Music pedagogy concept of developmental education. An integrated approach to music education. Questions of theory and methodology

musical ensemble training piano

The restructuring taking place on the pedagogical front cannot leave musician teachers indifferent either. Directly affecting the emotional and moral sphere musical art plays a huge role in the formation of a creatively thinking, spiritually rich personality. The very content of art requires a special relationship between teacher and student based on empathic understanding. “The most important trend in advanced music pedagogy of our time largely determines its methods. can be characterized as the desire to achieve - together with general pedagogy - the harmonious development of the human personality by achieving a balance of rational and spiritual (0 p. 0).

But the negative phenomena observed in the general education system have not bypassed music education. Many teacher-musicians see their task as developing in students a limited fund of performing knowledge and skills. The authoritarian teaching style does not stimulate the development of students' sense of intelligence and cognitive interests. It's no secret that most students in children's music schools quit music classes immediately after graduation. They do not master the methods of independent music-making and lose their love for the art of music.

Along with this, pedagogy has accumulated a wealth of experience of outstanding music teachers. The ideas that have been established over the past two decades in instrumental teaching methods are essentially the practical embodiment of the pedagogical concept of cooperation. Brilliant examples of developmental pedagogy are represented by the work of masters of the Russian and Soviet piano schools: A.G. and N.G. Rubinshteinov V.I. Safonova A.N. Esipova N.S. Zvereva F.M. Blumenfeld K.N. Igumnogo G.G. Neuhausa L.V. Nikolaeva A.B. Gondelweiser and others.

How is the idea of ​​developmental education refracted in relation to the theory and practice of teaching piano playing? Tsypin believes that, firstly, the techniques and methods of teaching in the system of mass musical upbringing and education should be directly related to the student’s performing mastery of the works assigned to him; secondly, it is necessary that the same techniques and methods educational activities would contribute to the overall musical development of students.

The problem of the relationship between training and development is also relevant in music pedagogy. Unfortunately, even today many practitioners are convinced that training and development in musical performance are synonymous concepts. Hence the disproportion between training and development. Learning happens instead of according to the didactic concept of L.S. Vygotsky’s “running ahead of development” “runs away” far from him, and then the formation of professional gaming skills almost completely exhausts the content of the educational process. The task of a teacher working in the mass education system music education- achieve the highest possible developmental effect. The relationship between the acquisition of musical knowledge and performance skills, on the one hand, and musical development, on the other... is not at all as straightforward and simple as some teachers sometimes think. Mass piano instruction often “can go on a tangent to development and not have a significant impact on it; dogmatic teaching leading to the assimilation and memorization of certain musical patterns can slow down the development and distort the student’s thinking (0 p. 000).

The poverty and limited scope of the studied musical repertoire, the craft-narrow focus of individual lessons in the piano class, the authoritarian style of teaching - all this is a manifestation of the concept according to which the development of students is an inevitable consequence of training that does not require special care.

Working on a piece of music turns into an end in itself, dictated by the desire to earn high praise for a performance. Hence - “coaching” when the student obediently follows the teacher’s numerous instructions, polishing the external sound contours of the composition. In essence, the teacher performs the piece with the student's hands.

The multi-day polishing of works sharply limits the range of works studied. Meanwhile, it is the musical experience accumulated in working on a variety of musical material that is the basis for the intensive development of the student. Teaching advanced development and thereby stimulating the need for cooperation requires a rapid pace of learning the material at a high level of difficulty. The foundation of developmental education in music-performing classes is formed by a system of principles declaring an increase in the volume and acceleration of the pace of passing music-educational material, a rejection of a purely pragmatic interpretation of lessons and a transition from authoritarian teaching to maximum independence and creative initiative of the student.

Training in performing classes usually leads to the formation of students with highly developed but at the same time narrow local skills and abilities. In this case, the interests of the development of the student musician are infringed. General musical development is a multifaceted process. One of its important aspects is associated with the development of a complex of special abilities (musical ear, sense of musical rhythm, musical memory). Also significant in terms of general musical development internal changes that are improved in the sphere of professional thinking and artistic consciousness of the student.

The formation and development of musical intelligence was carried out in the course of enriching the individual’s personal experience. In the process of learning to play the piano, optimal conditions are created for replenishing the student’s knowledge base. Great in this regard are the possibilities of piano pedagogy, which allows students to come into contact with a rich and universal repertoire. This is where the potential value of the cognitive side of a piano lesson lies: a student can encounter a greater number and variety of sound phenomena in it than in a lesson in any other performing class.

Learning to play the piano occupies one of the most prominent places in broad musical education and upbringing. It is in the center of clubs and studios of children's music schools and high school music laboratories, etc. The piano is an instrument of the widest range of actions that plays an extremely important role in mass musical education and education; no one who has anything to do with teaching music can avoid encountering it. Finding the optimal solution to the problem of developmental teaching in the piano class means helping to solve this problem on the scale of all music pedagogical practice.

It is piano performance that has particularly rich potential in relation to the musical development of the student. The cognitive resources of piano playing are not limited to working on the pianistic repertoire alone. With the help of the piano one learns and masters educational practice any music, operatic, symphonic, chamber, instrumental, vocal, choral, etc. Piano literature itself has wide developmental potential; systematic mastery of it is a demonstration of many different artistic and stylistic phenomena.

The general musical development of students is improved in the learning process. In music, as elsewhere, there can be no development outside of learning in principle. Ways to solve the problem of general musical development of students should be sought within the learning process in such an organization that would ensure high results in development.

The question of musical and didactic principles aimed at achieving the maximum developmental effect in teaching is essentially the central culmination of the issues under consideration. There are four basic musical and didactic principles that, when put together, can form a fairly solid foundation for developmental education in performing classes.

• 1. Increasing the volume of material used in educational and pedagogical work; expanding the repertoire framework by addressing a larger quantity musical works. This principle is of great importance for the general musical development of the student, enriching his professional consciousness with musical and intellectual experience.
• 2. Acceleration of the pace of completing a certain part of the educational material; refusal of long periods of work on musical works; focus on mastering the necessary performing exercises and skills in a short period of time. This principle ensures a constant and rapid influx of various information into the music-pedagogical process and helps expand professional horizons.
• 3. Increasing the theoretical capacity of musical performance classes, using a wider range of information of a musical-historical nature during the lesson. This principle enriches consciousness with deployed systems.
• 4. The need to work with material in which the independence and creative initiative of the student-performer would be manifested to the maximum extent.

These are the main principles based on which teaching music and musical performance can become truly developmental in nature. Their implementation in practice affects the content of training, brings certain types and forms of work to the forefront in the educational process, and does not leave aside teaching methods. “...the teacher is called upon not only to keep up with the times, but also to get ahead of it. He must be a passionate propagandist and a deep expert in that science, the foundations of which he teaches to those who are well aware of the latest data in it. He needs to correctly understand and take into account in his work the phenomena and processes of social life. He is obliged to constantly test his teaching skills by how much he is able to find solutions to professional problems. better ways to the children's mind and heart" (00 p. 00).

We will discuss further how the field of musical performance - ensemble music playing - helps to implement the principles of developmental education.

So let's summarize what has been said:

• 0. Development occurs during training. The developmental function of teaching is influenced by the structure of the teaching and educational process, the content of the form and teaching methods.
• 0. Implementation of the principles of cooperation pedagogy is the most important condition for achieving a developmental effect in teaching.
• 0. Ensemble music playing - best form cooperation between teachers and students which gives a developmental effect.

So, the general musical, personal and professional development of student musicians takes place only in the learning process. Is it possible to influence the sphere of consciousness of a musician, his will, emotions and feelings, the complex of his special abilities (hearing, sense of rhythm, memory), bypassing training in one form or another? Here, as in any particular branch of pedagogy, “the guide to action remains the unshakable truth that the task of development is accomplished... with the assimilation of the fundamentals of science in the process of mastering knowledge and skills” (L.V. Zankov).

Thus, ways to solve the personal and professional development of a student musician should be sought not bypassing the learning process, not outside it, but, on the contrary, within the latter, in such an organization that would ensure high results in development. Since it can be considered established that in any profession a person develops by learning and nothing else, the problem under consideration essentially takes the following form: How, in what way should music education and, in particular, musical performance be structured in order to become as promising as possible for the student’s development? Here the question arises about certain musical and pedagogical principles designed to become the basis, the foundation of this kind of training. Practice shows: with one organization of business, the coefficient of the developmental effect of music teaching can increase significantly, but with another, it can decrease just as noticeably. It is customary in such cases - especially when it comes to pedagogy in the field of arts - to address primarily the personality of the teacher, her individual traits and characteristics, erudition, spiritual disposition, etc. Meanwhile, behind the external there is most often hidden the internal, behind the personally characteristic features of the appearance of this or that teacher - a system of principles and attitudes implemented in educational activities.

