to the development of general intelligence and personality as a whole.

Musical-imaginative thinking is a necessary condition for the perception or reproduction of the artistic content of a musical work. It is characterized by the fact that it is based on figurative material. Musical images are intonationally meaningful sound sequences, the content of which is a person’s feelings, emotions and experiences.
It is known that the artistic content of a musical work is expressed through melody, rhythm, tempo, dynamics, etc., which in general represents the specific language of music. The development of musical-imaginative thinking, therefore, presupposes, first of all, an understanding of the language of music and awareness of the fact that music does not depict the visible world, but expresses mainly a person’s sensory attitude to this world. And its imagery is limited only by onomatopoeia (for example, birdsong), connections between auditory and visual sensations, association (birdsong - a picture of a forest, high sounds - light, light, thin; low sounds - dark, heavy, thick).

Feature music is that it is devoid of objective clarity. The same feelings, and therefore the sound intonation of their expression, can be caused by different circumstances, phenomena or objects. Therefore, the perception of a musical image presents a certain difficulty. Consequently, one of the main methods for developing an understanding of the figurative expressiveness of music is the method of concretizing the image by analyzing a sequential chain: the presentation of an objective image (for example, a dance scene), the feelings evoked by this objective image, the means of musical expression of these feelings.

The content of a musical-figurative performance is suggested, first of all, by the genre of the play, its form, title, the song's text, etc., and the means of expression are always predetermined by the author of the musical work. Thus, the whole question is to find out with the student what feelings the presented object image evokes, and to indicate to him how the evoked feelings are reflected in this piece of music.
In the process of analyzing this chain, it is necessary to avoid overloading the student’s thinking with excessive detail of the subject image and strive for a minimum of generalizations. The purpose of the analysis is to find out what emotional state (mood) or volitional quality of a person is caused by a given objective image, that is, joy, fun, cheerfulness, tenderness, despondency, sadness; or - thoughtfulness, determination, energy, restraint, perseverance, lack of will, seriousness, etc. After this, the means of musical expressiveness characteristic of a particular mood or volitional quality are analyzed: mode, tempo, dynamics, sound attack (hard or soft) and others.
The main means of expression is, of course, melody - its intonation character, rhythmic organization, division into motives, phrases, periods, etc., which is perceived similarly to speech, affecting not only sound, but also meaning. This circumstance is very important for the development of musical-imaginative thinking, especially the analogy of the intonational meaning of the melody of emotionally rich speech. After all, by the beginning of learning to play the button accordion, the student already has some life experience: he can distinguish the emotional states of the people around him, distinguish their volitional qualities, knows how to perceive and reproduce emotionally rich speech, and also has some musical experience. All this is a necessary and natural prerequisite successful development understanding the intonation meaning of the melody, and therefore the development of musical-imaginative thinking. The whole question is to skillfully rely on this experience, using it as previously acquired knowledge and skills.

In psychology, the position has been established that artistic thinking is thinking in images based on specific ideas. In modern musical psychology, the artistic image of a musical work is considered as a unity of three principles - material, spiritual and logical.

The material basis of a musical work appears in the form of acoustic characteristics of sounding matter, which can be analyzed according to such parameters as melody, harmony, meter rhythm, dynamics, timbre, register, texture. But all these external characteristics works cannot produce a phenomenon in themselves artistic image. Such an image can only arise in the minds of the listener and performer when he connects his imagination and will to these acoustic parameters of the work, and colors the sounding fabric with the help of his own feelings and moods. Thus, the musical text and acoustic parameters of a musical work constitute its material basis. The material basis of a musical work, its musical fabric is built according to the laws of musical logic. The main means of musical expressiveness - melody, harmony, meter rhythm, dynamics, texture - are ways of connecting, generalizing musical intonation, which in music, according to B.V. Asafiev’s definition, is the main carrier of the expression of meaning

The spiritual basis is moods, associations, various figurative visions that create a musical image.

Logical basis is the formal organization of a musical work, in terms of its harmonic structure and sequence of parts, forming a logical component of the musical image. Intonation, subject to the laws of musical thinking, becomes an aesthetic category in a musical work, combining emotional and rational principles. Experiencing the expressive essence of a musical artistic image, understanding the principles of the material construction of sound fabric, the ability to embody this unity in the act of creativity - composing or interpreting music - this is what musical thinking in action is.

When there is an understanding of all these principles of the musical image in the minds of the composer, the performer, and the listener, only then can we talk about the presence of genuine musical thinking.

In addition to the presence in the musical image of the three above-mentioned principles - feelings, sounding matter and its logical organization - there is one more important component the musical image is the will of the performer, connecting his feelings with the acoustic layer of the musical work and conveying them to the listener in all the splendor of the possible perfection of sound matter. It happens that a musician very subtly feels and understands the content of a musical work, but in his own performance, for various reasons (lack of technical preparedness, excitement...) the actual performance turns out to be unartistic. And it is the volitional processes responsible for overcoming difficulties in achieving the goal that turn out to be the decisive factor in the implementation of what was conceived and experienced in the process of home preparation.

For the development and self-development of a musician, based on what has been said, it turns out to be very important to understand and properly organize all aspects of the musical creative process, from its conception to its specific implementation in composition or performance. Therefore, the musician’s thinking is concentrated mainly on the following aspects of activity:

- thinking through the figurative structure of the work - possible associations, moods and thoughts behind them.
- thinking about the material fabric of the work - the logic of the development of thought in harmonic construction, the features of melody, rhythm, texture, dynamics, agogics, form-building.
- finding the most perfect ways, methods and means of embodying thoughts and feelings on an instrument or on music paper.

