MODERN ARTISTIC AND DIDACTICAL APPROACHES IN MUSIC EDUCATION
N. N. Grishanovich,
Institute of Modern Knowledge named after. A. M. Shirokova (Minsk, Republic of Belarus)
Annotation. The article defines and substantiates artistic and didactic approaches to the organization of the musical educational process that are relevant for the modern paradigm of art pedagogy: value-semantic, intonation-activity, dialogic, systemic, polyartistic. It is shown that the approach functions as a toolkit for implementing the principles of music education in the educational process and requires the use of a certain technology. Being the central, emphasized principle, it incorporates other principles and methods of teaching music.
Keywords: artistic and didactic approach, value, meaning, intonation, activity, dialogue, system, polyintonation, motivation, development, method.
Summary. In the article five artistic-didactic approaches to organizing music education process are defined and substantiated. They are actual for modern paradigm of pedagogy of art: value-sensible, intonation-active, dialogic, systematic and poly-artistic. It"s shown that the approach performs the functions of instrumentality during the implementation of principles of music education and requires application of new technology. Being the central, accentuated principle, the approach aggregates a whole number of other artistic-didac- 23 tic principles and methods of teaching music.
Keywords: artistic-didactic approach, value, sense, intonation, activity, dialogue, system, poly-intonation, motivation, development, method.
The didactic approach is the central principle of structuring the content of education and choosing methods for achieving its goals, which groups around a number of other principles and is based on them. Since music education is based on specific principles of artistic didactics, the approaches to it should be artistic and didactic. Under-
the course performs the functions of tools (technology) in implementing the principles of music education in the educational process.
Pedagogical research emphasizes that cultural paradigm education will require personality-oriented and activity-based approaches. Culture is based on creativity and living interaction, developing according to the norms
communication and cooperation. Therefore, in a culturally appropriate school, children are introduced to culture not so much on the basis of assimilation of cultural information, but in the process of specially organized their own creative activity. The principle of relying on the laws of the musical-cognitive process and their practical implementation requires the choice of artistic and didactic approaches to the organization of developing musical education for students that are adequate to them.
At the center of the value-semantic approach is the development of the motivational side of students’ musical-cognitive activity and the ability to spiritually understand music (V.V. Medushevsky). The main work of a child’s soul is the appropriation of universal human values. A person acquires his spiritual essence, becomes a part of humanity, comprehending culture and creating it. Therefore, a spiritual person as the epicenter of culture, its highest spiritual value (P. A. Florensky) is both the result and the main criterion for assessing the quality of 24 education (E. V. Bondarevskaya). From these positions, the epicenter of music education is the student: the development of his musicality, the formation of individuality and spirituality, the satisfaction of musical needs, interests, creative possibilities. The musical education of an individual is manifested not only in its special development, the ability to interact with the musical culture of society - it is the process of the formation of its worldview.
The artistic content of serious music embodies the sublime and beautiful life of man.
chelic spirit. Therefore, understanding the spiritual truth, value and beauty of music is the semantic core of music education. The goal of musical knowledge is not the acquisition of musicological knowledge, but the depth of penetration into the high essence of man, the harmony of the world, understanding oneself and one’s relationships with the world. Intonation-semantic analysis musical works as the leading method of music education requires the ascent of both the teacher and students to the perception of beauty and truth, to spiritual heights human soul. In the musical and cognitive activities of students, music acts not only as an object of aesthetic evaluation, but also as a means of spiritual and moral evaluation of life, culture, and people.
Organizing artistic
When students encounter a piece of music, the teacher must consistently direct their attention to awareness of the axiological aspects of the work and the artistic and communicative situation. The value-semantic approach does not allow us to underestimate the moral and aesthetic meanings of great music. Higher spiritual meanings do not cancel “lower” life associations, but set a semantic perspective for perception and understanding.
The main function of music education is the development of students’ intonation hearing, their ability to intonation musical thinking. The placement of spiritual accents in the content and methods of teaching music requires “enlightenment, elevation of the musical ear” of students, its formation “as an organ of search and perception of sublime beauty,”
and not just the development of his distinctive abilities (V.V. Medushevsky).
The content of the subject is structured in such a way that the national musical culture is mastered by students in dialogical connections with classical and highly artistic modern music of different genres and directions. However, music education should not impose values; its task is to create conditions for their recognition, understanding and choice, and to stimulate this choice.
Development of motivation musical activity students involves pedagogical stimulation of their musical and cognitive interests, in which the personal meaning of specific musical actions and music education in general is manifested. The two-way activity of students’ personal experience is stimulated: life and artistic associations help the perception of the content and expressive means of the musical image; interpretation of musical works and the search for personal artistic meaning enriches students’ worldview through empathy and acceptance of different views on the same phenomena of life, embodied in the works of different authors, different eras and types of art.
Technologies and methods that have a value-oriented nature are of priority importance: developmental learning, problem-based learning, artistic and didactic games, building the educational process on a dialogical, personal-semantic basis, etc.
By including students in dialogues with the musical culture of society, the teacher does not have the right to impose on them his moral and aesthetic assessments, his ideological position. It can create the necessary social and artistic context of a musical work and stimulate comparative analysis from the standpoint of harmony and disharmony, the sublime and the base. It can encourage the identification of “eternal themes” in art and comprehension of their enduring spiritual relevance. But at the same time, the semantic interpretation of artistic images is the creativity of the students themselves, which is based on their intonation sense, intonational vocabulary, skills of intonation-semantic analysis and artistic generalization, and emerging moral and aesthetic feelings.
Constantly penetrating the artistic secrets of musical images, the teacher constructs a way for students to “discover” them as a solution to exciting creative problems and modeling the creative process of a composer, performer, and listener.
It is believed that the activity approach is the most traditional in music education. Until now, curricula and teaching aids have been created that advocate the construction of the content of music education by type of activity. With this approach, students master sections by section choral singing, listening to music, playing basic instruments, moving to music, improvising, musical literacy. Each section has its own goals, objectives, content,
methods. In the lessons of the basic subject “music”, these sections are combined, creating the characteristic structure of a traditional lesson.
Distinctive feature This approach is the priority of training and the predominant assimilation of knowledge, skills and abilities in a ready-made form, according to a model. However, modern pedagogy of music education argues that mastering actions based on a model and assimilating knowledge in a ready-made form cannot be the essence of the activity-based approach to teaching. This traditional characteristics an explanatory-illustrative approach, in which activities are assigned to students from the outside. The teacher broadcasts ready-made content designed for students to memorize, monitors and evaluates its assimilation.
The activity approach is characteristic of developmental education. Expanded educational activities is carried out where the teacher systematically creates conditions that require students to “discover” knowledge about a subject through experimentation with it (V.V. Davydov). Musical-cognitive activity is carried out when students reproduce the very process of the birth of musical images, independently select means of expression, reveal the meaning of intonations, the creative intent of the author and performer. The basis of such activities is the development of intonational musical thinking of schoolchildren in the process of modeling the communicative properties of an integral musical culture, the personal and creative dialogue of the composer, performer and listener.
The center of the intonation approach is the students’ mastery of live, intoned musical speech in the process of listening, performing and creating their own “elementary” music, the development of intonation hearing, perception-understanding and musical thinking. Modeling the activities of the composer, performers, and listeners is the basis of the methodology for mastering musical speech. Through active action, vocal, plastic, speech, instrumental intonation, students travel the path to a musical image and discover its intonational meaning. The content of the lesson and the subject as a whole is set as artistic communication with living, intonationally created art, and not as the assimilation of theoretical knowledge about music. Musicological ideas are formed on the basis of intonation and practical experience and are a means of musical and creative development of students (D. B. Kabalevsky, E. B. Abdullin, L. V. Goryunova, E. D. Kritskaya, E. V. Nikolaeva, V. O. Usacheva and others).
Intonation is an essential property, the core of all educational topics in the music program and, accordingly, the existential form of key musical competencies of schoolchildren. The intonation-activity approach helps students overcome the separation of the sound form of music from its spiritual content. Since “there is always a person behind the intonation” (V.V. Medushevsky), the discovery of a person and his problems in music allows music education to achieve a high humanitarian, moral and aesthetic level of human studies.