The question of musical pedagogical principles aimed at achieving maximum developmental effect in learning, - essentially central, culminating in the issues under consideration.

Let us list the basic musical pedagogical principles that, put together and systematically organized, are capable of forming a fairly solid foundation for developmental education in music performing classes, and in teaching music in general.

1. Increasing the volume of material used in educational practice, expanding the repertoire of students in music and performing classes by turning to as many works as possible, a larger range of artistic and stylistic phenomena; mastering a lot in the course of musical performance classes, as opposed to the usual concentration on a little in broad musical pedagogical practice - this is the first of these principles, the first in its significance for the general musical, personal and professional development of the student, the enrichment of his professional consciousness, musical and intellectual experience. For the amount of material mastered and assimilated by the student (musical works, theoretical and musicological information) is transformed in most cases into the quality of artistic and intellectual activity; here one of the fundamental laws of dialectics makes itself fully felt.

And vice versa: a deficit in the amount of material covered during classes in music and performing classes significantly affects the quality level of the student’s artistic and mental (and other) operations.

2. Accelerating the pace of completion of a certain part of the educational material, the rejection of prohibitively long periods of work in performing classes on musical works, the focus on mastering the necessary playing skills in a short period of time - this is the second principle, conditioned by the first and coexisting with it in inextricable unity. The implementation of this principle, ensuring a constant and rapid influx of various information into the music-educational process, also paves the way to solving the problem of the student’s general musical development, expanding his professional horizons, and enriching his arsenal of knowledge.

3. The third principle directly concerns the content of a lesson in a music performing class, as well as the forms and methods of its implementation. Increasing the theoretical capacity of music performance classes, i.e. rejection of the “narrow shop”, purely pragmatic interpretation of these activities; using during the lesson the widest possible range of information of a musical-theoretical and musical-historical nature, strengthening the cognitive component and thereby the general intellectualization of the lesson in the music performing class; enriching the consciousness of a player playing a musical instrument with expanded systems of ideas and concepts associated with specific material of the performing repertoire - all this reflects the essence of the mentioned principle.

To what has been said, it is necessary to add that to know various phenomena, patterns and facts in the course of musical lessons should not be isolated, not separately, as is often the case in practice, but holistically, in their internal relationships and natural combinations (“alloys”) with each other. In other words, knowledge should be integrative (ideally transdisciplinary) in nature; only in this case will it meet the requirement of fundamental learning. And the deeper and more voluminous the general “context” of the learning process becomes, the more capacious and meaningful generalizations are made by the teacher (pianist, violinist, conductor, etc.) on the material of the works being studied, the higher the developmental effect of classes in music will ultimately be. performing classes.

4. The fourth principle requires moving away from passive-reproductive (imitative) methods of activity, which are widely used among students, emphasizes the need for such work with musical material, in which the activity, independence and creative initiative student performer. It is about providing the student with a certain freedom And independence in the educational process - the freedom and independence that would correspond to his professional capabilities, would be commensurate with the level of development of his musical intelligence, general and special abilities.

It is no secret for experienced specialists that only those students who have the necessary and sufficient freedom of creative action, who have a certain right to choose in various learning situations - for example, choosing an interpretive solution, etc. - act productively and intensively move forward in personal and professional development. P. There cannot be positive and sufficiently sustainable results in teaching creative professions in conditions of non-freedom; nevertheless exactly the situationno-freedom occurs much more often than it should in real pedagogical practice, whether the participants in the educational process are aware of this or not!

The following is fundamentally important in this case: freedom of cognitive action and the right of creative choice should not only be granted to young musicians; They should be specifically encouraged to do this, placing them in conditions in which they would be forced to show creative initiative and independence. “Freedom,” wrote S.I. Gessen, “is not a fact, but a goal in practical pedagogy; it is not a given, but a very specific task for the teacher.” In order for a student to feel internally free, psychologically liberated, etc., it is sometimes necessary - no matter how paradoxical it may seem - to force, "freedom as a task does not exclude, but presupposes the fact of coercion" 1 .

The above is directly related to teaching in music performing classes at secondary and higher music educational institutions.

5. The next, fifth, principle of developmental education is directly related to the introduction of modern information technologies, in particular audio and video materials, into the music educational process. The reality is that, using exclusively traditional methods of teaching music, a student today is not able to master the entire body of knowledge he needs. Sound recordings captured on cassettes, as well as computer technologies, are now one of the optimal ways to quickly and comprehensively replenish a student musician’s knowledge base, expand his artistic and intellectual horizons, and expand his professional erudition. Skillfully used modern TSOs make it possible to adapt, “tailor” the studied musical material in relation to the individual needs and demands of students.

The relevance of the principle of developmental education under consideration is due to the fact that many teachers working in music and performing classes today “do not possess the appropriate methodology and “technique” of work, worse, they do not see any need to change anything in their practical activities. In this case, there is a conservatism in pedagogical thinking, a lack of preparation - both professional and psychological - for any changes and modernization of teaching work" 1 .

Experts note the fact that the current methodology for teaching almost any subject is a closed and self-consistent, self-sufficient system of techniques and methods of educational work, within which it is not easy to find reserves for a significant modification of the very structure of teaching 2 . In other words, a significant part of Russian music teachers, especially representatives of the older generation, were actually not ready to go beyond the usual, established methods of teaching.

Hence, we repeat, the relevance of the considered principle of developmental education in music and performing classes.

6. Finally, the sixth principle, which relates not only to the area of ​​music pedagogy that is associated with the performance of various works (piano, violin, vocal, etc.), but also to the entire system of professional musical education and training. The essence of this principle: young musician need to learn to learn, setting this as a fundamental, strategic task, and the sooner the better. It largely depends on the teacher - whether his pupil will love this activity, whether he will master its “technology”, whether upon graduation he will be able to move in his profession independently, without habitually looking back at the teacher, without counting on outside help. Will he be able to initiate and regulate the processes of personal and professional development, improving the mental mechanisms of cognition and self-knowledge and thereby ensuring a high degree of readiness for all sorts of surprises that his future professional activity will inevitably encounter.

The problem facing teachers today is not only and not even so much is to equip the student with special knowledge, which one way or another will be insufficient, and not to develop in him certain professional skills, which in any case will have to be expanded, updated, transformed, etc. The problem is to develop in a graduate of a music educational institution a complex of personal and professional qualities and properties that could help him adapt to non-standard situations, rise to the level necessary to perform “production” duties in a fairly wide range and at the required quality level.

Therefore, with all the importance of specific tasks “here and now” solved in music and performing classes, pedagogical attitudes oriented in the direction of highest educational priorities, related to the “re-equipment” of students’ consciousness, ridding them of habitual, dependent attitudes that have been created over the years.

To mint in yesterday's student a comprehensively developed, modern-minded personality, mobile, ready to search, to risk, to meet the new and unknown, a personality charged with self-movement, self-actualization, to achieve success on their own - this is the requirement put forward by life today, this is the meaning of the sixth principle of developmental education.

Students of professional music educational institutions, reaching the finish line in their studies, must already quite consciously (although, of course, not without consultation with the teacher) choose an individually outlined educational path, taking into account their capabilities, natural abilities, interests, needs, professional prospects, etc. .d. This, in fact, means “being able to learn” in the practical implementation of this principle.

In accordance with the sixth principle of developmental education, a prominent place in the course of music lessons should be given to modeling the creative-heuristic process in its essential, attributive features and characteristics. Also V.P. Vakhterov at one time strongly recommended a method of teaching in which the student - of course, sufficiently prepared for this type of activity - tries, by solving an educational problem, to approach the thought process characteristic of the creative practice of a scientist or inventor 1 .

Naturally, Vakhterov did not have in mind the disciplines of the artistic and aesthetic cycle, and certainly not the field of teaching music. However, it is here, in this area, that a course aimed at putting the student in the position of a creator and discoverer, while maximizing the mechanisms of his creative thinking, creative imagination, imagination, etc., can give an excellent effect. Moreover, it is important to emphasize that what matters in this case is not these or those specific creative results that will be achieved by a student musician who models the actions of a mature master and takes these actions (or at least tries to take them) as a model. In a creative-heuristic situation, what is important is the process itself, the mastery of its “technology” and internal structure, within the framework of which the personal and professional qualities necessary for a future specialist are formed under high load 2 .

These are the main principles on the basis of which teaching music and, first of all, musical performance can become truly developmental in nature. Their implementation in practice affects, as is easy to see, the content of teaching, brings to the fore certain types and forms of educational work, and does not leave aside teaching methods (methods). This is what we must now move on to.