“I achieved what I wanted” - this is the final point of musical thinking in the process of performing and composing music,” said G. G. Neuhaus.

Professional amateurism. In modern music education, training of students’ professional playing abilities quite often prevails, in which the replenishment of knowledge theoretical in nature happens slowly. The paucity of musicians' knowledge about music gives reason to speak about the notorious “professional amateurism” of instrumental musicians who do not know anything that goes beyond the narrow circle of their immediate specialization. The need to learn several pieces during the school year according to a given program does not leave time for such types of activities necessary for a musician as selecting by ear, transposing, sight reading, and playing in an ensemble.

As a result of the above, we can identify a number of circumstances that interfere with the development of musical thinking in the educational process:

1. Students of musical performance in their daily practice deal with a limited number of works and master a minimal educational and pedagogical repertoire.
2. A lesson in a performing class, essentially turning into a training of professional playing qualities, is often impoverished in content - the replenishment of knowledge of a theoretical and general nature occurs slowly and ineffectively for instrumental students, the cognitive side of learning turns out to be low.
3. Teaching in a number of cases is of a pronounced authoritarian nature, orienting the student to follow the interpretive model set by the teacher, without adequately developing independence, activity and creative initiative.
4. Skills and abilities developed in the process of learning to play the musical instrument, turn out to be limited, insufficiently broad and universal. (The student demonstrates an inability to go beyond the narrow circle of plays worked out hand in hand with the teacher in practical play activities).

Expanding your musical and general intellectual horizons should be a constant concern young musician, because this increases his professional capabilities.

To develop thinking skills in the process of perceiving music, it is recommended:

- identify the main intonation grain in the work;
- determine by ear the stylistic direction of a musical work;
- identify the features of the performing style when different musicians interpret the same work;
- identify harmonic sequences by ear;
- select works of literature and painting for a musical composition in accordance with its figurative structure.

To develop thinking skills during the performance process, you should:

- compare performance plans for musical works in their various editions;
- find in a musical work leading intonations and strong points along which musical thought develops;
- draw up several performance plans for the same musical work;
- perform works with various imaginary orchestrations.

Depending on the specific type of activity, musical thinking can be dominated by either a visual-figurative principle, which we can observe when perceiving music, or a visual-effective one, as happens when playing a musical instrument, or an abstract one with the life experience of the listener.

In all these types of activities - creating music, performing it, perceiving it - there are necessarily images of the imagination, without which no full-fledged work is possible. musical activity. When creating a piece of music, the composer operates with imaginary sounds, thinks through the logic of their deployment, selects intonations, in the best possible way conveying feelings and thoughts at the moment of creating music. When the performer begins to work with the text provided to him by the composer, the main means of conveying the musical image is his technical skill, with the help of which he finds the desired tempo, rhythm, dynamics, agogy, timbre. The success of a performance is very often related to how well the performer feels and understands complete image musical work. The listener will be able to understand what the composer and performer wanted to express if, in his internal representations, the sounds of music can evoke those life situations, images and associations that correspond to the spirit of the musical work. Often a person with richer life experience, who has experienced and seen a lot, even without much musical experience, responds to music more deeply than a person with musical training, but experienced little.

The connection between musical imagination and the listener's life experience

Depending on their life experience, two people listening to the same piece of music can understand and appreciate it completely differently, and see different images in it. All these features of the perception of music, its performance and creation are due to the work of the imagination, which, like fingerprints, can never be the same even in two people. The activity of musical imagination is most closely connected with musical-auditory ideas, i.e. the ability to hear music without relying on its real sound. These ideas develop on the basis of the perception of music, which directly supplies the ear with living impressions. sounding music. However, the activity of the musical imagination should not end with the work of the inner ear. B.M. Teplov rightly pointed out this, saying that auditory representations are almost never auditory and must include visual, motor and some other aspects.

There is hardly any need to try to completely translate the language of musical images into the conceptual meaning expressed in words. There is a well-known statement by P.I. Tchaikovsky about his Fourth Symphony: “A symphony,” P.I. Tchaikovsky believed, “should express what there are no words for, but what asks from the soul and what wants to be expressed.” However, the study of the circumstances under which the composer created his work, his own worldview and the worldview of the era in which he lived influence the formation of the artistic concept for the performance of a musical work. It is known that software works, i.e. those to which the composer gives some name or which are preceded by special author’s explanations turn out to be easier to understand. In this case, the composer, as it were, outlines the channel along which the imagination of the performer and listener will move when getting acquainted with his music.

At school I.P. Pavlova divides people into artistic and mental types depending on which signaling system a person relies on in his activities. When relying on the first signaling system, which operates mainly with specific ideas, while addressing directly the feeling, one speaks of an artistic type. When relying on the second signaling system, which regulates behavior with the help of words, they speak of a thinking type.

When working with children of the artistic type, the teacher does not need to spend a lot of words, because in this case the student intuitively comprehends the content of the work, focusing on the nature of the melody, harmony, rhythm, and other means of musical expressiveness. It was about such students that G.G. Neuhaus said that they do not need any additional verbal explanations.

When working with students of the thinking type, an external push from the teacher turns out to be essential for their understanding of a musical work, who, with the help of various comparisons, metaphors, and figurative associations, activates the imagination of his student and evokes in him emotional experiences similar to those that are close to the emotional structure of the piece being learned. .