The dialogical approach requires dialogization of the content and methods of music education based on similarities and contrasts. Mastering musical works is always a dialogical co-creation: the work created by the composer comes to life and receives its semantic completeness only thanks to the intonation-analytical, performing, interpretive skills and personal experience of the interlocutors - students and teachers (listeners and performers).
Musical culture is understood as a set of works (texts) addressed to “near and distant” interlocutors (composers, performers, listeners, artists, poets, etc.). Dialogically related texts of musical and artistic culture in general should become for students a desirable subject of personal comprehension and individual creativity in the educational polylogue.
The specificity of a musical text is manifested in its incompleteness, openness and inexhaustibility of figurative content aimed at the listener. Since the composer’s idea is not just hidden behind the musical text in its completed form, but is revived and concretized in the process of its interpretation by the opposing consciousness of the performer or listener, semantic interpretation becomes one of the central problems of dialogue in music education. Many scientists (M. M. Bakhtin, M. S. Kagan, D. A. Leontiev) believe that the phenomenon of artistry arises only in the process of understanding interaction between the author work of art and his interpreter-co-creator.
According to psychologists, dialogism is “built-in” into the basic structures of consciousness and is one of its main properties. Human consciousness is characterized by internal dialogues - with an imaginary interlocutor, with oneself, with a certain semantic position in the course of reasoning. The dialogical approach to the construction of the musical-cognitive process is based on the position of modern musicology, which asserts that musical ear develops in interaction with speech hearing and all abilities of perception (plastic, visual, tactile, etc.), extracting meaning from the life and syncretically artistic context (B V. Medushevsky, A. V. Toropova).
Personal mastery of musical works is impossible without dialogic co-creation, semantic co-authorship. The processes of understanding and awareness suggest that at the borderline point of meeting of several views on the same value, a tense dialogue space is formed in which 27 resonant phenomena associated with the process of maturation of individual meaning arise. This dialogue space is created with the help of the artistic and life context of the work being studied, which includes works of other types of art, biographical materials, personal experience etc.
The image created by the composer is the core around which the life of a musical work is built. The author, as the initiator of communication, forms the musical text in accordance with his intention in dialogue with the listeners. When trying
Before entering the world of the composer at different age stages of musical education, a dialogue of individuals with different content takes place, which involves turning to various works and aspects of the composer’s biography.
With the dialogical nature of music education, students in the lesson are placed in the active role positions of composers, performers and listeners, artists, poets and painters, cameramen, sound producers and screenwriters. Comprehension of the intonation language of music occurs in the process of polyintonation
roving, collective interpretation, artistic play, modeling or creating musical images.
The most important task teachers - to create an interesting atmosphere of artistic and pedagogical communication that attracts students and form friendly relationships. To organize interaction between students, group, paired and collective methods of organizing the educational process, and game forms of creative activity are widely used.
The system of interpersonal communication in the music-educational process
In the process of artistic and pedagogical communication, the student goes through at least three stages: the first is an internal dialogue with music and the teacher, reflection; the second is the immersion of impressions and ripening thoughts in interpersonal communication with students and the teacher; the third is an extended monologue, when he has already developed a value judgment for himself. Therefore, a personal monologue (oral or written) is a natural and fruitful result of dialogue. The advantage of the dialogical approach in music education is the appeal not only of the teacher, but also of the inspired content
meta to each student as a unique individual.
Systematic approach is an indispensable condition for organizing developmental training. It guides methodologists and teachers to reveal and realize the integrity of a student’s musical education and the diverse intonation-creative connections of all its elements that ensure this integrity, to find a system-forming element in the hierarchical structure of the content and methods of the musical pedagogical process.
The internal connections of the components create new integrative properties that correspond to the
type of system and which none of the components had previously. Thus, the thematic organization of the content of the subject (D. B. Kabalevsky) forms its fundamental semantic framework, uniting all types of musical activity of students in the intonation-semantic perception and cognition of music. Development musical language through elementary children's creativity(K. Orff) synthesizes rhythm, word, sound, movement in the artistic exploration activity of children. When determining musical thinking as a system-forming factor in the musical development of students, all elementary musical abilities (types of musical ear) develop interconnectedly, as properties of musical thinking (N. N. Grishanovich).
The musical education of a person is a complex dynamic system with ordered connections within its structure. Each element of this system can be considered as a subsystem of content, activity, development of abilities, methods, etc. A music lesson, any artistic and communicative situation are also subsystems of music education.
The integrity of a system is fundamentally irreducible to the sum of the properties of its constituent elements. Each element of the system depends on the place occupied in its structure, functions and connections with other elements within the whole. For example, D. B. Kabalevsky’s system does not exclude choral singing, musical literacy and other knowledge and skills, but their functions and place in the educational process change radically: instead of private learning goals, they become means of developing an individual’s musical culture.
A systematic approach requires searching for specific mechanisms of the integrity of the music-educational process and identifying sufficient full picture its internal connections, as well as identifying a system-forming element, on the basis of which it is possible to construct an “operational unit of analysis” of the success or failure of the functioning of the entire system.
Polyartistic approach
involves integration, synthesis of artistic influence. And integration is the revelation of the intonational relationship of artistic images. By mastering expressiveness simultaneously with the help of different intonation languages, students better perceive the nuances of expressiveness and can more fully express their experiences and understanding.
Intonation is a general artistic category. This is spiritual energy embodied in the material and image of art. The general intonational-figurative nature of all types of art is the basis of their interaction, integration and synthesis (B.V. Asafiev, V.V. Medushevsky). Discover spiritual meanings 29 artistic image helps students compare works of different types of art that embody them in their own way.
The experience of expressive intonation and intonational communication (speech, music, plastic, color) is accumulated by students in the process of parallel mastering the disciplines of the artistic cycle, as well as with the help of the polyintonation technique, the emergence of synthetic types of artistic activity in the educational process: “voice drawing”, “plastic drawing” , scoring poems and paintings,
creation of an intonation score of a literary text, rhythmic declamation, literary and musical composition, onomatopoeia (creation of sound pictures), speech and plastic games.
It is necessary to take into account that one of the most important properties of artistic, including musical, thinking is associativity. In teaching any art, all other types of art create the necessary associative-figurative atmosphere, which helps expand the life and cultural experience of students, nourishes their imagination, creates conditions for the optimal development of artistic thinking. With the help of works of various types of art, an emotional and aesthetic atmosphere is created in the lesson. artistic perception, providing emotional “adjustment”, the creation of an adequate perceptual and aesthetic attitude towards meeting an artistic image.
Attracted by similarity and con-30 trust in content music lessons works of related types of art create an artistic context for the works being studied, contribute to the dialogization of the content of the subject, and the creation of problematic and creative situations. The use of developmental technologies is based on polyintonation, i.e. modeling the artistic image and creative process with the help of expressive elements of various artistic languages.
The polyartistic approach to art education was theoretically justified by B.P. Yusov, who believed that this approach
caused by modern life and culture, which have radically transformed in all parameters of sensory systems. Modern culture has acquired a polyartistic, polylingual, polyphonic character. One nature of all types of art presupposes their integration and the realization of the polyartistic capabilities of each child.
This approach is characterized by the idea of dominance at different ages of different types of artistic perception of life and, consequently, different types of art. Types of art act as modules (alternating successive blocks) of a single artistic space educational field"Arts", dominating in turn as we move from junior to middle and senior grades. Depending on the dominant type of artistic activity at a given age stage and the interests of students, the types of art that predominate in the polyart complex replace each other according to a sliding modular scheme. In an integral artistic and pedagogical ecosystem, conditions are created for a more complete understanding of different artistic languages and types of artistic activity in their interrelation, and the ability to transfer artistic ideas from one type of art to another is ensured, which leads to the universalization of an individual’s artistic talent.
The polyartistic approach to art education can be implemented in two types of programs: 1) programs that integrate the study of all types of art; 2) programs for classes
certain types art, integrated with other types of artistic activity. The emphasis in the content of classes moves from the art history tradition of mastering a theoretical system of knowledge to the development of various types of children’s own artistic and creative activities. Education is based on the interaction of students with “living art”: living sound, living colors, own movements, expressive speech, living creativity of children. Integrated and interactive forms of work with students are cultivated, developing artistic thinking, creative imagination, research and communication abilities.
Implementing together the specific principles of music education, the considered artistic and didactic approaches can be used interconnectedly, enhancing each other’s effectiveness in the educational process and determining its compliance with the cultural and personality-oriented paradigm of modern art pedagogy.