1 Gessen S.I. Fundamentals of pedagogy. Introduction to Applied Philosophy. - M. 1995. - P. 62.

1 Gorlinsky V.I. Modernization of the system of musical upbringing and education in modern Russia: Current problems of the transition period. - M., 1999. - P. 119.

2 See: Grebnev I.V. Methodological problems of computerization of teaching at school // Pedagogy. - 1994. - No. 5. - P. 47.

1 Abroad today they often talk about the special role of a teacher who not only teaches and instructs, but rather advises and helps to learn.

§ 14. Developmental potential of reading music from sight and sketch learning of musical works

If we talk about professional development types and forms of work in music performing classes, first of all we should mention sight reading. Music pedagogy has been aware of the benefits of this activity for students for a long time. Statements on this topic can be found in the treatises of F.E. Bach, X. Schubart and other prominent musicians-teachers of the 17th-18th centuries. The special advantages hidden in reading music for a professional of any rank, of any category of skill, have also been pointed out more than once by major performers and teachers of subsequent times.

What exactly are the benefits of sight reading? For what reasons is it capable of stimulating the general musical development of a student?

Sight reading is a form of activity that opens up the most favorable opportunities for a comprehensive and broad acquaintance with musical literature. In front of the musician, an endless and colorful procession of works by various authors, artistic styles, and historical eras passes by. In other words, sight reading is a constant and rapid change of new musical perceptions, impressions, “discoveries”, an intense influx of rich and diverse musical information. “As much as we read, we know as much” - this old, many times tested truth fully retains its meaning in music education.

The musical and intellectual qualities of a student crystallize, naturally, not only when reading, but also in other forms professional activity. However, it is precisely by reading music from sight that the conditions for “maximum favorability” are created for this. Why, due to what circumstances?

First of all, because when reading music, the student deals with works that do not necessarily need to be learned or mastered in the performance ("technical") level. There is no need to specially study them or improve them in a masterly technical sense. These works, as they say, are not for memorizing, not for memorizing, but simply for the pleasure of learning and discovering new things. Hence the special psychological attitude. Special observations show that musical thinking during reading - naturally, with sufficiently skillful, qualified reading - is noticeably toned, perception becomes more vivid, lively, sharpened, and tenacious. “There is one subtle psychological pattern here: what is correlated with oneself and reflected in the spiritual life of an individual with the greatest force is that which does not have to be remembered, that which does not need to be subjected to specific “anatomization” (V.A. Sukhomlinsky).

Favorable conditions for activating the student’s musical and intellectual powers, created through sight reading, are also determined by the fact that familiarization with new music- a process that always has a particularly bright, attractive emotional coloring. This circumstance has been repeatedly emphasized by many musicians. The first contact with a previously unknown work “first of all gives free rein to immediate feeling: the rest comes later” (K.N. Igumnov); reading a work from sight, “the performer surrenders completely to the power of music, he absorbs the very essence of music” (G.P. Prokofiev).

Emotional factors play a fundamentally important role in the structure of human mental activity in general and in artistic and imaginative thinking in particular. On the crest of an emotional wave, there is a general rise in musical and intellectual

actions, they are saturated with greater energy, flow with particular clarity and certainty, from which it follows that sight reading activities, as long as they evoke a direct and vivid emotional response from the player, are important not only as a way of expanding the repertoire horizons or accumulating various musical theoretical and musical-historical information, ultimately these activities contribute to quality improvement of the processes themselves musical thinking.

Thus, Sight reading is one of the shortest, most promising paths leading towards the general musical development of a student. Indeed, among the various forms of work that exist in performing classes, there are many that are used to successfully teach the art of playing a musical instrument and solve the problems of developing vocational skills and abilities. However It is in the process of reading notes that such principles of developmental education as increasing the volume used by the student reveal themselves with all their completeness and clarity. musical material and accelerating the pace of its passage.

Indeed, what does sight reading mean if not assimilation? maximum information in minimum time? Hence the conclusion: if the general musical development of a student - his abilities, intelligence, professional auditory consciousness - is intended to be a special goal of music pedagogy, then sight reading music has, in principle, every reason to become one of the special means of practically achieving this goal.

The same can be said about sketch learning musical works are one of the specific forms of activity in the arsenal of a musician (both a student and an established master). In this case, mastery of the material is not brought to a high degree of completion. The final stage in this work is the stage at which the musician embraces the figurative and poetic concept of the work, receives an artistically accurate, undistorted idea of ​​it, and as a performer is able to convincingly embody this concept on the instrument. “After the student has acquired the skills and knowledge he needs (pre-planned by the teacher), has understood the text, plays the musical material correctly and meaningfully, work on the piece stops,” wrote L.A. Barenboim, defining sketch learning as a special form of educational activity that can be characterized as intermediate between sight reading and thorough mastery of a musical work.

Many outstanding musicians-performers and teachers have long been adherents of the sketchy development of educational repertoire.

A. Boissier, for example, wrote under the impression of meetings with the young Liszt: “He does not approve of petty completion of plays, believing that it is enough to grasp the general character of the work...” Similar evidence, but chronologically closer to our days, can serve as a recollection of a student of Neuhaus B.L. " . Such a method of work can be called, with more or less convention, a pedagogical “sketch”.

Natural questions arise: what attracts the sketch form of the work of masters of pedagogy? What are its special, specific advantages? How exactly can this type of activity enrich the educational and pedagogical process, what prospects does it promise for the student musician?

By reducing the time it takes to complete a work, the sketch form of classes leads to a significant increase in the amount of musical material the student works on, to a noticeable numerical increase in what is learned and mastered in the course of educational activities. Game practice involves a much larger and more diverse educational and pedagogical repertoire than could be the case when each musical and performing “sketch” was “pulled up” to the level of a scrupulously “worked out” sound picture, complete in all details and particulars. Thus, the sketch form of working on a work, as well as sight reading, fully implements one of the central principles of developmental education, one that requires the use of a significant amount of musical material in educational and pedagogical practice. It is here, in the ability to address “many” and “different” lies the reason for the attention to the sketch form of classes by outstanding masters of music teaching, convinced that the student should strive to expand the list of mastered works as much as possible, should learn and perform as many musical pieces as possible. samples, since his primary task is to have a broad musical horizon.

Limiting the time limits for working on a piece, which occurs in the sketch form of classes, essentially means speeding up the pace of passing the musical material. The educational and pedagogical process itself is accelerated: the student faces the need to assimilate certain information in a short, condensed time frame. The latter, as rightly noted by L.V. Zankov, leads to the continuous enrichment of more and more new knowledge, to the refusal of marking time, from the monotonous repetition of what has been previously learned. Thus, the sketch form of classes contributes to the implementation of the principle of developmental education in music, which contains the requirement to increase the pace of work on the educational repertoire, intensive and non-stop progress of the student forward.

It is not difficult to discover that, in a number of ways, sketch learning, as a form of classroom work, is noticeably similar to sight-reading music. Within the framework of each of these types of activities, the student comprehends a significant number of different musical phenomena, and does this quickly and efficiently. In both cases, the music-educational process is based on the same principles of developmental education. At the same time, there is a certain difference between sketch mastery of the repertoire and sight reading. In contrast to a one-time, episodic acquaintance with new music, which is reading, rough learning of a work opens up opportunities for much more serious study of it - of course, provided that the quality of the lessons satisfies the necessary requirements. Both in painting and in music, a sketch can turn out to be more or less successful. We are talking about a good, skillfully executed, in its own way perfect educational and pedagogical “sketch”. In this case, the student is not limited to a single, cursory acquaintance with the artistic appearance of the work; by playing it repeatedly, over a certain period of time, he comprehends the intonation-expressive essence much more deeply music performed, its constructive and compositional features, and ultimately its emotional and figurative content. Thus, the musical thinking of a student working in a sketchy manner is involved in a very complex in structure, widely ramified analytical-synthetic activity.

The foregoing allows us to conclude: lessons on a musical instrument, based on the principle of creating performance “sketches,” have every reason to be ranked among the most effective ways of a student’s general musical development (and, what is especially important, musical-intellectual development). Along with sight reading, these classes can bring especially significant results in situations where expanding artistic horizons, replenishing musical and auditory experience, and forming the foundations of professional thinking in music students are put forward as priority pedagogical tasks.

Now a few words about the repertoire for sketch learning. In relation to it, one essentially decisive requirement can be put forward: to be as diverse in composition, stylistically rich and multifaceted

In principle, this repertoire can and should represent a much wider range of composers’ names and works than the one used by the teacher when compiling conventional test and examination programs. This is a specific feature of the repertoire for sketch learning, its direct musical and pedagogical purpose, because only from the comprehension of many artistic and poetic phenomena does the process of formation of a future musician take shape.