LIST OF SOURCES AND REFERENCES
1. Yusov B.P. Interrelation of cultural factors in the formation of modern artistic thinking of a teacher in the educational field “Art”: Izbr. tr. in history, theory and psychology of art education and polyartistic education of children. - M.: Sputnik+ Company, 2004.
2. Pedagogy of art as a new direction in the humanities. Part I. / Ed. coll.: L. G. Savenkova, N. N. Fomina, E. P. Kab-kova and others - M.: IKhO RAO, 2007.
3. Interdisciplinary integrated approach to teaching and upbringing with art: Sat. scientific articles / Ed.-comp. E. P. Olesina. Under general ed. L. G. Savenkova. - M.: IKhO RAO, 2006.
4. Abdullin E. B., Nikolaeva E. V. Theory of music education: A textbook for students. - M.: Academy, 2004.
5. Abdullin E. B., Nikolaeva E. V. Methods of music education. Textbook for universities. - M.: Music, 2006.
6. Goryunova L.V. On the way to art pedagogy // Music at school. - 1988. - No. 2.
7. Grishanovich N. N. Theoretical foundations of musical pedagogy. - M.: IRIS GROUP, 2010.
8. Zimina O. V. Dialogue in the professional activities of a music teacher: Educational P4 manual / Responsible. ed. E. B. Abdullin. -Yaroslavl: Remder, 2006.
9. KrasilnikovaM. S. Intonation as the basis of musical pedagogy // Art at school. - 1991. - No. 2.
10. Medushevsky V.V. Intonation form of music. - M.: Composer, 1993.
11. Theory and methods of music education for children: Scientific and methodological. manual / L. V. Shkolyar, M. S. Krasilnikova, E. D. Kritskaya and others - M.: Flinta; Science, 1998.
Alefieva A.S.
Music teacher.
Volgograd
The intonation approach as a leading methodological guideline in modern pedagogy of general music education.
In the modern sociocultural situation, the need has arisen to modernize general music education, its transition from a technocratic to a humanitarian paradigm, which is due to the problems that have arisen in modern general music education.
In turn, in modern general music education, fairly clear ideas have developed, according to which the specifics of the activity of a performing musician are considered primarily as activities aimed at solving problems related to the creative interpretation of works of musical art. Solving such a problem has necessitated turning to various methodological approaches that make it possible to update the system of general music education. Such approaches include stylistic, genre and intonation approaches. Of course, each of these approaches has its own specifics. The most relevant approach for implementing the content of modern general music education is intonation, since the meaning of music is embedded in intonation, and it is intonation that helps the performing musician understand the content of a musical work.
To understand the essence of the intonation approach, it is necessary to consider the concept of intonation from historical and modern perspectives. The first studies of the intonational nature of music are highlighted in the works of B.V. Asafiev and B.L. Yavorsky. It was these studies that laid the foundation for the development of intonation theory in Russian musicology.
Understanding B.V. Asafiev intonation is associated with the specifics of speech intonation. Asafiev thought of musical intonation as having a common semantic source with the expressive intonation of verbal speech and was always compared with the phenomena of language, speech and words. The researcher was not alone in deducing musical intonation from the sound of speech; his idea was continued by L.L. Sabaneev in the book “Music of Speech”, published in 1923.
B.L. Yavorsky also considered intonation as sound speech, but in a specific modal aspect. He noted that “musical intonation is a speech constructive cell and, as such, is organized at a certain level cultural development every people."
A new wave of interest in musical intonation arose in domestic scientific thought, when its interpretation began to be approached from the positions of philosophy, aesthetics, semiotics, linguistics, psychology, physiology and a number of other related sciences.
For example, the correlation of musical intonation with words and speech is presented in the works of A.S. Sokolova. He correlates musical intonation with elements of verbal language and speech: lexemes, phonemes, intonations and intonemes. The researcher compares verbal intonation and musical intonation, from which it follows that both phenomena are related by the similarity of specific content, but are fundamentally distinguished by the independence, distinctness of musical intonation and the auxiliary, accompanying semantic meaning of speech intonation. Sokolov also emphasizes the fundamentally different nature of the pitch organization of musical and speech intonation. The scientist notes that the main difference between music and verbal speech is the absence in the latter of a discrete sound-pitch organization and the normative nature of smooth changes in sound parameters for it.
Special attention attract the works of foreign researchers about intonation as one of the main elements of language. Thus, B. Eikhenbaum defines intonation as the main parameter of the similarity between poetry and music. “The syncretization of poetry with music, as a result of which the “song mode” of the lyrics is born, is expressed in the dominance of the intonation factor. Speech intonation acquires a melodious character and, coming into contact with rhythmic cadences, forms a melodic movement.”
E.G. Etkind argued that it is “intonation that concentrates the life of a verse, the dynamics of its sound.” When translating poetry from one language to another, Etkind calls for preserving not the meter of the verse, but its intonation.
In modern Russian musicology, the development of the theory of musical intonation was continued by V.V. Medushevsky. In a number of articles devoted to “intonation form,” the researcher was interested in the nature of naturalness and liveliness of musical intonation. V.V. Medushevsky characterized intonation as an expression of the composer's thoughts. Intonation is capable, according to the researcher, of “converting” the experience of an entire culture, of containing all the social and aesthetic functions of musical art.
In the works of V.V. Medushevsky outlines the widest range of content of intonation, notes the possibilities of reproducing all kinds of movements in it and a truly boundless field of musical and speech intonations. These are specific, detailed types of intonation content.
V.V. Medushevsky defined a theoretical system of musical intonations that includes heterogeneous types that have developed in the practice of listening to music and professional musical creativity, compositional and performing: 1) emotional and expressive intonations (life and typified by musical art); 2) objective-figurative intonations conveyed in music as temporary art through the depiction of movements (depiction of phenomena outside world and art); 3) musical - genre intonations; 4) musical and stylistic intonations; 5) intonation of individual means typified in music - harmonic, rhythmic, melodic, timbre, etc. From a scale point of view, they differentiate: 1) the generalizing intonation of the entire work; 2) intonation of individual sections, structures, themes; 3) detailing intonations of individual moments. It should be emphasized that the performer’s creativity creates performance variants of all types of intonations.
Positions of V.V. Medushevsky continued to be developed in his research by such modern musicologists as V.N. Kholopova, E. A. Ruchevskaya and others. They note that intonation in music is an expressive and semantic unity that exists in a non-verbal-sound, directly influencing form, functioning with the participation of the experience of musical content and extra-musical associative representations.”
Thus, in musicology, the category “intonation” receives consideration different levels: as a high-altitude organization of musical tones; as a manner of musical expression; as a semantic unit in music, etc. In this regard, some aspects of intonation theory are being actively developed: the relationship between music and speech based on identifying their intonation commonality and differences; the processuality of music as its specific feature; semantics of musical intonation in its historical evolution, etc. But Despite the many different definitions of intonation offered by the most famous domestic and modern researchers, the essence of this concept remains the same. The priority fundamental definition of the concept of intonation, as a complex, three-dimensional concept, representing a combination of the trinity of creativity, execution and perception of a work of art, was assigned to B.V. Asafiev.
Also this category Musical psychology did not ignore it either. Intonation has become the subject of study by researchers such as E.V. Nazaykinsky and A.L. Gottsdiener. The famous psychologist A.L. Gotsdiner, turning to the historiography of the issue of the emergence of intonation, points out that intonation preceded speech and was formed to designate the most stable and deep emotional states of a person - joy, delight, fear, despair, etc.
In turn, E.V. Nazaikinsky, studying intonation, at the intersection of musicology and psychology, emphasized the commonality of verbal speech and music. The essay “Intonation in Speech and Music” in the book by E.V. is primarily devoted to this issue. Nazaykinsky “On the psychology of musical perception.” Here Nazaykinsky notes the influence of the sound of speech intonation on the sound of musical intonation, but speaks of the impact of a person’s entire experience on his perception of musical intonation. The researcher rightly points out the diversity of understanding of musical intonation and the lack of a single meaning of this word. He clarifies, for his part, the characteristics of both speech and musical intonation. As noted by E.V. Nazaikinsky “Speech intonation in the narrow sense of the word is only the pitch curve of speech, in in a broad sense system of subelements: movement of tones, rhythm, tempo, timbre, dynamics, articulatory factors.”