It is important that the works learned in sketch form please the student and awaken a lively emotional response in him. If in “mandatory” programs (such as examinations or competitions) there is sometimes something that should to play for a young musician, here it is quite possible to address what he is working on I want to work. Therefore, as practical experience shows, it is advisable and justified to meet the student’s wishes when compiling a list of plays “for reference”; The teacher’s repertoire policy in this situation has reason to be much more flexible than, say, under other circumstances.

As for the difficulty of works mastered in sketch form, it can exceed, to a certain extent, the student’s real performing capabilities. Since a play from the category of in-class, working “sketches” is not destined to appear in the future at public screenings and shows, the teacher has the right to take a certain risk here. This risk is all the more justified since it is precisely the path of “greatest resistance” in performing activity that, as is known, leads to the intensification of the student’s general musical and motor-technical development. The best way to stimulate the progress of students, A. Cortot believes, is to provide in time for their work plan to study some work, the degree of difficulty of which would definitely be higher than everything they knew so far. One should not demand flawless performance of these “too difficult” works, the frequent changes of which are very advisable. Thus, A. Cortot had in mind precisely the sketch form of classes.

Should I learn the work by heart as part of the sketch form of the work? According to a number of authoritative teachers, this is not necessary. Enough confident, "good" from a professional point of view, playing music by notes. Moreover, “learning by heart with this form of work would be unnecessary,” M. Feigin reasonably believed. And he argued his thought: “It is important for us to ensure that students know how to play notes well... After all, the future music life much more often requires the pianist to be able to play notes than perform concerts. In short, the ability to play notes must be systematically developed." 1

The functions and responsibilities of the teacher leading the educational process change noticeably under the conditions of sketch learning. First of all, the number of his meetings with the work that the student is mastering in outline decreases, and significantly. Experience shows that, in principle, two or three such meetings are enough, especially when working with student youth. Further, problems associated with the interpretation of music and its technical implementation on the instrument are solved when creating a “sketch” by the student himself. The teacher here seems to move away from the work; his task is to outline the final artistic goal of the work, give it a general direction, and suggest to his student the most rational techniques and methods of activity.

Despite the fact that the potential resources of the sketch form of work in relation to the general musical development of students are great and diverse, they can only be identified if they regularly and systematically refer to this activity. Only if the student devotes a certain part of his time to sketch learning every day can the desired effect be achieved.

The sketchy mastery of some works must constantly and certainly coexist in their practice with the complete learning of others; Both forms of educational activity fully realize their potential only in close, harmonious combination with each other. Only under this condition will the student’s focus on solving cognitive, musical and educational problems not damage his development of the necessary professional-performing qualities, the ability to carefully and accurately work on a musical instrument - a requirement that a qualified teacher will never give up.

1 Feigin M.E. Musical experience of students // Issues of piano pedagogy. - M., 1971. - Issue. 3. - P. 35.

§ 15. Formation of active, independent creative thinking of a student musician

With all the volume of musical information received by a performing class student during sight reading, with all the versatility of knowledge acquired by him in the course of sketch learning of musical works, these factors alone, taken in isolation, are not yet enough for successful development personal and professional qualities of a young musician. This development truly gains full scope only if it, as noted above, is based on the student’s ability to actively, independently acquire the knowledge and skills he needs, to navigate the whole variety of phenomena of musical art on his own, without outside help and support.

In other words, in the process of forming a professional musical consciousness, it turns out to be equally important What acquired by the student during his studies, and then How these acquisitions were made, in what ways certain results were achieved.

The requirement for initiative, independence and a certain freedom of mental action of the student reflects one of the previously mentioned principles of developmental music education, and more broadly, one of the main didactic principles of developmental education in general.

The problem of developing the independence of creative thinking in our days has acquired a particularly vivid meaning; its relevance is closely related to the task of intensifying learning and enhancing its developmental effect. Various aspects This problem is now being developed and clarified from a scientific point of view by many Russian and foreign specialists. Musical pedagogy does not remain aloof from the trends that characterize the progressive movement of general pedagogy. The topics of stimulating creative initiative and independence of students today are subject to detailed consideration and are considered to be of paramount importance.

The natural question is: how is the concept of “independence” deciphered in relation to musical studies? The answer to this is not as simple and unambiguous as it might seem at first glance. The concepts of “independent musical thinking” and “independent work on a musical instrument” are interpreted differently and most often approximately and generally. For example, many practicing teachers sometimes do not make fundamental distinctions between such qualities of the educational activities of young musicians as activity, independence, and creativity. Meanwhile, these qualities are by no means identical in nature; Likewise, the terms expressing them are far from synonymous: the activity of a music student may well be devoid of elements of independence and creativity; independent completion of any task (or instructions from a teacher) will not necessarily be creative, etc.

The concept of independence in teaching music in general and musical performance in particular is heterogeneous in its structure and internal essence. Being quite capacious and multifaceted, it reveals itself at various levels, synthesizing (when playing a musical instrument, for example) the student’s ability to navigate unfamiliar musical material without outside help, correctly decipher the author’s text, and create a convincing interpretative “hypothesis”; and willingness to find effective ways to work, to find the necessary techniques and means of implementation artistic design; and the ability to critically evaluate the results of one’s own musical performance activities, as well as those of others

interpretive samples and much more. In the actual pedagogical aspect, the problem of nurturing the independence of a student-musician affects both teaching methods, teaching methods (methods), and forms of organizing educational activities in the music-performing class.

The development of independent, inquisitive, and ultimately creative thinking in the student has always been a subject of tireless concern for major musicians. As an illustration, we can refer to the names and pedagogical concepts of some of them. So, according to the memoirs of L.A. Barenboim, F.M. Blumenfeld never demanded imitation from his students and did not resort to pedagogical “cosmetics.” He very energetically expressed his dissatisfaction with those students who, showing creative timidity and passivity, tried to find out or guess his thoughts only in order to get rid of the need to figure out anything themselves. K.N. adhered to similar pedagogical principles. Igumnov, who constantly taught his pupils to find in communication with him “only starting points for their own quests.” The teacher’s tasks are quite openly taken here beyond the scope of teaching anything; For prominent specialists, these tasks turn out to be much broader and more significant. To give the student basic general principles, based on which the latter can follow his own artistic path independently, without needing help - this is the point of view of Professor L.V. Nikolaev. Fostering independence and initiative in a young musician sometimes dictates to the teacher the advisability of temporarily stepping aside from the work carried out by the student, and prescribes non-interference in the processes taking place in his artistic consciousness. Former students of Ya.V. Flier says that while working on a work, the professor sometimes adhered to a policy of “friendly neutrality” - if his established personal concept did not coincide with the student’s ideas. First of all, he tried to help the student understand himself...

It would be wrong to assume, however, that the focus on developing creatively independent, individually stable thinking in a student prevents masters of music-performing pedagogy from demanding from the latter so-called “actions according to the model.” Those same teachers who, if possible, intentionally weaken the “reins of government”, giving scope to the student’s personal initiative, in necessary cases, on the contrary, regulate his performance in a certain way, accurately and specifically indicate to him what and how to do in the piece being learned, and do not leave The young musician has no choice but to submit to the will of the teacher.

It should be said that such a method of teaching, of course, has its own reason: the communication by a highly erudite specialist, a master of his craft, of “ready-made” information to the student, whose lot remains only to realize and assimilate it, work through the method of direct and clear “instruction” - all this Under certain circumstances, it carries a lot of useful information both in music pedagogy and in pedagogy in general. There is no need to say that the assimilation of a certain amount of “ready-made” professional knowledge, information, etc. Saves the student’s energy and time in many ways.

The point, however, is that teaching methods that stimulate initiative and independence of the student (“look, think, try...”) and methods of “authoritarian” pedagogy (“remember this, do that...”) in the practice of masters, as a rule, they turn out to be skillfully balanced. The ratio of these methods can change depending on the situations that arise in teaching, causing a variety of forms of influence on the student - this is the tactical task of the teacher. As for the strategic task, it remains unchanged: “To do it as quickly and thoroughly as possible so as to be unnecessary for the student... that is, to instill in him independence of thinking, methods of work, self-knowledge and the ability to achieve goals, which are called maturity ..." (G.G. Neuhaus).

The picture often looks different in broad music teaching practice. A course towards developing the creative independence of the student and providing him with a certain freedom in learning is seen here quite rarely. A number of reasons give rise to this phenomenon: the distrustful, skeptical attitude of teachers towards the abilities of students to find interesting interpretive solutions themselves; and the so-called “fear of mistakes,” the reluctance of the leaders of musical performing classes to take risks associated with the independent, unregulated from the outside actions of young, insufficiently qualified musicians; and the desire to give the student’s performance visual appeal and stage elegance (which is much easier to achieve with the support of the teacher’s firm, guiding hand); and pedagogical egocentrism; and much more. Naturally, the teacher It is easier to teach something to your student than to cultivate in him an individually original, creatively independent artistic consciousness. This primarily explains the fact that the problem of independent thinking of a student musician is solved in mass pedagogical practice much more difficult and less successfully than in the practice of certain major masters.

If the teaching activity of the latter, as was said, embraces the most diverse, sometimes contrasting forms and methods of influencing the student, then for an ordinary musician there is only one path in pedagogy - directive-directive (“do this and that”), leading to its extreme manifestations of the notorious “training”. The teacher informs, instructs, shows, indicates, and, if necessary, explains; The student takes note, remembers, and performs. The German scientist F. Klein once compared a student to a cannon, which is filled with knowledge for some time, so that one fine day (meaning the day of the exam) he can fire from it, leaving nothing in it. Something similar occurs as a result of the efforts of authoritarian music pedagogy.

And a few more thoughts in connection with the above. As already indicated, the concepts of “activity,” “independence,” and “creativity” are not identical in their internal essence. From the point of view of modern educational psychology, the relationship between “active thinking”, “independent thinking” and “creative thinking” can be represented in the form of certain concentric circles. These are qualitatively different levels of thinking, of which each subsequent one is specific in relation to the previous one - generic. The basis is the activity of human thinking. It follows that the initial, starting point for stimulating such qualities of musical intelligence as independence, creative initiative, can and should be the full activation of the latter. Here is the central link in the chain of relevant pedagogical tasks.

How is the musical consciousness of a performing class student activated? With all the variety of techniques and methods known to practice to achieve this goal, they can, in principle, be reduced to one thing: introducing the student performer to close, uninterrupted listening to his playing. A musician who listens to himself with unflagging attention cannot remain passive, internally indifferent, emotionally and intellectually inactive. In other words, it is necessary to activate the student - to teach him to listen to himself, to experience the processes taking place in music. Only by walking in the indicated direction, i.e. By deepening and differentiating the student-performer’s ability to listen attentively to his own playing, to experience and comprehend various sound modifications, the teacher has the opportunity to transform the active thinking of his student into independent thinking and, at subsequent stages, into creative thinking.

The problem of active, independent creative thinking in teaching music in general and musical performance in particular has two closely located, although not identical, aspects. One of them is associated with the specific result of the relevant activity, the other - with the ways of its implementation (for example, How the student worked, achieving the intended artistic and performance goals, to what extent his work efforts were creative and exploratory in nature). The fact that the first (results) directly depends on the second (methods of activity) is quite obvious. We can say that the problem of developing independence in a student in a music-performing class includes, as a main component, what is associated with the ability to be proactive and creative. study on a musical instrument. It has long been known, since the times of the great thinkers and teachers of the past, that creativity cannot be taught, but you can teach him work creatively(or at least make the necessary effort to do so). This task, we repeat, belongs to the category of basic, fundamentally important in the activity of a teacher.

What are the possible ways to solve this problem? A number of prominent music teachers resort to the following method: a classroom lesson is constructed as a kind of “model” of the student’s home studies. Under the guidance of a teacher, something like a rehearsal takes place, “debugging” the process of a young musician’s independent homework. The latter is informed and brought up to date: how it is advisable to organize and conduct home classes; in what sequence to arrange the material, alternating work with rest; explain how to identify difficulties, be aware of them, outline, accordingly, professional goals and objectives, find the most right paths their solutions, use productive techniques and ways of working, etc.

Some of the most experienced teachers suggest to the student: “Work the way you would do it at home. Imagine that you are alone, that there is no one around. Please study without me...” - after which the teacher himself steps aside and observes behind the student, trying to understand what their homework might actually look like.

Then the teacher comments on what he saw and heard, explains to the student what was good and what was not so good, which methods of work were successful and which were not. The conversation is not about how perform a piece of music, but how work above it is a special, specific and almost always relevant topic.

The above applies primarily to students of music schools and colleges. However, even in music universities, where students are already engaged in “aerobatics” (or, in any case, should be engaged in this), it is sometimes useful to touch upon this side of the matter and pay special attention to it. “There is no art without exercise, no exercise without art,”- said the great ancient Greek thinker Protagoras. The sooner a young musician comes to understand this, the better.

And one last thing. One of the characteristic signs of a young musician’s developed, truly independent professional thinking is the ability to make his own, unbiased, fairly independent of outside influences assessment of various artistic phenomena and, above all, in his own educational activities, the ability to make a more or less accurate professional self-diagnosis. The teacher’s task is to encourage and stimulate this kind of quality in every possible way.

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Related information.

Svetlana Stepanenko
An integrated approach to music education

An integrated approach to music education.

Currently, the development of the theory of aesthetic education carried out in three directions: artistic creativity in the process of their training; independent artistic activity of children; , establishing diverse connections between its various parties. Leading direction - an integrated approach to aesthetic education. One of the leading features integrated approach- this is the programming of the aesthetic education. For the first time, an attempt was made to create an approximate program in which the tasks of aesthetic education designed for each age group kindergarten. Among them upbringing aesthetic attitude to nature, surrounding objects, to art used in classes, work and everyday life.

Signs an integrated approach to musical and aesthetic education.

* musical education should enrich the moral character of the child, activate mental activity, physical activity; * upbringing aesthetic attitude to the surrounding reality, to musical art should help establish a child’s connection with life; * content and teaching methods musical activities must ensure its unity educational, educational and developmental functions; * combination of various types of activities (traditional, thematic, complex) should encourage the development of initiative, activity, and creative actions; * complex teaching methods taking into account individually differentiated approach should contribute to the formation of aesthetic good manners, a tendency to independent and creative learning, to development musical abilities and first manifestations aesthetic taste; * harmonious combination of all forms of organization children's musical activities(classes, games, holidays, entertainment, independent activities) should contribute to the comprehensive general artistic development of preschool children.

Comprehensive music classes.

Musical classes are the main organizational form of systematic education for children up to school age according to requirements "Programs education in kindergarten» On musical classes there is a relationship in the solution musical, aesthetic and educational- educational tasks. During active musical activities, children acquire the necessary knowledge, acquire skills and abilities that provide opportunities for emotionally expressive performance of songs, musically- rhythmic movements, simple melodies when playing children's musical instruments . There is already a well-tested traditional structure of classes. It has been successfully mastered by teachers and has largely justified itself. However, experimental studies and the best pedagogical experience have shown that there are other lesson structures that activate the learning process. We are talking about thematic and comprehensive classes. Complex the classes are named so because one lesson combines all types of artistic activities: artistic speech, musical. Fine, theatrical. Complex the lesson is united by one task - familiarization with the same artistic image, with certain genres of works (lyrical, epic, heroic) or with one or another means of artistic expression (form, composition, rhythm, etc.) Target comprehensive classes - to give children an idea of ​​the specifics of various types of art ( music, painting, poetry, theater, choreography, about the possibilities of conveying thoughts and moods in any form in your own original language artistic activity. Therefore on complex In classes, it is important not formally, but thoughtfully to combine all types of artistic activity, alternate them, find similarities and differences in works, means of expressiveness of each type of art, conveying the image in their own way. Through comparison, juxtaposition artistic images children will deeply feel the individuality of the work and come closer to understanding the specifics of each type of art. Complex The lesson has the same types of topics as the thematic one. The theme can be taken from life or borrowed from a fairy tale, associated with a certain plot, and finally, the theme can be art itself.

This variety of topics enriches the content complex classes , provides the teacher with a wide choice. A theme taken from life or related to a fairy tale, e.g. "Seasons", « Fairy tale characters» , helps to trace how the same image is conveyed by different artistic means, find similarities and differences in moods and their shades, compare how the image of early spring is shown, nature just waking up and stormy, blossoming, and note the most striking expressive features artistic language (sounds, colors, words). It is important that the change in artistic activity is not formal (children listen music about spring, draw spring, lead spring dances, read poetry, and would be united by the task of conveying something similar to music mood in drawing, movements, poetry. If the works are not consonant in figurative content, but are only combined common theme, for example, after listening to a fragment of a play by P. I. Tchaikovsky "On the troika" from the cycle "Seasons"(tender, dreamy, lines from the poem by N. A. Nekrasov sound "Jack Frost" --“It is not the wind that rages over the forest...”(severe, somewhat solemn, out of character music, but close to the topic, it is necessary to draw the children’s attention to the contrast of moods, otherwise the goal of the lesson will not be achieved. In a lesson dedicated to the topic "Fairy tale characters", it is interesting not only to trace how differently or similarly the same image is conveyed in different types of art, but also to compare how much musical works written on one topic, such as plays "Baba Yaga" P.I. Tchaikovsky from "Children's Album", "Baba Yaga" M. P. Mussorgsky from the cycle “Pictures from an Exhibition” and symphonic miniature "Baba Yaga" A.K. Lyadov or plays "Procession of Dwarves" E. Grieg and "Dwarf" M. P. Mussorgsky from the cycle “Pictures from an Exhibition” etc. More difficult to carry out complex lesson, the theme of which is art itself, the features of expressive funds: "The Language of Art", “Moods and their shades in works of art” etc.