In the pedagogy of general music education, the category of intonation is also considered from various semantic perspectives. Their choice depends on the type of activity in which the intonation approach is used, on the example of what musical material music is studied, and what specific tasks the teacher-musician faces. Most often, intonation is interpreted as the “grain” of the development of a musical form. This approach was first presented by D.B. Kabalevsky, who defined the intonational understanding of music priority direction musical education and education, allowing to cover the intonation-auditory and practical sphere of musical and artistic activity in its entirety and integrity.
In the pedagogy of music education, the intonation approach is used in connection with solving the problem of “entering” into music, perceiving music “as living art.” This approach is necessary for developing the skills of artistic knowledge of musical works, as a result of which the intonation approach becomes especially relevant.
As we have already said, in musical performing activities the process of intonation is the focus of attention, and by its nature is aimed at the process of meaningful sound reproduction of music instrumentally or vocally.
The intonation approach, considered as a methodological guideline, of modern general music education is implemented in a holistic pedagogical process. In this process, there are two types of principles: general pedagogical and special. Based on the system of general pedagogical principles given by Abdulin, we will highlight the following:
Humanistic orientation.
Scientific.
Continuity, consistency, systematicity.
Visibility.
Aestheticization of education and training.
Supports on strengths student's personality.
Taking into account the individual characteristics of the student.
Referring to the special principles highlighted by Nikolaeva E.V. We list the following:
Coordination of the content of the pedagogical process with the specifics of the intonation of the music being studied.
Reliance on intonation as a musicological category.
Taking into account the psychological aspect of intonation.
Personal orientation of the pedagogical process.
1. The principle of coordinating the content of the pedagogical process with the specifics of the intonation of the music being studied. This principle finds itself at all stages of the performing development of a work - from penetration into the musical image to finding the necessary performing movements, also acting at the level of technical work. This principle correlates with the “similarities and differences” method, widely used in music lessons in secondary schools. Examples of such similarities and differences can be the stylistic intonations of Chopin and Schumann, as well as Scriabin and Brahms, etc. Having similar features due to belonging to a single style, the works of these classics have different intonations, each of which requires special ways of studying.
The principle of relying on intonation as a musicological category. The basic properties of intonation as a musicological category find their place in the musical pedagogical process taking place in the context of the intonation approach. Since we have analyzed the main approaches to understanding the essence of intonation, we emphasize that when implementing this principle in the musical pedagogical process, it is necessary to form a holistic perception of music based on intonation, as a fundamental musicological category.
The principle of taking into account the psychological aspect of intonation. This principle is associated with students’ types of thinking (rational or irrational), perception, and emotional state of the individual, which leads to different types of performing intonation. Following this principle allows the teacher to adjust the methods of working with students in accordance with individual characteristics his personality.
The principle of personal orientation of the pedagogical process.
This principle is fundamental when solving educational and developmental problems of the intonation approach, because corresponds to the goal facing the pedagogical process taking place in its context. This principle is a logical continuation of the special principles described above. Let us consider the above principles from the point of view of the potential inherent in them for the realization of the student’s personal activity. Thus, when updating the principle of “coordinating the content of the pedagogical process with the specific intonation of the music being studied,” attention is focused on individual style and intonation, which most fully reveals the personal orientation of the pedagogical process. We can say that it turns out to be two-sided, uniting two personalities on the basis of style and intonation - the composer and the student-performer. In this case, style and intonation are a mediator in the dialogue of two personal structures, which generates performing intonation adequacy in the process of sound realization.
Consideration of special principles in the implementation of the intonation approach allows us to conclude that general pedagogical principles operate in support of special ones, i.e. the action of special principles is carried out through general pedagogical ones.
Thus, fundamental research in musicology devoted to the category of “intonation,” as well as the development of an intonation approach in general music education, can be the basis that will gradually update the content of modern general music education.
References
Aranovskaya I.V. Aesthetic development of personality and its role in modern music pedagogical education ( methodological basis): Monograph. – Volgograd: Peremena, 2002. -257 p.
Nazaykinsky E.N. The sound world of music. M.: Muzyka, 1988, 254 pp., notes.
Kholopova V.N. Melodika: Scientific method. essay. - M.: Muzyka, 1984. - 88 p., notes, diagrams (issues of history, theory, methodology).
Galatenko, Yu.N. The semantic role of intonation in poetry and music / Yu.N. Galatenko // Art and education. – 2013.- No. 5. – P. 7 – 17.
The article reveals the essence of the concept and the basic principles of a bifunctional approach to the musical development of a child during piano lessons in institutions of the system additional education. The bifunctional approach to music education is interpreted as a pedagogical strategy based on the dual foundation of musical education of children and youth: the formation in society of a cultural layer of enlightened music lovers and highly qualified professional musicians. The author characterizes two educational programs recently formulated in new legislative documents - pre-professional and general developmental - and makes their comparative analysis. The pre-professional educational program is aimed at training future specialists - musicians of various profiles. The general developmental educational program is designed to contribute to the formation of a musically educated listening and viewing audience in society. The article emphasizes the need to implement both programs on the basis of a single basic academic methodological complex. The idea of fundamentalization is especially important for the implementation of a general developmental educational program, since at present its implementation is taking place in the direction of facilitation, relaxation, and teaching music to most children takes on the direction of amateur music-making.
amateur music making.
double foundation
musical development
unified methodological complex
general development program
pre-professional program
musical development
bifunctional approach
1. Abdullin E.B., Nikolaeva E.V. Theory of music education. Uch. for students of higher educational institutions. M.: Academy, 2004 - 333 p.
2.Barbazyuk T.O. Development of domestic primary music education as a problem in musicology. dis. can. art history Magnitogorsk 2008 – 246s.
3.Barbitova A.D. Features of the formation of modern thinking of a teacher: psychological aspect // Additional professional education: achievements, problems, trends: materials of the All-Russian scientific-practical. conf., Kemerovo. November 23-24, 2005 / comp. L.N. Vavilova, under general. ed. I.A. Zhigalova, T.S. Panina: in 2 parts - Kemerovo: State Educational Institution "KRIRPO", 2005. - 236 p.
4. Voskoboynikova E.G. Additional general education program in the field of musical art. The subject "Piano" for Children's art schools and Children's music schools. M., 2014 – 112s.
6. Kazakova A.G. Higher professional and postgraduate scientific education (asp., doc.) Monograph. M.: Ekon-Inform, 2010 – 547 p.
The present time is the time of reform of the domestic system of music education. “The reform of the education system being carried out in the Russian Federation is based on the principles developed in the late 80s. and the principles of democratization developed in the early 90s,” including: “variability of the education system;..humanization of education and the creation of the most favorable conditions for the disclosure and development of the abilities of each student;..developmental education.” . Now, in the context of the modernization of music education, such an approach is fully consistent with the implementation of additional general education programs in the field of art, which are contained in the latest legal documents (Federal Law “On Education” dated June 16, 2011 No. 145-FZ, Federal Law dated December 29, 2012 No. 273-FZ). These programs are divided into pre-professional, designed to help identify artistically gifted children and youth, train creative and teaching staff in the field of culture and art, and general developmental, ensuring the formation of a prepared audience of listeners and spectators in society.
In this regard, the relevance of the problem of a bifunctional approach to the musical development of a child in a piano class in the additional education system considered in this article is obvious.
Analyzing this problem, it is necessary first of all to clarify the essence of the concept of “bifunctional approach”.
Approach - “... this is a certain position in relation to any problem or phenomenon,... a theoretical or logical basis for considering or designing an object; a set of ways and techniques for carrying out activities based on an idea or principle.”
The approach to teaching in pedagogy is interpreted as the implementation in practice of the leading dominant idea of teaching in the form of a certain strategy and using certain teaching methods.
The definition of “functional” in the phrase “bifunctional approach” is an adjective from “function” (lat. functio execution), which means “circle of activity, purpose.” R.K. Merton characterizes functions (meaning explicit functions) as consequences that are planned and realized by the participants in the system, i.e. conscious subjective intentions and objective consequences coincide.
The concept of “Functional approach” was formed in sociology on the basis of the ideas of O. Comte, G. Spencer and E. Durkheim. Its representatives view society as a system that represents an integral complex of interconnected elements that are in functional relationships and connections with each other. Functionalists focus on individual subsystems of society, especially on its most important institutions - family, religion, economy, state, culture, education. They identify the structural characteristics of institutions in the same way that biologists describe the basic properties of an organism and then identify the functions of institutions. One of the features of the system is the desire for balance in its components: a change in one institution has consequences both for other institutions and for society as a whole.
Children's music schools are a widespread socio-cultural institution that performs many public functions, two of which are preservation and strengthening the highest level national piano performing school and the formation in society of a cultural layer of competent music lovers are the basis of a bifunctional approach to the musical development of children. The bifunctional approach in this case is interpreted as a pedagogical strategy based on the dual foundation of musical education of children and youth: the formation in society of a cultural layer of enlightened music lovers and highly qualified professional musicians.
The emergence of the pre-professional and general developmental educational programs described above is, in fact, the first, legally enshrined step towards creating optimal conditions for the musical education of children in children's art schools. This is the first example of a dual educational program, the first experience of program variability aimed at the individual trajectory of personality development. In both of them, the tasks and goals of the educational process are correctly formulated, the emphasis is correctly placed regarding the specifics of each of its functions: general developmental educational programs are focused on raising an active, educated listener, a participant in amateur performances, pre-professional programs are aimed at providing optimal conditions for creating motivation in children to continue vocational training in secondary vocational institutions.
To successfully complete the above tasks, it is necessary to answer a number of questions: what knowledge, abilities and skills should be developed in graduates? music school future amateur musicians and professional musicians and how this should be reflected in the content of pre-professional and general developmental educational programs and teaching methods in a music school; what personal and special musical qualities each of them should have. Such an analysis is necessary because children's art schools to this day, in essence, remain narrowly focused institutions for teaching playing musical instruments.
Amateur musicians can be divided into two categories. The first group includes listeners, that is, consumers of the music being played. The second (quantitatively smaller) category includes amateurs who, along with this, realize themselves as performers: participate in various forms collective music playing, accompany other amateurs (singers, instrumentalists, choirs), and often even act as soloists. Amateur musicians of the first, predominant category are characterized by a stable need for the activity of listening to music consumption - its perception and experience, receiving appropriate aesthetic pleasure as a source of spiritual energy. To fulfill this need, an amateur musician must at least: have the ability and skill to adequately perceive music; experience emotionally and be able to aesthetically realize and appreciate the artistic level of musical works thanks to developed hearing, thinking and imagination; know a large number of musical works of various eras, styles and genres; be able to analyze the features of the form and content of the heard work; - skillfully determine the specifics of their performance by various artists or performing groups; show a keen interest in events in the world of music: new compositions and their interpretation by various performers, competitions, tours, interesting debuts.
This type of music lover, as can be seen from his listed qualities, cannot in any way be considered passive - he is active in realizing his need to communicate with music, evaluate it, remember it, experience it, and have a corresponding emotional reaction. It is clear that narrowly focused training in playing an instrument cannot fully ensure the formation of the musical culture necessary for a competent listener.
It is obvious that all the above-mentioned qualities that an educated music listener should have must also be inherent in a music lover. At the same time, for competent amateur performance of musical works it is necessary: to master the intonational language of music and be able to express through it the various artistic content of the performed works; have developed musical thinking; have a developed musical memory; have significant instrumental technical equipment, high quality sound production, necessary for competent performance of orchestral and ensemble parts, accompaniments that do not contain the specific virtuoso difficulties of the solo repertoire; have basic skills in ensemble and orchestral music-making; have sight reading skills.
From what has been said, it is clear that the performing activity of amateur musicians places quite serious demands on them, close in level to professional ones. In support of this thesis, we will analyze what set of personal qualities, special knowledge and skills a graduate of a music school should have for successful further professional education.
The first is a comprehensively developed professional ear as a complex set of its intonation and analytical components. The second is a heightened rhythmic sense, developing from the very beginning of classes to the level of the basis of a future rhythmic culture in the totality of all its aspects - from metric pulsation, rhythmic accuracy, sense of size and tempo to logically correct accentuation, agogic nuance and proportionality of parts of the musical form. The third is the ability to adequately perceive the figurative and artistic content of the performed work and creatively interpret it. Fourth, a potential professional musician as a performer must have a certain set of personal qualities: artistry, ability to work, increased ability to concentrate, and overcome stressful conditions. Fifth - professional, well-developed musical memory, in all its diversity of types: figurative, motor, tactile, verbal-logical, emotional. Sixth - the extensive accumulation of a repertoire, covering works of different historical eras, styles, genres. Seventh - developed ability to sight read. Eighth - the formation of the gaming apparatus, ensuring the intensive development of all elements of instrumental technique of a virtuoso plan in a sufficiently early age. Ninth - the presence of certain skills in joint music playing (playing in an ensemble, accompaniment, understanding the conductor's signs). Tenth - an active position in relation to the most important events in the world of music and other arts.
So, from all that has been said, we can draw the main conclusion: the pre-professional training of the future musician-performer, from the point of view of its content and structure, should not differ fundamentally from the training of an amateur musician - in both cases it should be formed as an integral system , including all the necessary significant components of the academic methodological complex. The existing differences should not manifest themselves in the exclusion of any components from a given system, but in different levels of mastery of them, in the features of their fundamentalization, in particular, in different levels of mastery of the repertoire, special knowledge, and skills. These differences should be based on teachers’ deep understanding of the nature of the motivation of each child and his parents to receive a music education, on respect for students’ choice of one direction or another in learning.
Reviewers:Maikovskaya L.S., Doctor of Pedagogical Sciences, Professor, Head. Department of Music Education, Moscow State Institute of Culture, Moscow;
Chervatyuk P.A., Doctor of Pedagogical Sciences, Professor, State Budgetary Educational Institution of Higher Education, Moscow State Pedagogical University, Moscow.
Bibliographic link
Voskoboynikova E.G. BIFUNCTIONAL APPROACH TO THE MUSICAL DEVELOPMENT OF A CHILD IN THE PIANO CLASS // Contemporary issues science and education. – 2015. – No. 6.;URL: http://science-education.ru/ru/article/view?id=23891 (access date: 02/01/2020). We bring to your attention magazines published by the publishing house "Academy of Natural Sciences"
Volgograd State Social and Pedagogical University
Keywords
intonation, intonational approach, general music education, principles intonational approach
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⛔️ (refresh the page if the article is not displayed)Abstract to the article
The article substantiates the need to turn to the intonation approach as the leading methodological guideline for implementing the content of modern general music education. The concept of “intonation” is considered from historical and modern perspectives. The principles of the intonation approach are presented as a methodological guideline implemented in the holistic pedagogical process.