In the lesson on the first topic, you can compare colors in painting with timbres musical instruments or some other means of expression (register, dynamics and their combinations). Invite children to listen musical works in high (light) register and low (dark, filled with a bright, loud sound and a gentle, quiet one, comparing these means musical expressiveness with color intensity in painting. You can also talk about a combination of different means of expression, for example, play children works with the same dynamics (quiet, but in different registers (high and low, so that they hear the difference in character music. Quiet sound in the upper register creates a gentle, light character (“Waltz by S. M. Maikapara”, and in the lower register - mysterious, ominous ( "Baba Yaga" P.I. Tchaikovsky). These works are also compared with paintings.

On comprehensive In a lesson on the second topic, you need to find common sentiments conveyed in different types of art. Creative tasks are used here, for example, conveying the character of a cheerful or cowardly bunny in movements, composing a song, a fairy tale about him, or drawing him. By becoming familiar with the expressive capabilities of these types of art, children gradually gain experience perception artistic works. The theme of this comprehensive classes can be one mood with its shades, For example: "Solemn mood"(from joy to sorrow, "Joyful Mood" (from light, gentle to enthusiastic or solemn). These shades of mood can be traced through examples of different types of art and conveyed in creative works. assignments: compose a song (friendly, gentle or cheerful, joyful, express this character in movements, draw pictures in which these moods would be visible. The teacher can also focus children’s attention on the most successfully found images and talk with them about how managed to convey this or that mood. Sometimes they play a game, guessing what mood the child wanted to express in the movement he composed. (dance, song, march).

Complex The activity can also be combined with a plot, for example a fairy tale. Then, as in a thematic lesson of this type, the creative manifestations of children are more fully realized. Prepares comprehensive music lessons manager together with educators to use all the knowledge and skills that children have acquired in other classes. Classes are held approximately once a month.

Comprehensive musical development.

Classes in the program take place in game form, are built on frequent changes in activities, this ensures A complex approach, the dynamics of progress and the constant interest of children. Organization musical activities take place in a variety of forms: in the form of plot-thematic music lessons, complex and integrated classes. During classes in early groups musical complex development, the most important tasks in child development are solved nka: Mental development, physical development, aesthetic development. The goal of the program is the general mental development of infants and young children preschool age means musical education. Tasks programs: contribute early development child through complex musical activity; help children of primary preschool age enter the world in an exciting game music; feel and experience it sensually; create the prerequisites for the formation of creative thinking; promote practical learning musical knowledge; formation of readiness for further training; development of communication skills and complicity: contact, goodwill, mutual respect; developing in children qualities that promote self-affirmation personalities: independence and freedom of thinking, individuality perception. The program meets modern requirements for the educational program. It is developmental in nature, focused on the general and musical child development in the process of mastering it musical activity. It takes into account the ideas of health and development component: the principle of unity of developmental and health-improving work with children. The content of the program is focused on creating psychological comfort and emotional well-being for each child. The program is equipped practical materials and manuals for individual and group classes.

Join the program early integrated development includes: 1) Outdoor games and logorhythmics. Development of gross motor skills; development of coordination of movements and concentration of attention; developing coherence of actions in a team, establishing positive relationships, developing joint productive activities; development of social interaction and social adaptation skills in musically- psychological games and exercises; development of imagination and creativity in the game. ; formation of motor skills; speech correction in motion (pronouncing, singing along, developing speech motor skills). Material- "Fun Lessons", "Fun Lessons", "Aerobics for kids", "Gold fish", "Golden Gate", "Games for health" etc. 2) Development of fine motor skills. Development of finger motor skills, fine motor skills; speech development (speaking and singing along to songs - games aimed at developing fine motor skills); development of imagination ( "getting used to" in the image and character of the heroes of gesture or finger games); learning to count. Material- "Okay, Ten Mice, Two Little Pigs". 3) Development of hearing and voice. The simplest intonation (animal voices, nature sounds, funny syllables). Development of pitch, dynamic, timbral hearing. Singing and movement, performances. Elementary voice improvisation. Material- "Songs"- "Exclamations", "ABC - Poteshka", "Cat house". 4) Physical development, development of a culture of movement, health work. Strengthening the child’s body, forming a muscle corset, developing the respiratory and cardiovascular systems. Development of coordination of movements, concentration, dexterity, self-confidence. Development of motor creativity abilities. Built on Use material: "Game gymnastics", "Gymna-stick for mothers and babies", "Games for health" etc. 5) Getting to know musical literacy, listening music, learning to play noise and pitch instruments. Learning to play instruments. Getting to know musical instruments. Playing music, playing in a mini-orchestra (children and parents). Hearing musical works, emotional experience music in plastic improvisations. 6) Acquaintance with letters, preparation for reading, development speeches: In the process of sculpting and folding letters from plasticine, fine motor skills, concentration of attention, coordination of movements develop, familiarization with letters occurs in practical activities and preparation of children for reading. In chapter "We sing and read" a combination of reading syllables and singing (chanting) allows you not only to teach reading syllables, but also to work on your voice and breathing. 7) Creative tasks, development of imagination. Voice-over and dramatization of fairy tales and poems. Illustration (drawings, modeling, applications) themed games and fairy tales. Plastic sketches and motor improvisations in the context of active listening music. Instrumental music playing. Improvisations on noise and children's musical instruments. 8) Music clubs.

Goals and objectives of the lessons music.

Development musical and general creative abilities through various musical activities, namely, development: * musical memory; melodic and rhythmic hearing; * adequate ways of self-expression; * the ability, on the one hand, to accurately repeat the material proposed by the teacher, and on the other hand, to come up with your own solutions to the situation; * speech correction in motion with music. Development of mental and intellectual abilities; * imagination; reactions; listening and concentrating skills; listening skills to distinguish, contrast and compare. Development of physical abilities: * fine motor skills; gross motor skills. Development of social skills: * ability to interact with others; ability to control oneself. Developing interest in musical activities and the joy of communicating with music.

Forms of work in the classroom.

* singing; * expressive reading of children's rhymes and nursery rhymes; *game for children musical instruments; * movement under music, dance; * listening music; * dramatization of fairy tales; * outdoor games to develop reaction and motor skills, developing movement control.

Our time is a time of change. Now Russia needs people who are capable of making non-standard decisions, who can think creatively, and who are capable of positive creation. Unfortunately, modern kindergarten still retains the traditional approach to knowledge acquisition. Very often learning comes down to memorization and reproduction of action techniques, typical methods for solving tasks. Monotonous, patterned repetition of the same actions kills interest in learning. Children are deprived of the joy of discovery and may gradually lose the ability to be creative. Of course, many parents strive to develop creativity in their children: they are sent to clubs, studios, special schools, where experienced teachers work with them. The formation of a child’s creative abilities is determined not only by the conditions of his life and family education, but also with special classes organized in preschool institutions. Music, singing, drawing, modeling, playing, artistic activity - all these are favorable conditions for the development of creative abilities. I would like to draw your attention to comprehensive classes, in which the development of creative abilities is realized through various types of art. On comprehensive During the lesson, children take turns singing, drawing, reading poetry, and dancing. At the same time, performing decorative works or plot compositions to the sounds of a major lyric music creates an emotional mood, and children complete the task more successfully. On comprehensive During the lesson, children behave at ease and relaxed. For example, when performing a group drawing, they consult about who will draw and how. If they want to stage a song, they first agree on their actions themselves and distribute the roles themselves. During arts and crafts activities (weaving rugs, painting clay pots) you can use Russian folk melodies in gram recordings, which creates in children good mood, makes you want to hum familiar melodies.

Classification complex classes.