Text of a scientific article
The modern sociocultural situation dictates the need to modernize modern general music education, its transition from a technocratic to a humanitarian paradigm, which is due to the problems that have arisen in modern general music education. Solving such problems necessitates turning to other methodological approaches that have developed in modern system general music education. Such approaches include stylistic, genre and intonation approaches. Of course, each of these approaches has its own specifics. The most relevant approach for implementing the content of modern general music education is intonation, since the meaning of music is inherent in intonation, and it is intonation that helps the performing musician understand the content of a musical work. To understand the essence of the intonation approach, it is necessary to consider the concept of intonation from historical and modern perspectives. The first studies of the intonational nature of music are highlighted in the works of B.V. Asafiev and B.L. Yavorsky. It was these studies that laid the foundation for the development of intonation theory in Russian musicology. Understanding B.V. Asafiev intonation is associated with the specifics of speech intonation. Asafiev thought of musical intonation as having a common semantic source with the expressive intonation of verbal speech and was always compared with the phenomena of language, speech and words. The researcher was not alone in deducing musical intonation from the sound of speech; his idea was continued by L.L. Sabaneev in the book “Music of Speech”, published in 1923. B.L. Yavorsky also considered intonation as sound speech, but in a specific modal aspect. He noted that “musical intonation is a speech constructive cell and, as such, is organized at a certain stage of cultural development of each people.” A new wave of interest in musical intonation arose in domestic scientific thought, when its interpretation began to be approached from the positions of philosophy, aesthetics, semiotics, linguistics, psychology, physiology and a number of other related sciences. For example, the correlation of musical intonation with words and speech is presented in the works of A.S. Sokolova. He correlates musical intonation with elements of verbal language and speech: lexemes, phonemes, intonations and intonemes. The researcher compares verbal intonation and musical intonation, from which it follows that both phenomena are related by the similarity of specific content, but are fundamentally distinguished by the independence, distinctness of musical intonation and the auxiliary, accompanying semantic meaning of speech intonation. Sokolov also emphasizes the fundamentally different nature of the pitch organization of musical and speech intonation. The scientist notes that the main difference between music and verbal speech is the absence in the latter of a discrete sound-pitch organization and the normative nature of smooth changes in sound parameters for it. Particular attention is drawn to the works of foreign researchers on intonation as one of the main elements of language. Thus, B. Eikhenbaum defines intonation as the main parameter of the similarity between poetry and music. “The syncretization of poetry with music, as a result of which the “song mode” of the lyrics is born, is expressed in the dominance of the intonation factor. Speech intonation acquires a melodious character and, coming into contact with rhythmic cadences, forms a melodic movement.” E.G. Etkind argued that it is “intonation that concentrates the life of a verse, the dynamics of its sound.” When translating poetry from one language to another, Etkind calls for preserving not the meter of the verse, but its intonation. In modern Russian musicology, the development of the theory of musical intonation was continued by V.V. Medushevsky. In a number of articles devoted to “intonation form,” the researcher was interested in the nature of naturalness and liveliness of musical intonation. V.V. Medushevsky characterized intonation as an expression of the composer's thoughts. Intonation is capable, according to the researcher, of “converting” the experience of an entire culture, of containing all the social and aesthetic functions of musical art. In the works of V.V. Medushevsky outlines the widest range of content of intonation, notes the possibilities of reproducing all kinds of movements in it and a truly boundless field of musical and speech intonations. These are specific, detailed types of intonation content. V.V. Medushevsky defined a theoretical system of musical intonations that includes heterogeneous types that have developed in the practice of listening to music and professional musical creativity, composing and performing: 1) emotional - expressive intonations (life and typified by musical art); 2) objective - visual intonations transmitted in music as temporary art through the image of movements (depiction of phenomena of the external world and art); 3) musical - genre intonations; 4) musical and stylistic intonations; 5) intonation of individual means typified in music - harmonic, rhythmic, melodic, timbre, etc. From a scale point of view, they differentiate: 1) the generalizing intonation of the entire work; 2) intonation of individual sections, structures, themes; 3) detailing intonations of individual moments. It should be emphasized that the performer’s creativity creates performance variants of all types of intonations. Positions of V.V. Medushevsky continued to be developed in his research by such modern musicologists as V. N. Kholopova, E. A. Ruchevskaya and others. They note that intonation in music is an expressive and semantic unity that exists in a non-verbal-sound, directly influencing form, functioning with the participation of the experience of musical content and extra-musical associative representations.” Thus, in musicology, the category “intonation” receives consideration at different levels: as a high-altitude organization of musical tones; as a manner of musical expression; as a semantic unit in music, etc. In this regard, some aspects of intonation theory are being actively developed: the relationship between music and speech based on identifying their intonation commonality and differences; the processuality of music as its specific feature; semantics of musical intonation in its historical evolution, etc. But despite the many different definitions of intonation offered by the most famous domestic and modern researchers, the essence of this concept remains the same. The priority fundamental definition of the concept of intonation, as a complex, three-dimensional concept, representing a combination of the trinity of creativity, execution and perception of a work of art, was assigned to B.V. Asafiev. Musical psychology also did not ignore this category. Intonation has become the subject of study by researchers such as E.V. Nazaykinsky and A.L. Gottsdiener. The famous psychologist A.L. Gotsdiner, turning to the historiography of the issue of the emergence of intonation, points out that intonation preceded speech and was formed to designate the most stable and deep emotional states of a person - joy, delight, fear, despair, etc. In turn, E.V. Nazaikinsky, studying intonation, at the intersection of musicology and psychology, emphasized the commonality of verbal speech and music. The essay “Intonation in Speech and Music” in the book by E.V. is primarily devoted to this issue. Nazaykinsky “On the psychology of musical perception.” Here Nazaykinsky notes the influence of the sound of speech intonation on the sound of musical intonation, but speaks of the impact of a person’s entire experience on his perception of musical intonation. The researcher rightly points out the diversity of understanding of musical intonation and the lack of a single meaning of this word. He clarifies, for his part, the characteristics of both speech and musical intonation. As noted by E.V. Nazaykinsky “Speech intonation in the narrow sense of the word is only the pitch curve of speech, in the broad sense a system of subelements: movement of tones, rhythm, tempo, timbre, dynamics, articulatory factors.” In the pedagogy of music education, the category of intonation is also considered from various semantic perspectives. Their choice depends on the type of activity in which the intonation approach is used, on the example of what musical material music is studied, and what specific tasks the teacher-musician faces. Most often, intonation is interpreted as the “grain” of the development of a musical form. This approach was first presented by D.B. Kabalevsky, who identified the intonational understanding of music as a priority direction of musical upbringing and education, allowing to cover the intonation-auditory and practical sphere of musical and artistic activity in its entirety and integrity. In the pedagogy of music education, the intonation approach is used in connection with solving the problem of “entering” into music, perceiving music “as living art.” This approach is necessary for developing the skills of artistic knowledge of musical works, as a result of which the intonation approach becomes especially relevant. As we have already said, in musical performing activities the process of intonation is the focus of attention, and by its nature is aimed at the process of meaningful sound reproduction of music instrumentally or vocally. The intonation approach, considered as a methodological guideline, of modern general music education is implemented in a holistic pedagogical process. In this process, there are two types of principles: general pedagogical and special. Based on the system of general pedagogical principles proposed by Abdulin, we will highlight the following: - humanistic orientation. - scientific character. - continuity, consistency, systematicity. - visibility. - aestheticization of education and training. - reliance on the strengths of the student’s personality. - taking into account the individual characteristics of the student. In turn, E.V. Nikolaeva identifies special principles such as: 1. coordinating the content of the pedagogical process with the specifics of the intonation of the music being studied. 2. reliance on intonation as a musicological category. 3. taking into account the psychological aspect of intonation. 4. personal orientation of the pedagogical process. Let us further reveal the content of each of these special principles. 1. The principle of coordinating the content of the pedagogical process with the specifics of the intonation of the music being studied. This principle finds itself at all stages of the performing development of a work - from penetration into the musical image to finding the necessary performing movements, also acting at the level of technical work. This principle correlates with the “similarities and differences” method, widely used in music lessons in secondary schools. Examples of such similarities and differences can be the stylistic intonations of Chopin and Schumann, as well as Scriabin and Brahms, etc. Having similar features due to belonging to a single style, the works of these classics have different intonations, each of which requires special ways of studying. 2. The principle of relying on intonation as a musicological category. The basic properties of intonation as a musicological category find their place in the musical pedagogical process taking place in the context of the intonation approach. Since we have analyzed the main approaches to understanding the essence of intonation, we emphasize that when implementing this principle in the musical pedagogical process, it is necessary to form a holistic perception of music based on intonation, as a fundamental musicological category. 3. The principle of taking into account the psychological aspect of intonation. This principle is associated with students’ types of thinking (rational or irrational), perception, and emotional state of the individual, which leads to different types of performing intonation. Following this principle allows the teacher to adjust the methods of working with students in accordance with the individual characteristics of his personality. 4. The principle of personal orientation of the pedagogical process. This principle is fundamental when solving educational and developmental problems of the intonation approach, because corresponds to the goal facing the pedagogical process taking place in its context. This principle is a logical continuation of the special principles described above. Let us consider the above principles from the point of view of the potential inherent in them for the realization of the student’s personal activity. Thus, when updating the principle of “coordinating the content of the pedagogical process with the specific intonation of the music being studied,” attention is focused on individual style and intonation, which most fully reveals the personal orientation of the pedagogical process. We can say that it turns out to be two-sided, uniting two personalities on the basis of style and intonation - the composer and the student-performer. In this case, style and intonation are a mediator in the dialogue of two personal structures, which generates performing intonation adequacy in the process of sound realization. The above allows us to conclude that general pedagogical principles operate in support of special ones, i.e. the action of special principles is carried out through general pedagogical ones. Thus, the development of an intonation approach in general music education may be the basis that will gradually update the content of modern general music education.
The textbook outlines the fundamentals of the theory of music education carried out in general education institutions. The theory of music education is considered as an educational subject that reveals the essence of this field of pedagogical science. Special attention is paid to the art of music in the educational process, the personality of the child in the music education system, the main components of music education, the personality and activities of the teacher-musician. All sections of the manual are presented in conjunction with educational tasks and a list of recommended literature for students in order to develop their professional thinking, the formation of a personal position, and a creative attitude to the problems being studied. The textbook is addressed to students, graduate students, music teachers, music teachers in the system of additional education, teachers of higher and secondary vocational educational institutions of music pedagogy, and everyone who is interested in the problems of music education. 2nd edition, corrected and expanded.
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The given introductory fragment of the book Theory of music education (E. B. Abdullin, 2013) provided by our book partner - the company liters.
Chapter 4. Purpose, objectives and principles of music education
Just like literature and fine arts, music decisively invades all areas of the upbringing and education of our schoolchildren, being a powerful and irreplaceable means of shaping their spiritual world.
D. B. KabalevskyMusic education, including music teaching, can be presented in the form of a certain structures, consisting of the following components: purpose, objectives, principles, content, methods and forms.
4.1. The purpose and objectives of music education
Purpose of Music Education
In modern pedagogy, the goal of music education is considered to be formation, development of musical culture of students as part of their general spiritual culture.
Concept musical culture of students extremely voluminous and can have different interpretations. This is what D. B. Kabalevsky puts in first place in the content of this concept: “... the ability to perceive music as a living, imaginative art, born of life and inextricably linked with life, is a “special feeling” of music, forcing one to perceive it emotionally, distinguishing it in between good and bad, this is the ability to determine by ear the nature of the music and feel the internal connection between the nature of the music and the nature of its performance, this is the ability to determine by ear the author of unfamiliar music, if it is characteristic of a given author, his works, with which students are already familiar...” . Thus, D. B. Kabalevsky emphasizes the importance of musical literacy in the broad sense of the word as the basis without which musical culture cannot be formed. In his view, the development of a performing and creative spirit in children is also important.
This approach to the goals of general music education is recognized by almost all domestic music teachers. However, each of the authors of the concepts of general music education reveals this concept in his own way, highlighting certain aspects of it.
Thus, D. B. Kabalevsky himself builds an integral system of formation and development of students’ musical culture based on their increasingly complete disclosure of such essential properties of musical art as intonation, genre, style, musical image and musical dramaturgy in their connection with life and other types arts, history. At the same time, it is proposed to begin the process of learning music based on three genres: song, dance and march, since previously existing experience in communicating with these genres allows children to come to generalizations that contribute to the formation of the skills to consciously hear, perform, compose music and think about it.
The interpretation of the goal of music education – the formation of the musical culture of the student’s personality – is carried out by D. B. Kabalevsky in his concept through the prism of the following goals:
A clearly expressed educational orientation, promoting the development, first of all, of an interested, emotional-value, artistic-aesthetic attitude to music, musical thinking, musical-aesthetic taste, musical-creative abilities, skills;
Reliance on the world musical heritage - the “golden fund” of musical works of various forms, genres, styles;
Belief in the transformative power of music, in the possibility, with the help of skillful and wise pedagogical guidance, of the beneficial impact of art, first of all, on the emotional and value sphere of the student’s personality;
Development of children's musical thinking, their creative potential in the process of listening to music, performing it and composing it.
V. V. Medushevsky, in his concept “Spiritual and moral education through the means of musical art,” affirms the need to revive the musical education of children on a religious basis and even the “explanation of secular music” proposes to be carried out “in spiritual categories.”
In the concept of L.V. Shamina, music is also recognized as “an effective means of educating the spirit.” But unlike V.V. Medushevsky, the author puts forward ethnographic paradigm of school music education, proposing to follow the path from understanding the ethnographic culture of one’s people to “the music of the world.”
According to the concept of L.A. Vengrus, singing is a means of introducing schoolchildren to musical culture. The author calls for the implementation of the reform of music education by introducing universal music education, which involves the implementation of “musical education and upbringing based on the method of initial intensive choral singing".
A child’s musical culture is manifested in his musical upbringing and training.
Musical education involves, first of all, an emotional and aesthetic response to highly artistic works of folk, classical and contemporary art, the need to communicate with him, the formation of a circle of musical interests and tastes.
Training in music education manifests itself mainly in knowledge of music and about music, in musical skills and abilities, in the breadth and depth of the student’s acquired experience of an emotional and valuable attitude towards music, as well as experience in musical creative activity.
Musical education and training in the practice of music education exist inextricably, and the basis of their unity is the specificity of musical art, its intonation-figurative nature. The musicality genetically inherent in a child and its development in the process of targeted education and training are the basis for the successful development of his musical culture.
L. V. Shkolyar, characterizing the musical culture of schoolchildren, especially emphasizes that “the formation of a child, a school student as a creator, as an artist (and this is the development of spiritual culture) is impossible without the development of fundamental abilities - the art of hearing, the art of seeing, the art of feeling, the art think…". The author identifies three components of musical culture: the musical experience of schoolchildren, their musical literacy and musical and creative development.
Lithuanian teacher-musician A. A. Piliciauskas, exploring the problem of musical culture of schoolchildren, proposes to consider it as a need for musical activity, arising on the basis of relevant knowledge, skills, and abilities. At the same time, the scientist emphasizes that a student, mastering a particular curriculum, often turns away from the values offered in it and finds his own, which are practically not mentioned in classes. There is a contrast between academic music, which the teacher focuses on, and “alternative music” (the term of A. A. Piliciauskas, which in pedagogy means a discrepancy musical preferences teachers and students), which, as a rule, is not heard in the classroom. Eliminating this contradiction is a necessary condition for the formation of students' musical culture.
The existing system of music education in our country provides the following necessary conditions for the development of students’ musical culture:
compulsory music lessons in general education institutions;
Creating an Expanded systems of additional music education, implemented in extracurricular and extracurricular musical work, in which everyone can take part;
training of music teachers in the system of higher and secondary specialized education;
Providing an opportunity for music teachers to improve their professional level in the system of post-graduate education;
Creation educational and methodological base.
The purpose of music education, embedded in a particular concept, determines the direction of all components of music education: objectives, principles, content, methods and forms.
Main objectives of music education
The main objectives of music education act as the closest pedagogical interpretation of its goal and, in their entirety, are aimed at the musical education, training and development of the child.
Such tasks may include:
Development in children of a culture of feelings, artistic empathy, a sense of music, love for it; creative emotional and aesthetic response to works of art:
Introducing students to folk, classical, modern music, primarily with masterpieces of musical art in all the richness of its forms and genres: pedagogical guidance in the process of students acquiring knowledge about music in their spiritual connection with life;
Development of musical and creative abilities, skills and abilities among students in listening, performing and “composing” activities;
Cultivating students' musical and aesthetic sense, perception, consciousness, taste;
Development of the need to communicate with highly artistic music;
Art therapeutic influence on students through music:
Purposeful preparation of students for musical self-education;
Helping the child to understand himself as an individual in the process of communicating with music.
Depending on which of these and other tasks turn out to be a priority in a particular concept of music education, a specific curriculum, the goal of music education takes on a certain focus. This primarily characterizes the state of modern domestic music education, which is characterized by different ways to achieve its original goal.
4.2. Principles of Music Education
The most important component of music education are the principles that are considered as starting points that reveal the essence of the purpose and objectives of music education, the nature of its content and process.
The principles of music education state the position of a music teacher in the following areas.
1. The humanistic, aesthetic, moral orientation of music education is embodied in the following principles:
Identification of the diverse connections of musical art with spiritual life;
Revealing the aesthetic value of music;
Recognition of the unique possibilities of music in the aesthetic, moral, artistic development of a child;
The study of musical art in a general historical context and in connection with other types of art;
Focus on highly artistic examples (masterpieces) of musical art;
Recognition of the intrinsic value of a child’s personality in his communication with art.
2. The musicological orientation of music education is manifested in the following principles:
Students study the art of music based on the unity of folk, academic (classical and modern), spiritual (religious) music;
Reliance on intonation, genre, style approaches in the study of music:
Disclosure to students of the process of listening, performing and composing music as ways of personal “living” in the art of music.