1 By content complex classes can be varied and are carried out in different options: *separate blocks of classes to introduce children to the world of art (musical and visual) ; * blocks of activities combined according to those most interesting to children topics: "Zoo", "Favorite Tales"; * blocks of lessons to introduce children to the works of writers, musicians, artists and their works; * blocks of lessons based on work to familiarize children with the world around them, with nature; * block of lessons on familiarization with folk art; * block of lessons on moral and emotional education. 2. Structure complex activities depends on the age of the child, on the accumulation of sensory experience: from live observation to viewing paintings, to perception of the image in poetry, music. * 3-4 years – live observation an object or phenomenon plus a vivid illustration of it. * 4-5 years – a bright illustration or painting, a small literary work. * 5-6 years - a literary work plus several reproductions, allowing you to highlight expressive means; musical work or song (as a background or as an independent part of the lesson). * 6-7 years – a work of art plus 2-3 reproductions (depicting either a similar landscape or different ones) or a description of an object or phenomenon in poems (comparison, juxtaposition); musical composition(in comparison - what fits to a reproduction or poem). 3. Complex classes are divided into two types according to the meaning of the types art: dominant type, when one type of art dominates, and the rest seem to pass in the background, for example, a poem about nature and music help to understand the picture, its mood)

equivalent type, when each part of the lesson complements each other.

4. Complex classes may vary in combination musical, visual, artistic works.

Option 1. Alternate inclusion of works of different types of art. Target: enhance the impact of art on children's emotions. Structure: audition piece of music; communication between teachers and children about character piece of music; viewing a painting; communication between teachers and children about the nature of the painting; listening to a literary work; communication between teachers and children about the nature of a literary work; comparison of similarities musical, picturesque and literary works according to the emotional mood expressed in them, the nature of the artistic sample.

Option 2. Pairwise inclusion of works of different types of art. Structure: Listen to multiple musical works; exchange of opinions between teacher and children, comparison of how they are similar and different in character musical works; viewing several paintings; comparison of similarities and differences between paintings; listening to several literary works; comparison of the similarities and differences of works in character and mood; comparison of similar emotional moods musical, paintings and literary works.

Option 3. Simultaneous inclusion in perception different types of art. Target: show harmony music, painting and literature. Structure: sounds musical work and against its background teacher reads a literary work; teacher shows one painting and offers children several musical works or literary works and select only one of them that is consonant with a given work of art; sounds the same musical a work and the children select one from several paintings or literary works that is consonant with the mood.

Option 4: Incorporate contrasting pieces from different types of art. Target: form evaluative attitudes. Structure: listening to literary works that are contrasting in sound; exchange of opinions between the teacher and children about their differences; viewing paintings that are contrasting in color and mood; exchange of opinions between the teacher and children about their differences; listening to literary works that are contrasting in mood; exchange of opinions between the teacher and children about their differences; perception similar to each other musical, literary and pictorial works; exchange of opinions between the teacher and children about their similarities.

In order to carry out comprehensive lesson it is necessary to select the right works of art (literatures, music, painting): * accessibility of works of art to children's understanding (based on childhood experience); * realism of works of fiction, painting; * attractive to children; if possible, you should select works that have an interesting plot that evokes a response in the child’s soul.

Conclusion.

Any musical The activity should leave a mark on the child’s soul. Children perceive music through play, movement, drawing. Integrated muses A physical activity helps develop memory, imagination, speech, and general motor skills. Creative an approach to conduct classes contributes to the creation of a positive experience in the formation child's worldview. Hearing musical works, singing, rhythm, playing musical tools are the most effective ways to introduce a child to music.

In progress complex children study independently, and sometimes with the help teacher(especially in the younger and middle groups) learn to use artistic and expressive means of all types of art to convey an idea.

Early acquired artistic experience helps them create an expressive image (musical, poetic, figurative).

The joint actions of the teacher with children and communication with peers create the necessary conditions for the formation and development of creative abilities.

Need to bring up and develop the child so that in the future he can create something new and become a creative person. Often it is too late to develop a child’s creativity, since a lot of things are laid down much earlier. “We all come from childhood...” These beautiful words of Antoine Saint-Exupery could be a kind of epigraph to the work of child psychologists who strive to understand how a person feels, thinks, remembers, and creates at the very beginning of his life. life path. It is in preschool childhood that what largely determines our "adult" fate.

Literature.

Vetlugina N. A., Keneman A. V. Theory and methodology musical education in kindergarten. Dzerzhinskaya I. L. Musical education younger preschoolers. Vygotsky L. S. Imagination and creativity in childhood. Chudnovsky V. E. Upbringing abilities and personality formation. Chumicheva R. M. Preschoolers about painting. Bogoyavlenskaya D. B. On the subject and method of studying creative abilities. Sazhina S. D. Technology of integrated classes in preschool educational institutions.

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 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.

* * *

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. Kabalevsky

Music 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 musical culture 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 and abilities;

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, when mastering a particular curriculum, often turns away from the values ​​​​proposed 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, meaning in pedagogy the discrepancy between the musical preferences of the teacher and students), which, as a rule, is not played in the lesson. Eliminating this contradiction is a necessary condition for the formation of students' musical culture.

The existing music education system 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 various 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 to 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 recent decades, the problem of identifying and developing principles of music education has become particularly important. 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 purposeful 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 one’s own experience, even if it comes from an authoritative 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 “elevating 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

Aliev Yu. B. Didactics and methods of school music education. – M., 2010.

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 schools. – 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.

Music // Sample programs for academic subjects. Art. 5–7 grades. Music / Ed.: Soboleva Yu. M., Komarova E. A. - M., 2010. Series: Second generation standards.

Osenneva M. S. Principles of musical education in the modernization of domestic education at the present stage // Osenneva M. S. Theory and methodology of musical education: a textbook for students. institutions of higher education prof. education. – M., 2012.

Tsypin G. M. Principles of developing music education // Musical psychology and psychology of music education: Theory and practice. 2nd ed., revised. and additional / Ed. G. M. Tsypina. – M., 2011.

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

Aliev Yu. B. Concept of musical education of children // Aliev Yu. B. Methods of musical education of children (from kindergarten to elementary school). – Voronezh, 1998.

Apraksina O. A. Methods of musical education at school. – M., 1983.

Archazhnikova L.G. Profession – Music teacher. Book for teachers. – M., 1984.

Bezborodova L. A. Goals and objectives of school music education // Bezborodova L. A., Aliev Yu. B. Methods of teaching music in educational institutions. Tutorial for students of music departments of pedagogical universities. – M., 2002.

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 journal “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. Elementary 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.

Shamina L.V. Ethnographic paradigm of school music education: from “ethnography of hearing” to world music // Teacher (Special issue “Musician-teacher”). – 2001.-No. 6.

Methodist, piano teacher

Municipal educational institution "Secondary school No. 4" Children's school "Kamerton"

G. Megion

Report

Developmental training in the music education system

To assess the significance of using the principles of developmental education in the system of primary music education, it is necessary to characterize the entire domestic system of music education; draw parallels with the general education system; compare the principles of traditional and developmental education.

The system of general music education includes a number of successive stages, each of which is of fundamental importance. Any educational level, in turn, is composed of several levels, which allows us to talk about both multi-level general musical training and multi-level musical pedagogical training.

The first stage of general music education is music classes in preschool institutions for children starting from the age of two. The theory and practice of preschool pedagogy determines the following forms of organizing children's musical activities: classes, the use of music at holidays and entertainment, in play and independent work. All forms provide for the education and development of children through joint musical activities. However, the main task - practical development and mastery of actions, skills and abilities to perceive music, singing, movement and playing musical instruments - is very rarely solved (5, 56).

General musical training continues further in secondary schools within the current “Music” program. However, to continue music education, it is necessary to in-depth study of musical disciplines with a specific specialization (musical instruments) in children's music schools and children's art schools.

The system of music and music-pedagogical education in Russia consists of several levels.

Levels	Educational establishments	Main goals
Level 1	Children's Art School and Children's Music School	musical and aesthetic education of a wide range of children, identifying the most capable students and preparing them for admission to special educational institutions
Level 2	music schools and music pedagogical colleges	mastering the basics of musical teaching craft
Level 3	music departments of pedagogical universities (teaching institutes)	improving the foundations of the teaching profession and fundamental humanitarian education (general higher education)
Level 4	music departments of pedagogical universities (teaching institutes), conservatories	broad specialization, obtaining higher qualifications
Level 5	graduate school	improvement of scientific and pedagogical qualifications

According to the opinion, “the traditional form of education is, first of all, an authoritarian pedagogy of demands, where learning is very weakly connected with the inner life of the student, with his diverse requests and needs, and there are no conditions for revealing the creative manifestations of personality. The authoritarianism of the learning process is manifested in the regulation of activities, compulsory training procedures; centralization of control; targeting the average student.

The position of the student from the point of view of traditional pedagogy: the student is a subordinate object of educational influences, the student is not yet a full-fledged person. Position of the teacher: the teacher is the commander, the only person with initiative. Consequently, methods of assimilation of knowledge are based on the communication of ready-made knowledge, learning from a model, inductive logic from the particular to the general, mechanical memory, verbal presentation, reproductive reproduction” (7, 36).

shares the point of view and adds: “Under these conditions, the stage of realizing educational goals turns into labor under pressure with all its negative consequences (alienating the child from school, instilling laziness, etc.)” (4, 50).

We do not completely agree with and consider their statements controversial, since traditional education includes technologies that cannot be fully classified as authoritarian.

In the pedagogical dictionary we read: “Authoritarianism (from the Latin autoritas - influence, power) is a socio-psychological characteristic of a person, reflecting his desire to maximally subordinate his partners in interaction and communication to his influence, manifested in authority, a person’s tendency to use undemocratic methods of influencing others in the form of orders, directions, instructions, etc. All these traits are often characteristic of an authoritarian teacher. The authoritarian style of pedagogical leadership is a stressful educational system based on power relations, ignoring individual characteristics students, neglect of humanistic ways of interaction with students (2, 5).

spoke about the presence of a paradox in music pedagogy and clarified: “In music pedagogy, both soft and hard approaches to the student can be authoritarian. The paradox is that authoritarianism, as the desire by one’s actions to displace the content of the student’s consciousness, to suppress it when real indifference to the student’s opinion - all this manifests itself in a democratic (in appearance) form” (6, 82).

Thus, we believe that the degree of authoritarianism largely depends on the personality of the teacher, and traditional pedagogical practice has many examples of the activities of teachers with a democratic style of cooperation with students, the ability to open communication, a positive self-concept, the desire for continuous improvement, fairness and kindness.

In modern assessment, the technology of traditional teaching has the following positive and negative sides (8, 42):

Positive aspects	Negative sides
Systematic nature of training	Template construction, monotony Technocracy of content
Orderly, logically correct presentation of educational material	Irrational distribution of lesson time Depriving students of the functions of goal setting, planning, and evaluation The lesson provides only an initial orientation to the material, and the achievement of high levels of mastery is transferred to homework
Organizational Clarity	Lack of student independence
Constant emotional impact of the teacher's personality	Passivity or visible activity of students Weak feedback.
Optimal expenditure of resources during mass training	Age segregation There is almost no place for education in traditional education Negativity of assessment methods

By their nature, the goals of traditional education represent the transmission to the student of certain cultural samples, the formation of a personality with given properties. In terms of content, the goals of traditional education are focused primarily on the acquisition of knowledge, skills and abilities, and not on the development of the individual (comprehensive personal development was a declaration) (8, 40).

Of course, it is important for us to note that in modern school the tasks have changed somewhat - ideologization has been eliminated, changes have occurred in moral education, but the translational paradigm of presenting the goal in the form of a set of planned qualities (learning standards) remained the same.

Thus, traditional education remains a “school of knowledge”, retains the primacy of the individual’s awareness over his culture, the predominance of the rational-logical side of cognition over the sensory-emotional side (7, 35).

In turn, developmental education is characterized by anthropocentricity, humanistic and psychotherapeutic orientation, its goal is the versatile, free and creative development of the child.

The shift in emphasis in this problem is explained by a number of reasons.

The first is that education in a democratic society cannot be aimed only at the formation of knowledge and skills.

The second reason is related to the processes of development of science, enrichment and increase in the volume of knowledge, which educational institutions cannot keep up with, since it is impossible to constantly increase the terms of general and professional training. It should be aimed at developing ways of independent and continuous self-education in students.

The third reason is due to the fact that for a long time taking into account age characteristics was considered a priority and unchangeable principle of education. If this were really so, then no amount of training would be able to overcome the limited nature of the capabilities of a particular age.

The fourth reason is related to the recognition of the priority of the principle of developmental education; with the development of personality theory, which allows us to more fully imagine the processes of personal transformation at various stages; understand the factors that determine personal growth and personal changes; create concepts of developmental education (, etc.) (10, 21).

Turning to the theory of developmental learning in the field of music pedagogy is by no means accidental. The fact is that, as is known, “musical art is not only a means of aesthetic pleasure, but also a great means of life knowledge, that it ... can set in motion the deepest layers of human soul, human intelligence" (). And the learning process itself has significant reserves for the general and musical development of students.

Basic didactic principles of developmental education: increasing the volume of material used in educational and pedagogical work; accelerating the pace of passing educational and pedagogical material; increasing the measure of theoretical capacity of knowledge; development of creative initiative and independence of students.

Let us consider in more detail the system of primary music education, which has inexhaustible potential in the implementation of educational priorities: humanism, continuity, consistency, variability, adaptability, democracy and health-saving nature.

Musical upbringing and education is an integral part of the overall process aimed at the formation and development of the human personality. Therefore, they cannot be considered as a separate branch of knowledge. It has been established that “schoolchildren who excel in music also study successfully in general education subjects, and life repeatedly confirms that gifted musicians have extraordinary abilities in general” (3, 5).

But such phenomena as the demographic decline, the massive spread of psychophysical and motor-motor disorders in preschool children, the lack of a harmoniously developing environment, as well as a sharp decrease in the number of healthy school-age children with a general increase in the teaching load in secondary schools, underestimation of the role of art as one one of the most important means of personality formation and development, the decline in parents’ interest in art education, increases the heterogeneity of the student population of children’s music schools and children’s art schools in terms of the level of abilities, formed tastes and needs, and complicates the process of mastering educational programs.

Often, the lack of competition forces almost everyone to be accepted into the student body, and therefore, in recent years, students not only with good, but also with minimal musical abilities have been studying at Children's Music School.

Psychologists argue that all abilities can be developed and that the method of teaching a certain type of activity plays a decisive role in a person’s manifestation of abilities in this area. In the process of learning music, a child acquires the necessary skills, knowledge, and abilities, while demonstrating certain musical abilities, and it is advisable to find teaching methods that would best reveal them.

In the pedagogical process, the teacher acts as an intermediary between students and educational material, constituting the content of the subject. His task is to organize learning in such a way that students, while mastering the content, develop successfully and competently. The Austrian pianist and teacher Arthur Schnabel wrote: “The role of the teacher is to open doors, not to push the student through them” (11, 63). The educational process becomes well-managed when the teacher clearly understands the purpose of teaching, the content of the subject and methodological means for implementing pedagogical tasks.

Developmental learning is implemented in the relationship of accumulated knowledge, skills and abilities with the process of cognition itself and overcoming difficulties in it, with the emotions and feelings that accompany it, with practical activities, which consolidates and improves it. Modern pedagogy requires the inclusion of active mental activity of students in the pedagogical process: attention, perception, memory, imagination, emotional and volitional manifestations. Modern training and education is based on identifying new intellectual resources of the child’s psyche. One of the main tasks of a teacher in working with children is to develop and maintain interest in musical studies, which will be fully facilitated by an integrated approach from the standpoint of developmental education.

I. Evard provides interesting data in his article; he writes that today the profession of a musician has lost its former prestige, and musicians often work outside their specialty, but what is surprising is that most of them succeed. The musician turned out to be very competitive in the labor market. It turns out that it was not in vain that years of work in music schools were spent, that musicians grow up to be sought-after and successful people. What's the secret here? Having analyzed this optimistic paradox, the music psychologist and teacher concludes that education is by no means a way of accumulating some useful knowledge that can then be “sold.” Education is a way of educating yourself, your mind, your approach to a variety of phenomena, your ability to perceive and master new ideas and ways of acting. Education is the key to not being afraid of change and always acting according to circumstances, getting a positive result. This is exactly what music education is, since it contributes better than any other to the achievement of these goals.

The 20th century - the century of narrow professionals - is being replaced by the century of professional mobility. The development of the labor market requires the abandonment of old stereotypes. People who can easily acquire new skills and change their habits will be promoted to the first roles. Scientific data confirms that these qualities are best developed in a person by musical education. Music comprehensively accelerates the overall development of a child; it not only increases intelligence as a whole, but also develops the ability to work in several directions that any person needs at once. For example, tests of verbal memory showed that those who passed musical training up to 12 years old, remember foreign words much better than others.

Music is also important for developing social skills. It turned out that the most harmonious type of person is a musician. Musicians are completely non-aggressive; their testosterone hormone is at the lower limit of normal. Interesting data from the analysis of statistical information from the American researcher Martin Gardener, who studied the connection between crime and musical activities. He found that those who play music are the least likely to engage in criminal activity. Moreover: those who played musical instruments are almost never involved in criminal gangs, and those who know music and can sight read do not become criminals at all. And if we do not want to live in a world of aggression and intolerance towards dissent, then we must take a fresh look at classical music education and understand that music should become an integral part of the general educational program. Musical education is necessary for children, first of all, not in order to become musicians, but in order to develop in them independence, analytical abilities, aesthetic feelings, and competitiveness in all areas of professional activity.

List of used literature

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