3. The musical and psychological orientation of music education is embodied in the following principles:
The focus of the music education process is on the development of the student’s personality and musical abilities;
Focus on students mastering various types of musical activities;
Reliance on the unity of development of intuitive and conscious principles in music education;
Recognition of musical creativity in its various manifestations as one of the most important incentives for a child’s development:
Realization of art therapeutic possibilities of music in music education.
4. The pedagogical orientation of music education is manifested in the following principles:
Unity of musical education, training and development of students;
Engaging, consistent, systematic, scientific approach to organizing music classes;
Dialectical relationship between musical and pedagogical goals and means;
Assimilation of the nature of musical activities to the musical-creative process.
The combination and complementarity of the above principles of music education ensure holistic approach to the construction of its content and organization.
IN last decades the problem of identifying and developing principles of music education acquires special significance. Many domestic and foreign music teachers address this problem. Moreover, each author or group of authors working to determine the content of general music education offers its own set of principles.
In the musical and pedagogical concept of D. B. Kabalevsky, the following principles acquire fundamental importance:
focus on developing children’s interest in music lessons, according to which they are based on the development of schoolchildren’s emotional perception of music, personal attitude towards the phenomena of musical art, the involvement of students in the process of artistic and figurative music-making and stimulation of their musical and creative self-expression;
the focus of music lessons on spiritual development students' personalities, in which the content of music education is aimed mainly at their moral, aesthetic development, at the formation of the musical culture of schoolchildren as an important and integral part of their entire spiritual culture: the connection between music and life in the process of music education, carried out primarily in revealing the content of educational topics, in the selection of musical material and methods of its presentation;
introducing students to the world of great musical art - classical, folk, modern, covering the diversity of its forms, genres and styles: thematic structure of the program, implying a targeted and consistent disclosure of genre, intonation, style features of music, its connection with other types of art and life: identifying similarities and differences at all levels of organization of musical material and in all types of musical activity;
interpretation of musical literacy in the broad sense of the word, including in the content of this concept not only elementary musical notation, but also, in essence, the entire musical culture;
understanding the perception of music as the basis of all types of musical activity and musical education in general;
the focus of music lessons on the development of creativity in the child, which must be carried out in composing, performing and listening activities.
The works of L. V. Goryunova propose two principles:
principle of integrity, which manifests itself at different levels: in the relationship between part and whole in music and in the pedagogical process; in the relationship between the conscious and subconscious, emotional and rational; in the process of forming a child’s spiritual culture, etc.;
principle of imagery, based on the concrete-sensual, figurative mastery of reality inherent in the child, leading him through a figurative vision of the world to generalizations.
teaching music at school as a living figurative art;
raising the child to the philosophical and aesthetic essence of art(problematization of the content of music education);
penetration into the nature of art and its laws;
modeling of the artistic and creative process; active mastery of art.
passion;
the trinity of activity of the composer – performer – listener; identity and contrast;
intonation;
reliance on domestic musical culture.
In the music program by T. I. Baklanova, developed in the context of the “Planet of Knowledge” kit, the following principles of unity are put forward:
Value priorities;
Didactic approaches;
Structures of textbooks and workbooks for all grades;
Through lines, standard tasks;
Navigation system.
To this should be added the principle of choosing tasks, type of activity and partner, as well as the principle of a differentiated approach to training.
In conclusion, we cite the words of two famous American musician-teachers - researchers C. Leonhard and R. House, addressed to music educators regarding the need to consider the principles of music education in their evolution and in relation to their own practical experience: “To avoid mistakes, the fundamentals of the principles should be subject to double-checking, based on the fact that one should not take on faith data that contradicts own experience, even if they come from a reputable source."
Questions and tasks
1. Describe the musical culture of a schoolchild as the goal of music education.
2. In what hierarchy would you arrange the tasks of music education, specifying its purpose?
3. Based on the material studied, name one of the most important, in your opinion, principles of music education, focusing on their philosophical, musicological, psychological and musical pedagogical orientation.
4. How do you understand the following statement by the German musician-researcher T. Adorno:
The goal of education should be to familiarize students with the language of music and its most significant examples. “Only... through detailed knowledge of works, and not through self-satisfied, empty music-making, can music pedagogy fulfill its function.
(Adorno T. Dissonanzen. 4-te Auful. - Gottingen, 1969. - S. 102.)
5. Comment on the approaches to characterizing the principles of music education formulated by American music educators C. Leonhard and R. House:
Principles occupy a strategic place in music education: they are rules of action based on relevant knowledge... The principles of music education need constant improvement... The basic principles must be re-examined, based on the fact that one should not take on faith data that contradicts one’s own experience, even if they come from an authoritative source... Not all principles are the same type. Some cover a large area, others serve only as an addition... The number and variety of principles are endless, which means that systematization is necessary... When the basic principles of the work of a music teacher are consciously established through special study and hard thinking, when they express his real beliefs, cover every aspect of his work - this means that it will have its own operating program.
(Leonhard Ch., House R. Foundations and Principles of Music Educations. -N.Y., 1959. -P. 63–64.)
6. Describe the principle of “raising a child to the philosophical and aesthetic essence of art (problematization of the content of music education), implemented in the program developed under the leadership of L. V. Shkolyar, having read the section “Teaching music on the principles of developmental education” in the manual “Music education in school."
Main
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Aliev Yu. B. Formation of musical culture of teenage schoolchildren as a didactic problem. – M., 2011.
Baklanova T.I. Program “Music” grades 1–4 // Programs of educational institutions. Primary school Grades 1–4. Educational complex "Planet of Knowledge". – M., 2011.
Gazhim I.F. On the theoretical model of musical education // Musical education in the 21st century: traditions and innovation (To the 50th anniversary of the Faculty of Music of Moscow State University): materials of the II international scientific and practical conference. November 23–25, 2009. – T. I. – M., 2009.
Kabalevsky D. B. Basic principles and methods of the music program for secondary school. – Rostov-on-Don, 2010.
Kritskaya E. D., Sergeeva G. P., Kashekova I. E. Art 8–9 grades: Collection of work programs. Subject line of G. P. Sergeeva. – M., 2011
Kritskaya E. D., Sergeeva G. P., Shmagina T. S. Music. Programs for general education institutions. Grades 1–7. – 3rd ed., revised. – M., 2010.
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Shkolyar L. V., Usacheva V. O., Shkolyar V. A. Music. Program. Grades 1–4. (+CD) Federal State Educational Standard: Series: Primary school of the XXI century. Music / Ed. O. A. Kononenko. – M., 2012.
Additional
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Apraksina O. A. Methods of music education at school. – M., 1983.
Archazhnikova L.G. Profession – Music teacher. Book for teachers. – M., 1984.
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Vengrus L. A. Singing and the “foundation of musicality.” – Veliky Novgorod, 2000.
Goryunova L.V. On the way to art pedagogy // Music at school. – 1988. – No. 2.
Kabkova E. P. Formation of students’ ability to artistic generalization and transfer of information in art lessons // Electronic magazine"Pedagogy of art." – 2008. – No. 2.
Kevishas I. Formation of musical culture of schoolchildren. – Minsk, 2007.
Komandyshko E. F. Artistic and figurative specificity of musical art and the development of creative imagination on its basis // Electronic journal “Pedagogy of Art”. 2006. -No. 1.
Kritskaya E. D., Sergeeva G. P., Shmagina T. S. Explanatory note// Software and methodological materials. Music. Primary school. – M., 2001.
Malyukov A. M. Psychology of experience and artistic development of personality. – 2nd ed., rev. and additional – M., 2012.
Medushevsky V.V. Spiritual and moral education through the means of musical art // Teacher (Special issue “Musician-teacher”). – 2001. – No. 6.
Music education at school. Textbook for students / Ed. L.V. Shkolyar. – M., 2001.
Piliciauskas A. A. Ways of forming the musical culture of schoolchildren // Traditions and innovation in musical and aesthetic education: materials of the international conference “Theory and practice of music education: historical aspect, current state and development prospects” / Ed. E. D. Kritskoy and L. V. Shkolyar. – M., 1999.
Theory and methodology of music education for children: Scientific and methodological manual / L. V. Shkolyar, M. S. Krasilnikova, E. D. Kritskaya and others - M., 1998.
Khokh I. Principles of music lessons and their relationship with the motivational-need sphere of the student // Music at school. – 2000. – No. 2.
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